She was subsequently “an attention-grabbing bridge” between Ms. Anderson and the brand new technology of black opera singers, stated Ms. André, who has written about black opera singers and who famous that Ms. “voice.” Ms. André urged that Ms. Tynes’s success in Europe was a testomony to her distinctive expertise.
His solely main recital on report, a group of arias by Verdi and Richard Strauss, was launched on the Qualiton label in Hungary in 1962. In a 2021 episode of the “Counter Melody” podcast, which was devoted to her, American singer Daniel Gundlach famous that Ms. Tynes reached the sulphurous C of Aida’s aria “O Patria Mia” with ease. A recording of Pergolesi’s “Stabat Mater” acquired a positive evaluation review in 1972 on the Gramophone journal, the place she was praised for her “creamy soprano voice,” though the publication stated she “appears uncomfortable on the excessive notes” and “isn’t all the time pitch correct.”
However his essential recordings, though little identified, deserved limitless reward from connoisseurs. In an e-mail, Peter Clark, a former archivist on the Metropolitan Opera, known as them “spectacular singing by any commonplace. His expressiveness and dramatic engagement are transferring to hearken to.”
Within the Nineteen Sixties and Nineteen Seventies, she sang for seven seasons on the Vienna State Opera, for eight seasons with opera firms in Prague and Budapest, and in Barcelona for 4 extra, in line with Roberts and the singer. Kevin Thompson, a good friend of Mrs. Tynes. “After she was invited to carry out in Europe, her talent and recognition grew,” Roberts stated.
She sang in “Norma”, “Tosca” and “Carmen” and performed Girl Macbeth in Verdi, in addition to Leonora in “La Forza del Destino”, amongst different roles. In Hungary and Czechoslovakia, she was all the time “warmly acquired,” Roberts recalled. The Budapest weekly Movie Szinhaz Muzsika (Movie Music) commented on her performances in Aida, saying: “She is a uncommon and singular phenomenon on the operatic stage.”
