"Jerome A. Hines" was an United States/American operatic Bass (voice type)/bass who performed at the Metropolitan Opera from 1946 to 1987. Standing over two meters tall (6 feet, 6 inches), his stage presence and stentorian voice made him ideal for such roles as Sarastro in Die Zauberflöte/The Magic Flute, Mephistopheles in Faust (opera)/Faust, Ramfis in Aida, the Grand Inquisitor in Don Carlos, the title role of Boris Godunov (opera)/Boris Godunov and King Mark in Tristan und Isolde.

Hines also made contributions to higher mathematics.

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The motivation part is all essential in keeping my voice, but there are the human factors of discipline.

But, how little or how much of a good thing does it take to be bad? For example, water is good to drink. But drink too much of it and you drown!

Actually, I've been a fanatical health nut for five years.

The only proper way to eliminate bad habits is to replace them with good ones.

We are f acing a generation of young singers who are much more diminutive in their approach to singing.

Happy is the person who cherishes the precious lessons of the past and lives vigorously in the present.

When I came to the Met, Robert Merrill and Leonard Warren sounded more like basses than most of the basses you hear today.

Don't be led astray by the oversimplified notion that proper use of the breathing apparatus will magically provide a panacea for all your vocal problems. To say that vocal technique is nothing more than breath control is as foolish as saying that a steam locomotive is nothing more than a boiler.

It is not enough merely to memorize and spout vocal axioms: good singing is infinitely more than much talk and head-knowledge.