Richard J. Clark

Richard J. Clark (born April 25, 1939) is an American operatic baritone. He studied at the Academy of Vocal Arts and the Juilliard School.

Career

Born in Tucson, Arizona, Clark began his career at the San Francisco Opera as the Creditor in Milhaud's Christophe Colomb on October 5, 1968. He continued with that company until 1974, in Ernani (as Iago, opposite Renato Cioni and Leontyne Price); Les Troyens (as Panthée, with Régine Crespin); Salome (as First Soldier, with Anja Silja in her American début, in Wieland Wagner's production); Rigoletto (as Monterone, with Harry Theyard as the Duke); Fidelio (Second Prisoner, opposite Dame Gwyneth Jones); La forza del destino (the Surgeon, with Carlo Bergonzi); La traviata (Dr Grenvil); Pelléas et Mélisande (the Physician); Le nozze di Figaro (as Antonio); Roméo et Juliette (as Duke of Verona); The Consul (as Mr Kofner), the United States première of Der Besuch der alten Dame (as the Train Conductor II, with Regina Resnik, directed by Francis Ford Coppola); Tosca (as the Jailer, conducted by Nino Sanzogno); Aufstieg und Fall der Stadt Mahagonny (as Alaska-Wolf Joe), Carmen (as Moralès), and Of Mice and Men.

In 1981, Clark made his official début with the Metropolitan Opera, as Monterone in John Dexter's production of Rigoletto, opposite Matteo Manuguerra and Judith Blegen. The baritone continued with the company in Il tabarro (as Michele); Il trovatore (as Conte di Luna); Parsifal (as Amfortas, with Peter Hofmann and Tatiana Troyanos, conducted by James Levine); La Gioconda (as Barnaba, with Plácido Domingo); the Met première of Idomeneo (as the Voice of Neptune, in Jean-Pierre Ponnelle's production); Tannhäuser (as Biterolf, opposite Richard Cassilly); Tristan und Isolde (as Kurvenal); Aufstieg und Fall der Stadt Mahagonny (now as Trinity Moses); Billy Budd (as Mr Flint, with Dale Duesing); Simon Boccanegra (as Paolo Albiani, opposite Sherrill Milnes, in Tito Capobianco's production); Die Meistersinger (as Fritz Kothner); Parsifal again (now opposite Jon Vickers); Rigoletto (now the title role, on tour to Staten Island, in concert version); Cavalleria rusticana (as Alfio); Francesca da Rimini (as Giovanni Malatesta, with Renata Scotto, Ermanno Mauro, and Natalia Rom); La traviata (as Giorgio Germont, with Luis Lima as his son, conducted by Thomas Fulton); Madama Butterfly (as Sharpless, with Scotto); Fidelio (as Don Fernando); Boris Godunov (as Tchelkalov, with Martti Talvela and Paul Plishka, in August Everding's production); and Il trovatore again (with Luciano Pavarotti, Dame Joan Sutherland, and Elena Obraztsova). His final appearance with the company was of the name part of Rigoletto, on tour to Rutgers University, in a concert version, in 1990.

Clark participated in the Met telecasts of Rigoletto (as Monterone, 1981), Idomeneo (1982), Tannhäuser (1982), and, most importantly, Simon Boccanegra (1984). (All of which have been published commercially.) In 1996, his album Keep a Little Christmas in Your Heart was published on Compact Disc.

Videography
gollark: How DARE you insult helloboi in this way ish?!?!?!?
gollark: Clearly, maths is wrong and I have created a brave new definition of prime numbers.
gollark: Oh no, my code thinks a number is composite when it is prime, oh bee.
gollark: Rege̿̔̉x-based HTML parsers are the cancer that is killing StackOverflow it is too late it is too late we cannot be saved the transgression of a chi͡ld ensures regex will consume all living tissue (except for HTML which it cannot, as previously prophesied) dear lord help us how can anyone survive this scourge using regex to parse HTML has doomed humanity to an eternity of dread torture and security holes using regex as a tool to process HTML establishes a breach between this world and the dread realm of c͒ͪo͛ͫrrupt entities (like SGML entities, but more corrupt) a mere glimpse of the world of reg​ex parsers for HTML will ins​tantly transport a programmer's consciousness into a world of ceaseless screaming, he comes, the pestilent slithy regex-infection wil​l devour your HT​ML parser, application and existence for all time like Visual Basic only worse he comes he comes do not fi​ght he com̡e̶s, ̕h̵i​s un̨ho͞ly radiańcé destro҉ying all enli̍̈́̂ghtenment, HTML tags lea͠ki̧n͘g fr̶ǫm ̡yo​͟ur eye͢s̸ ̛l̕ik͏e liq​uid pain, the song of re̸gular exp​ression parsing will exti​nguish the voices of mor​tal man from the sp​here I can see it can you see ̲͚̖î̩́t́̋̀ it is beautiful t​he final snuffing of the lie​s of Man ALL IS LOŚ̏̈́T ALL I​S LOST the pon̷y he comes he c̶̮omes he comes the ich​or permeates all MY FACE MY FACE ᵒh god no NO NOO̼O​O NΘ stop the an​*͑̾̾​̅ͫ͏g͛͆̾l̍ͫͥe̠̅s ͎a̧͈͖r̽̾̈́e n​ot rè̑ͧaͨl̃ͤ͂ ZA̡͊͠LGΌ ISͮ̂҉̯͈͕ TO͇̹ͅƝ̴ȳ̳ TH̘Ë͖́̉ ͠P̯͍̭O̚​N̐Y̡ Hͨ͊̽E̾͛ͪ ͧ̾ͬCͭ̏ͥOͮ͏̮M͊̒̚Ȇͩ͌Sͯ̿̔
gollark: ÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆ

References
  • The Metropolitan Opera Encyclopedia, edited by David Hamilton, Simon & Schuster, 1987. ISBN 0-671-61732-X
  • Online Merker: Richard J. Clark, April 2013.
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