Described as “an interesting bridge” between Ms. Anderson and the newer generation of Black opera singers, Ms. Tynes, despite being neglected, possessed an “incredible” voice according to Ms. André, a writer on Black opera singers. Ms. André also suggested that Ms. Tynes’s success in Europe was a testament to her unique talent.
In 1962, a major recital featuring arias by Verdi and Richard Strauss was released by the Qualiton label in Hungary. In a 2021 episode of the podcast “Counter Melody,” American singer Daniel Gundlach praised Ms. Tynes for effortlessly reaching the high C in the Aida aria “O Patria Mia.” A recording of Pergolesi’s “Stabat Mater” received positive reviews in 1972, with praise for her “creamy-voiced soprano” despite some pitch issues in high notes.
Although not widely known, Ms. Tynes’s major recordings have been highly praised by connoisseurs. Former Metropolitan Opera archivist Peter Clark described her singing as “impressive by any standard” with a captivating expressivity and dramatic involvement.
During the 1960s and ’70s, Ms. Tynes performed for several seasons with opera companies in Vienna, Prague, Budapest, and Barcelona. Her skill and recognition grew significantly once she started performing in Europe, according to Mr. Roberts and singer Kevin Thompson, a friend of Ms. Tynes.
Her repertoire included roles in “Norma,” “Tosca,” “Carmen,” Lady Macbeth in Verdi’s works, and Leonora in “La Forza del Destino.” She received warm receptions in Hungary and Czechoslovakia, with the Budapest weekly Film Szinhaz Muzsika describing her as a “rare, singular phenomenon on the operatic stage.”
