Idomeneo, rè di Creta, opera, K. 366: Act II, Scene 3, No. 12b. Fuor del mar
- Act II, Scene 3, No. 12b. Fuor del mar (05:59)
Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Act III, Scene 4, No. 18. Hai già vinta la causa!
- Act III, Scene 4, No. 18. Hai già vinta la causa! (04:59)
Don Giovanni, opera, K. 527: Act II, Scene 2, No. 16. Deh, vieni alla finestra
- Act II, Scene 2, No. 16. Deh, vieni alla finestra (01:59)
Ariodant, opera: Act III, Scene 1. Ô Dieux! écoutez ma prière
- Act III, Scene 1. Ô Dieux! écoutez ma prière (04:20)
La Vestale, opera: Act III, Scene 1. Qu'ai-je vu! Quels apprêts!
- Act III, Scene 1. Qu'ai-je vu! Quels apprêts! (03:14)
Il barbiere di Siviglia (The Barber of Seville), opera: Act I, No. 2. Largo al factotum
- Act I, No. 2. Largo al factotum (05:12)
Otello, opera: Act I, Scene 1, No. 2. Ah! sì, per voi già sento..
- Act I, Scene 1, No. 2. Ah! sì, per voi già sento... Premio maggior di questo... Amor, dirada il nem (06:57)
Le Postillon de Lonjumeau, opera: Act I, No. 3. Mes amis, écoutez l'histoire
- Act I, No. 3. Mes amis, écoutez l'histoire (04:58)
La fille du régiment, opera: Act I, Scene 11. Ah! mes amis, quel jour de fête!.
- Act I, Scene 11. Ah! mes amis, quel jour de fête!... Pour mon âme (04:22)
Il Trovatore, opera: Act II, Scene 3. Tutto è deserto... Il balen del s
- Act II, Scene 3. Tutto è deserto... Il balen del suo sorriso (04:38)
Hamlet, opera in 5 acts: Act II, Scene 7. C'est en croyant revoir... Ô vin,
- Act II, Scene 7. C'est en croyant revoir... Ô vin, dissipe la tristesse (05:54)
Les contes d'Hoffmann, opera in 4 acts: Act I, Scene 4. Va pour Kleinzach!
- Act I, Scene 4. Va pour Kleinzach! (05:23)
Lohengrin, opera, WWV 75: Act III, Scene 3. Aux bords lointains
- Act III, Scene 3. Aux bords lointains (06:13)
Pagliacci, opera: Si può? Signore! Signori!
- Si può? Signore! Signori! (05:43)
Die lustige Witwe (The Merry Widow), operetta: Act I, No. 4. O Vaterland du machst bei Tag... Da
- Act I, No. 4. O Vaterland du machst bei Tag... Da geh ich zu Maxim (02:45)
L' heure espagnole, opera in 1 act, M. 52: Scene 10. Voilà ce que j'appelle une femme charman
- Scene 10. Voilà ce que j'appelle une femme charmante (02:27)
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Dies nox et omnia
- Dies nox et omnia (02:29)
Die tote Stadt (The Dead City), opera, Op. 12: Act I, Scene 5. Glück, das mir verblieb
- Act I, Scene 5. Glück, das mir verblieb (06:48)
13.99 In Stock
"Baritenor" is a voice category popular in 18th and early 19th century opera mostly lost in the present day as vocalists generally fit into specified roles, but Michael Spyres is on a mission to reclaim its place. Spyres, known for his tenor portrayals in French opera and bel canto roles, began his career as a baritone before training his voice to handle the upper register. With a program spanning from Mozart to Erich Wolfgang Korngold, he makes a compelling case. The agility he displays in his upper register and the dark, lush sound of his deep baritone are both equally attractive. For an example of Spyres' rich baritone, try "Tutto è deserto - Il balen del suo sorriso" from Verdi's "Il trovatore," or "Si può? Signore! Signor!" from Leoncavallo's "Pagliacci." Spyres' tenor soars in Donizetti's "Pour mon âme" from "La fille du regiment" as he takes the optional ninth high C final note. As is the custom in concert performances, he takes both the soprano and tenor parts in the program finale, "Glück, das mire verblieb" (Marietta's Lied), from Korngold's "Die tote Stadt." This is a beautiful, lyrical piece of love and loss, and he delivers a passionate rendition. The Orchestre philharmonique de Strasbourg under Marko Letonja delivers excellent accompaniment throughout as they traverse the varied repertoire. The characters portrayed in this recording will be a treat for new listeners as well as those who have already discovered this fascinating artist: he takes a fun turn as Figaro in "Largo al factotum." One looks forward to future performances from Spyres as he continues his journey as a baritenor and as he ventures into the heldentenor roles of Wagner. ~ Keith Finke
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