Michael Spyres – Baritenor (2021) [Official Digital Download 24bit/96kHz]

Generally classified into five practical categories: soprano, alto, tenor, baritone and bass, the characterization of the various vocal typologies is actually subtler and more complicated than that. The baritone voice, for example, serves according to repertoires as an intermediary between the bass and the tenor, but there was also that of barit’enor (baritone-Martin in France) as illustrated by this very pleasant recording of the American singer Michael Spyres, a real vocal phenomenon.

“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 `e deserto – Il balen del suo sorriso” from Verdi’s Il trovatore, or “Si pu`o? Signore! Signor!” from Leoncavallo’s Pagliacci. Spyres’ tenor soars in Donizetti’s “Pour mon ^ame” 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, “Gl”uck, 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.

Tracklist:
01. Michael Spyres – Idomeneo, K. 366, Act II: “Fuor del mar” (Idomeneo) (05:59)
02. Michael Spyres – Le nozze di Figaro, K. 492, Act III: “Hai gia vinto la causa?” (Il Conte d’Almaviva) (04:59)
03. Michael Spyres – Don Giovanni, K. 527, Act II: “Deh, vieni al la finestra” (Don Giovanni) (01:59)
04. Michael Spyres – Ariodant, Act III: “Oh, Dieux! Ecoutez ma prière” (Edgard) (04:20)
05. Michael Spyres – La Vestale, Act III: “Qu’ai-je vu! Quels apprêts” (Licinius) (03:14)
06. Michael Spyres – Il Barbiere di Siviglia, Act I: “Largo al factotum” (Figaro) (05:12)
07. Michael Spyres – Otello, Act I: “Ah si, per voi già sento” – “Premio maggior di questo” – “Amor, dirada il nembo” (Otello, Iago, Chorus) (06:57)
08. Michael Spyres – Le Postillon de Lonjumeau, Act I: “Mes amis, écoutez l’histoire” (Chapelou, Chorus) (04:58)
09. Michael Spyres – La fille du régiment, Act I: “Ah! Mes amis, quel jour de fête!” – “Pour mon âme” (Tonio, Chorus) (04:22)
10. Michael Spyres – Il trovatore, Act II: “Tutto è deserto” – “Il balen del suo sorriso” (Il Conte di Luna) (04:38)
11. Michael Spyres – Hamlet, Act II: “C’est en croyant revoir” – “Oh, vin! Dissipe la tristesse” (Hamlet, Marcellus, Horatio, Chorus) (05:54)
12. Michael Spyres – Les Contes d’Hoffmann, Act I: “Va! pour Kleinzach” (Hoffmann, Nathanaël, Chorus) (05:23)
13. Michael Spyres – Lohengrin, Act III: “Aux bords lointains” (Lohengrin) (06:13)
14. Michael Spyres – Pagliacci, Prologue: “Si può? Signore! Signori!” (Tonio) (05:43)
15. Michael Spyres – Die lustige Witwe, Act I: “O Vaterland du machst bei Tag” – “Da geh ich zu Maxim” (Danilo) (02:45)
16. Michael Spyres – L’heure espagnole, M. 52: “Voilà, ce que j’appelle une femme charmante” (Ramiro) (02:27)
17. Michael Spyres – Carmina Burana, Pt. 4 “Cour d’amours”: Dies nox et omnia (02:29)
18. Michael Spyres – Die tote Stadt, Op. 12, Act I: Lied. “Glück, das mir verblieb” (Marietta) (06:48)