MICHAEL SPYRES Il mio tesoro (Mozart: Don Giovanni)
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- เผยแพร่เมื่อ 8 ม.ค. 2025
- MICHAEL SPYRES singing Don Ottavio's aria "Il mio tesoro" from Wolfgang Amadeus Mozart's opera DON GIOVANNI.
Recorded on 7 August 2021.
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![[EXTRAIT] DON GIOVANNI by Mozart (Ben Bliss - "Il mio tesoro")](/img/n.gif)
Excellently executed as always, but also interesting to see that even an artist of Spyres' caliber and good taste has to wear such a stage costume.
Such fine singing - and such a nightmare production.
It probably seemed like a good idea at the time.
The costume is borderline insulting to the performer.
Yes, it is a brilliant singing and a turdly production.
That staging -insane.
Yeah I just saw it recently, why were basketballs getting dropped between the arias lol
It’s hundredth time I’m coming back to listen to him. That incredible contrast between this pure and heroic vocalizing and extravagant presence just enforces the impression. The great master of singing and self ironing Michael Spyres!
Michael Spyres magnificent and inimitable in the belcanto tradition, staging as usual these days ludicrous. I also like the soave conducting of this beautiful and difficult aria.
Michael is a very special artist and person
Best rendition I’ve ever heard!
Its good but nowhere near john mc cormack who is critically considered the best,also luigi alva and dermot troy,all are better sung,give them a listen,you might be surprised
What joy! To live in the era of the greatest Mozart's tenor
Not only is he the real deal, There is nobody that he reminds me of. His William Tell is off the charts! This is the operatic version of he can sing the phone book.
Michael Spyres is marvellous. The stage director must be fired and banned permanently from opera staging. Who is the stage director? People should know their heroes!
Staging and costumes Romeo Castellucci😭
He’s incredible. Surely the best in this repertoire today. You have the best roster Helmut!
Can someone explain the hideous severed limbs connected to his chest? Also why the cast of thousands? Classic case of a director not trusting the piece, thinking it needs their genius intervention to make it “work”. Even with a vocal genius like Spyres guiding us through.
I am dying.....whoever did that ought to be decapitated, on stage. Ofcourse. Genius! Am I hired?
Amazing singing. What a distraction. (Guess this staging is refreshing if you’ve directed/produced countless productions) No idea on the extra arms unless it’s to represent walking around with “arms/sword” but not being of any use with out the daring to use them. The ladies are probably a “living set” the embodiment of Leporello’s list of DG’s conquests.
@@stevegrabe9863 The chorus of naked people was a bit distracting yes lol. I really legitimately do not think the arms meant anything. Just like the basketballs getting dropped between scenes. Probably some avant garde commentary on how "logic" and "basic sanity" are aspects of the human condition or something. But, you know. No ACTUAL reason a human being would consider valid....
1:40 Holy shit. Half the tenors Ive heard sing this need the optional breath here, he seemed to not even be super low on air at the end.
Super. Magnific
Sublime. Beyond words.
The best ever!!!!
He must have great technique, with all of the heavier singing he has done the fluidity and tonal depth of his voice is still quite phenomenal. If he was burning his voice out he wouldn't be able to do the runs in this aria.
Voix sublime et costumes grotesques!!!
Biiiiiiiiiiiiiis !!!
This aria REALLY suits Michael, (unlike that costume!) and I think it's the best Ottavio of our generation
Listened to several versions of this piece, like McCormack and primarily Björling, who is my favorite singer, but this version stands out. I find interpretations of this piece oftentimes manage to convey the first part pretty well, sounding gentle and comforting as the text implies along with the florid notes. However, even Jussi, who surely had the voice to sound as such if he liked to, doesn't really convey the triumphant and ominous meaning of the second part of the song, the passion and righteous anger (though maybe the old recordings don't capture his register properly). Making that transition/distinction just doesn't seem to come that easy for many.
Spyres nails it however. Power and clearness, his voice a proud golden timbre. What is remarkable is that I listened to Dalla Sua Pace by him as well, and in that piece he isn't only perfectly capable of singing softly even at high notes, but he also achieves that remarkable clear silvery tone which is the goal of any tenor to achieve. If I had but one complaint it's the overemphasis on consonants, especially the Ns and Ds and rolling Rs, since I think it interrupts and obstructs the tone of the voice. Still amazing, will listen to Spyres a lot more in the future!
Micheal Spyres è indubbiamente uno dei tenori più interessanti di questi tempi. È unica la sua estensione vocale associata ad una capacità di controllo della voce su ogni timbro. Non riesco a trovare alcun tenore del passato che abbia le medesime caratteristiche. Credo quindi egli abbia una dote naturale unica. Bravo.
Forse Chris Merritt e Rockwell Blake, in ogni caso è su quella scia...
Ja, sehe ich so ähnlich, obwohl meines Erachtens Blake und Merith vocal extrem interpoliert haben wohingegen Spyres in seiner natürlichen mitunter eher baritonalen färbung verbleibt aus dieser Position heraus sehr samtigvoll in die Höhen geht. Bravi 👍@@paoloriccucci1428
Wonderful singing!
If I hadn't seen it with my own eyes I never would have believed it.
New Content of Spyres, great! :)
In the same high supreme level that Francisco Araiza! Amazing singing, and i heard that he's working for his debut like Tristan!!
Che voce potente
Muti is NOT conducting! I can’t recall a performance of this piece with more ornamentation. It doesn’t sound forced or vulgar, but in a way is Mozart via Handel. Breath control and overall line of singing are superb. I give it all four hands up.
Hahahaha.
Grande!!!
Et quel magnifique talent . C est très beau
La mise en scène farfelue ne parvient pas à atténuer le talent de Michael Spyres !! 👏🏼
How lovely to hear the embellishments, and so gracefully done. Lovely performance. Hate the staging.
Another sublime performance by one of the finest tenors of the last 90 years. Michael would have been considered outstanding during any of the "Golden Ages". As for the production, it is sacrilege. If the director is not on drugs, please prescribe some. A concert performance would at least not have spoiled it. It is quite interesting that when folks say "best singer of our time but best of all time are Bjorling or Wunderlich or Alva or Simoneau that speaks hugely for itself that so many feel that he shares such an elevated position in the pantheon of the greatest singers.
To bowdlerise the simpsons: Drugs, the cause of, and solution to, all of opera’s problems.
Strong voice
Excellente prestation du grand Michael Spyres
Beautiful voice... but the set and costumes?😮
nice................. IF I KEEP MY EYES CLOSED!!!!!!
I don't think I could have sit through the performance with closed eyes.
I hate modern adaptations of Mozart's operas, no matter how wonderful the singers are.
Spyres is a rare talent for sure. Rare Bari-tenore. I think the "runs" that really are signature to this piece could be sung more openly or with a a better "vowel"....I'm not a nit-picker; I 'd be thrilled to see this performance, or rather his, live. The staging is ridiculous. But, those notes, or at least the opening notes called my attention to them as "unblended" with those that followed and I've heard many tenors without Spyres talent take these runs on more delightfully. That's all.....If he's not already "HUGE" in US....he will be.
I think that if the director had had Don Ottavio singing from an enormous bathtub filled with rubber duckies, the whole scene would have suited the arc of the libretto to far greater perfection: the great "sea" of neon yellow representing DO's fundamental timorousness, the ducks symbolizing the quacky, squawky nature of his complaints, and the bathtub his never-ending wallowing in his own misery.
And besides, you could dump the pointless extras and buy the rubber duckies from Amazon at a fraction of the cost.
One question: Why was I not hired to direct instead of this expensive fool? I'm cheap! 😂
*/\]Because you didn't specify whether Ottavio is naked, wearing men's underwear, or wearing women's underwear. For this kind of production, those details matter! I assume that your production would also feature people lying on the stage, at least one character heavily pregnant, at least one character smoking, strange use of colors, and if not Don Ottavio, another male lead wearing women's underwear and/or bondage gear. Yes? Hired!
@@afbastet I've chewed over your suggestions and have decided to incorporate them - after some appropriate mutilation - into my vision.
Singing from their bathtub, signorx Ottavix will feature full-frontal male furnishings on one side, female on the other, also full-frontal, there being no backside. We shall dress them in transparent lingerie/underwear in a whimsical fashion - I've always been drawn, personally, to bras worn on the head.
Ottavix will be rotated - first clockwise, then counterclockwise - by three chorus members dressed in multisex harlequinx regalia, ALL of them smoking cigars. When Ottavix finishes his song, they cough repeatedly as they sink to the floor and hack their last.
Ottavix exits the bath, drops a rubber ducky on each one, and quacks as he climbs off the stage, walks down the center aisle, and exits the theater through the center door, which features the large sign "NO EXIT."
Of course, my vision is both pro and contra Satre's position on rubber duckies, but you will have already intuited that.
LOL, exactly!
Amazing , with Pavol Breslik, the 2 best Don Ottavio.Bravissimo👑❤️🔥🌞👍
Why are there plastic arms?
Nobody knows.
An eternal mystery…
Everyone is talking about the dangling arms, but why is there a giant ear glued to a block? (
So, Don Ottavio need not be a capon. Thank you, Michael!
Lo ascolto senza vedere le immagini...avete capito il perchè !
Ma perché ha la corona? Le braccia appese davanti cosa vogliono dire, che è un manichino buono a nulla? Tutto chiacchiere e distintivo? Al di là di questa simbologia inquietante, la messa in scena mi sembra quella che facemmo ad una festa del vino come "presunti" artisti di strada. Mamma mia che livello.... Spyres, quando è in forma, come stavolta, è forte.
Queste regie sono vergognose
This is quite possibly the best performance of this aria I’ve ever heard… and they had to ruin it with extra arms 🙈🙈🙈
What an asinine production! But Spyres is so good that I almost overlooked it.
Really fine singing, but what on earth has this production to do with Da Ponte's libretto or Mozart's music? (Any descendents of the librettists should sue the ass off of these deconstructionist stage directors! 😊)
Il faut enfermer ce metteur en scène et ces acolytes Mozart et M.Spyre que j’adore n’ont pas besoin de ces incongruités
J'en ai assez de toutes ces mises en scène totalement tordues| De la si belle musique et un si grand artiste obligé de se plier à cet accoutrement RIDICULE! 😖
Singing is great, but that production was weird AF.
Wonderfully sung. But the dressing, the false arms.. OMG ! what the hell !
Is this what they mean by "grow a pair?"
What's with the creepy extra set of arms... Serious. I need an answer.
Mystery of the ages. Nobody can say 😅
Imbatible.
Why does he have fake arms?
This is a classic modern opera production: idiotic, puerile staging and costuming elements designed to undermine the music at every turn. The only answer is to shut your eyes - and your ears to the silly ornamentation which destroys the line of the music.
I cannot agree more. This is another case for singers to demand to know what sort of rubbish they are going to be subjected to before signing a contract.
I agree that the production is wacky-but not necessarily more than is needed to offset the "egregious" political incorrectness of Mozart's opera😉. Thank goodness there was *_Mozart_* before there was [ahem] ... "me" ... "two."
Un chanteur merveilleux. Mais le ridicule du costume n'est pas un signe d'ouverture à l'originalite
Absolument !
Such a creepy outfit. Voice is exceptional though.
Min. 3:29 I wish he sang the whole piece with this beautiful, powerful, dark chest voice…
The piece does not call for that kind of singing
@@downfromkentuckeh I disagree.
@@daviddelamora4456 I get the sentiment, but the other commenter is right. This particular role (not Mozart overall) calls for a lighter vocalisation.
Bullsheet woman arms hanging to Jack the singing king? Fokking ridiculous
Eeeew
Nice dress 😂😂😂
We all know about about the "little black dress" affair that happened to Deborah Voigt. Do opera stars today really have this little power to revolt against such silly productions and costumes? I remember Ileana Cotrubas, who, after a performance of "La Traviata" 1987 in Zurich, addressed the audience and apologized for the horrible production!
Yes, ok, but it's Mozart, not Rossini...
@Lady Izolda it doesn't change the fact that he rewrote the aria
@Lady Izolda it's still mozart, no ornaments if not written
@Lady Izolda OMFG how boring you are
@Lady Izolda no, the problem is that you use too many words, you are boring. And more important: you are not italian, you understand NOTHING of opera. Shut up and don't dare to talk. This is Mozart, no ornaments allowed if not written
@@munkustrap79 That's not true. Singers have always added ornaments in Mozart. There are indications in the Scores - the Bärenreiter Urtexts - that say where to add something if one chooses.
Poor, brilliant Michael Spyres, to have to wear that ridiculous and hideous costume.
I think I would have walked out of this absurd production. Everything possible to distract from the music. No matter how well sung, the production turns the whole into an embarrassment.
If at least it were well sung...
I'm convinced that modern means cheap!!! Even when the MET does a modern version of a classic opera, it clearly involves less detail on the costumes and the sets.
@@DiomedesDioscuro in which case it was
@@downfromkentuckehOh, come on...
Another silly production ...
payer plein tarif pour voir une mise en scene aussi ridicule et bête c'est de l'escroquerie
absolutely stupid staging why do they do this
Marvelous Michael Spyres!!!(but don't like his "custome" at all!!!)
VILE production, total and utter rubbish. The arrogance of directors is beyond all disgust, their egos should be flattened permanently.
Best of our time, but Luigi Alva and Leopold Simoneau all time
@Lady Izolda Anton Dermota is good but Alva and Simoneau better (phrasing, breath, elegance). Werner Krenn I don't like, diction is bad
@Lady Izolda I disagree. Alva is one of the best Mozart Tenors. He is from Peru and learned in Italy.
Richard Lewis and Stuart Burrows are my favorites. Funny coincidence that they are both Welsh.
@@maulwurfchenfischerartists I'm still waiting for Del Monaco's Ottavio
Alfredo Kraus y Fritz Wunderlich. ❤
Good singing but dreadful production. This is not Mozart, but something painful to watch.
Why are there two arms hanging? This is absolutely gross to watch. Lovely voice but what a disaster decision. . .
I love spyres but in this aria mc cormack is king followed by luigi alva and dermot troy
Spyres's rendition is fantastic, but his outfit is really shameful.
😂
Qué cosa más ridícula.
*Edito. Me refería a la vestimenta cuando lo escribí antes de oírlo porque pensé que Spyres estaría impecable, como casi siempre. Pues no. Las florituras, ridículas también.
Las florituras serán cosa del director. Es muy típico, en las interpretaciones de conciertos, por ejemplo, añadir apoyaturas, trinos, etc. que no están la primera vez que se presentan dichas secciones y motivos melódicos. Se supone que en la época se hacía así en base a lo que se dice en determinados tratados musicales, y que en las partituras anteriores al siglo XIX eso no se indicaba porque se consideraba una obviedad. Pero no es algo seguro. Nunca se podrá saber con tanta certeza como en el repertorio de siglos posteriores lo que querían los compositores.
@@triciaerimo, pero existe una cosa llamada “tradición" en la ópera que no sólo admite, sino que alienta toda clase de agilidades en una cavatina de Rossini (de hecho la costumbre data de la época del propio autor), por ejemplo, pero que desaconseja vivamente tratar de “mejorar" a Mozart.
@@robert111k Si la "tradición" es no "mejorar" a Mozart, ¿por qué es tradición que algunos bajos terminen "in diesen heil'gen hallen" en una nota grave que no está escrita? ¿Por qué era tradición a inicios del siglo XX terminar "Der Hölle Rache" en un sobreagudo? Algunas tradiciones vienen y van.
@@triciaerimo, pues fíjese que, ahora que lo he vuelto a oír, resulta que Spyres empieza con lo que a mí me parecen "cosas raras" justo cuando acaba de evitar hacer toda la frase anterior (ya sabe, _...Nunzio voglio tornar)_ en una solo _fiato._ Curioso.
En cuanto a los ejemplos que cita, una cosa es meter un grave en el final de un aria de bajo o un sobreagudo en una de soprano para demostrar facultades (a veces, incluso, fuera del papel pero dentro del, llamémosle, sentido del espectáculo que no deja de ser la ópera: me viene a la cabeza la super nota no escrita de Caballé en el finale del Don Carlos) y otra cosa es cambiar media aria a base de gorgoritos que no añaden nada a la música y, además, hacerlo justo después de haber demostrado que tus facultades actuales no te dan para cantar el aria _come scritto._
Pero si a Vd. le parece bien, cosa suya. Pues no faltaba más. Al final ya sabe, _ca'uno es ca'uno con sus ca'unás._
Non rispetta la spartita ( partitura) ... orribile. Soltanto per l'americani....serve....
Don Ottavio will never be able to win ! No matter the beauty of his two arias or two extra arms -- w / hands !
This production proves that the days when singers had power ... are definitely over ! Why would this distinguished singer let the production manager make him look so ridiculous AND the crown ?!
At least, Spyres has added some dramatic weight to this very useless character ; although, it doesn't sound like Mozart.
I should have tried smoking something to, at least, try to understand this destruction of this opera. If this section is any representation of the rest of the opera & the singers ... someone in the cast must have two heads ?!
Horrible production
Si sta superando ogni limite di ridicolo, inoltre questo cantante, farebbe molto meglio a smettere, perché canta davvero male, e mette note che non ci sono affatto!
Non sono d'accordo ricordati Blake
D' a cordo per la messa in scena, ma il cantante...Per me è il migliore de questa generazione...