BariTenor - Michael Spyres live in concert
ฝัง
- เผยแพร่เมื่อ 9 ต.ค. 2021
- BariTenor is a tour de force with 18 arias by 15 composers, spanning 3 centuries of opera in Italian, French and German. Weaving well known repertoire alongside world premiere rarities, this history-making album defies vocal categories as it dances across Tenor and Baritone repertoire to reveal the narrative of the Baritenor.
This special live concert was recorded for the occasion of the release of BariTenor and features four selections from the album along with exclusive interviews and insights behind the concept of the album.
Discover the album here: w.lnk.to/bteLY
Credits:
Michael Spyres
Melinda Jones, piano
Directed by: Austin Barton
acelegendary.com
www.michaelspyres.com
www.forumopera.com
www.ozarkslyricopera.com
sprout.cc
Filmed at the Ozarks Lyric Opera in August 2021.
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Well, I am not an opera aficionado, but I do know that Michael Spyres is a wonderful human with a deep soul and huge heart. I am so happy for his success. I never listened to opera music until he married into my family. Now I am willing to fly halfway around the world to hear him.
I'm thinking about leaving my career to sing and music
Lo que describe de él como ser humano lo proyecta en su voz. Su grandeza, sensibilidad e inteligencia. Un grande.
Lucky you.
Dear Michael, I became your fan instantly! Thank you for your strenght and bravery and stamina! Your voice is beautiful and you're a good actor as well. Hope to see you in a production live too!
The best singer of our century! I could listen to Michael all day. The voice is soooooooo beautiful!
Un baritenor de 4 octavas INCREIBLE!!!!
3 oktávos!
Wish I had known about the history of "bari-tenor", a long time ago! My voice was always really of this fach, but didn't know it even existed! So first I sang as a bright baritone, but after college switched to "heavier" tenor. But neither was really right. Now I'm 66 years old, so too late! Glad that Michael Spyres is re-claiming (re-discovering) this lost art!! (Makes me think of a male Maria Callas!) CONGRATULATIONS!!
you are talking about repertuar for different voice types. But of course when voice types by themselves are considered then there obviously can be baritenors just like there are bassbaritones
Art dank por qué perdiste tu voz?, Usaste mala técnica?.
@Pato WSV Actually, I never lost my voice, as I am still regularly singing. And my technique was always fine, as I was trained with the old Bel Canto schooling. I just primarily fell put of practice after I got married, and never really picked it up again. However, I still sing (and conduct) the Church choir, where I normally sing tenor, but sometimes switch to bass as needed. So I still have the full range to sing both in that setting. Just not opera any more.
@@dreamthedream8929 Good point.
@@artdanks4846 entiendo estimado gracias por su aclaración, y claro por la poca constancia y ensayos las cuerdas vocales pierden training....claro y la edad no pasa en vano. Soy Chileno y he aprendido a cantar casi de forma autodidacta. Y a mis 40 años siento que tengo las cuerdas en mi esplendor...
That Kleinzach aria alone is one of the best renditions ever recorded. That's without factoring in the other things he recorded on this disc. Truly formidable artist.
This guy is a HERO of voice
Incredible!!. Bravisssimo, what a great artist.
Proprement génial et exceptionnel.
Vous avez accédé au rang de grand Maître du chant.
Michael Spyres: the ruling king 👑
Thanks... Phenomenal artist! I finally find some meaning to my my madness. I'm 58 and always thought It was some type of freak... Thank you so much Michael. It gave a lot of joy watching you. It means freedom for me! KEEP UP inspiring us. God bless you
@Sergio Sisto. Very interesting comment. What made you think you were "some type of freak"? Because of liking opera? Or maybe you were a baritenor also? Either way, you are definitely not a freak, as you appreciate great music and talent! God bless!
This is awesome, Michael! We were so lucky to live across the street from your parents for several years and get to know you! Keep up the beautiful work!
I am crazy about his voice! Like Maria Callas that she sung in mezzo and sounds like a mezzo! Everyone knows that she was actually a dramatic coloratura soprano! Bravissimo Mr Spyres! Amazing work 👏🏻👏🏻👏🏻👏🏻❤️💯👌🏻
Soooo TRUE!!
@@artdanks4846 same , he is like a male version of Callas
@@MrLuis85698 Absolutely!
@@artdanks4846 hi , havent chatted in ages .. You always a voice of wisdom
@MrLuis85698 Thank you sir. You're very kind! 👍😁
In addition to the unbelievable technical competence that we all appreciate, I also would like to mention this huge squillo and acting skills of his. If only we knew his passaggio whereabouts. That would be nice for the ones like me who couldn't fit in between the fach system.
its actually easy to hear, its G4/G#4 he is a pretty a standard tenor vocally, he just a very strong connection in the lower notes and that is all to do with his incredible technique but he is a tenor.
TO add, he is pretty much singing in lower part of his this whole aria, he is not even touching or going into the upper parts of the voice which is only hear in the very highest tenor music. He does switch to falsetto a couple times to bring a new quality but his notes up to Eb5 are all full and connected, he just has alot of options vocally, similar to Dimash but he is still a tenor nonetheless.
@@TheBaritonoAssoluto At 3:10 he sings "che bel piacere" G4 to A4 spesifically. I guess it is not as easy for me to hear.
In all healthy human voices (all genders) the passaggio, the register break, is located between E4 and F4 - when ascending, that's where the arytenoid muscle/AT muscle (chest voice) can't be pushed any higher on it's own, forcing the vocal folds of the untrained voice to abruptly switch over to the crichothyroid muscle/CT muscle (falsetto).
Bridging the register break is a matter of coordinating the two muscle groups seamlessly, by, introducing the CT muscle about a fifth before the break, and gradually let it work more towards the closer to the break you get. Above the brake the AT muscle leaves more and more of the work to the CT muscle. So the goal is to have both AT and CT muscles working together in varying degrees, more or less throughout the whole vocal range so that the accomplished singer can control the coordination, both for singing different notes, but also for singing louder and softer. E.g. a fortissimo D4 for, let's say, tenor, uses mostly TA (chest) but always supported by some CT (falsetto); and when the tenor does a diminuendo to pianissimo, they effectively gradually shift to mostly CT, supported by some TA.
So the notion of different fachs having different passaggi, isn't necessarily incorrect, but it's only a small part of what's really happening. The true difference between different fachs here is how early they need to introduce the CT muscle when ascending and where the switch to CT dominated coordination needs to be.
In addition, the shifting point is dynamic and moves slightly, depending on what dynamic you are singing and what vowel is being sung, as different vowels have inherent register couplings:
[Italian vowels] 'U' is most strongly connected to the falsetto (CT), and so is 'O', albeit slightly less so than 'U'. 'I' also has a lot of falsetto connection but is moving closer to the chest voice (TA). 'E' is kind of in the middle, and 'A' is strongly connected to the chest voice. So, when training your voice you can use 'U' and 'O' to bring more CT muscle into the coordination when getting closer to the break, and 'E' is great to bring in a bit more TA for att stronger sound above the break.
Gospod Miichael imate čudovit glas,pa tudi zelo jasno izgovorjavo italjanskega,francoskega in nemškega jezika.ČESTITAM!!!!Pa tudi gospa Melinda prav uživa ob igranju klavirja.DOBRODOŠLA V SLOVENIJI!!!👏👏👏👏👍👍👍🔥🔥🔥❤
Невероятно! Абсолютная техника! И исключительная интерпретация! Привет из России!)🤘
Una voce incredibile.!!!!Un vero dono del cielo
Es muy interesante. Una voz muy singular y un color en el panorama que da riqueza y variedad. Un método curioso de cantar como en posición de falsete pero con apoyo y garganta abierta. Algo mixto pero muy interesante. Cómo controla los pasos y ese estar en cuerda floja… absoluto.
Very beautiful voice ! Marvellous !
😊❤🎶🎹🎶🎤🎶❤👌🤗 WON-DER-FUL !! 🌟🌟🌟🌟🌟 Congratulations and thank you so much to all and Warner Classics. 💕💕💕🌹💐💐💐💐🌹😊🌹❤🙋♀️
absolutely beautiful and amazing! you are so talented in every way! your facial and body movements are just astounding!
Thank you for this beauty !!! BRAVO!!!
Amazing singer, excellent actor and extraordinary artist. A virtuoso! He can sing a vast range of repertoire. Please Michael, make a XVII and XVIII virtuoso album with period instruments. Perhaps also a bel canto album or early romantic album. Bravissimo Michael!
I think of him as the male version of Maria Callas.
5:30 16:15 this voice type is the king, larger than real tenor and higher than a baritone
Connected with this so much…. This is great!!
Belíssima interpretação!
Enrico Caruso of the 21st century. Michael is legendary
Maravilhoso e Inovador!!!
Bravíssimo. ❤❤❤
Alex Ross gave him an enthusiastic review in "The New Yorker" (Nov. 1, 2021): "Spyres has an easier upward reach, as he shows by firing off the nine high C's in 'Ah! mes amis,' from 'La fille du Regiment.' What's most impressive, though, is Spyres's unabashed vitality and urgency in any register or repertory."
Wake up, Metropolitan Opera! When are you bringing Michael Spyres back after his debut last year?
Excellent!!!
Muito bom!!!! Very goond!!!
Yes! A thousands times YES! Dude sang!!!
Welcome!! Thank you. So wonderful. Voice and piano both fascinating. Congratulations.
⭐⭐⭐⭐⭐ 🥇🌹😊
Amazing performance thanks to you.
Great! 👏🏻👏🏻👏🏻
Phänomenal!
Bravissimo!!!
Fantastic artist!
AMAZING!!!!
Fantástico!!!
Braaavoo maestro
Bravo, Bravissimo!!!
Superb!
0:25 Il Barbiere di Siviglia, Act I: "Largo al factotum"
5:25 Interview
7:00 Don Giovanni, K. 527, Act II: "Deh, vieni al la finestra"
9:20 Interview
12:14 La fille du régiment, Act I: "Ah! Mes amis, quel jour de fête!"
13:57 La fille du régiment, Act I: "Pour mon âme"
16:10 Interview
18:30 Les Contes d'Hoffmann, Act I: "Va! pour Kleinzach"
Bravíssimo!!!!
Excellent. My deepest respect.
He has almost prefectly blended chest and falseto. Real coordination.
For whatever reason falseto has been neglected for decades, especially in regard to male voices, yet it is as important as the chest voice. Pushing the chest too high is injurious, the key is to blend this two distinct voice mechanism in the passaggio. That’s the secret. Listen to Gigli, Schippa, Lauri-Volpi, Milanov, Nilsson, Dominguez, Castagna…
That was the standard before Duprez sang his high notes from "the chest", starting a craze. Modern tenors absolutely abhor the use of falsetto, even though cultivating it is what baritones and tenors used to do to reach astronomical high notes with ease. I think Spyres is in a way just reinvigorating the old method of vitalizing the falsetto and blending it to the full voice.
Especially when you have chanel's like this is opera and such, demanding that all singing no matter what voice type you are, must be absolutely super dark chest voice all the way to the top of your range. Silver singing method has done a lot of harm in demanding this as well. Verismo music has not helped this situation as well. Curious how in Bel Canto opera, tenors had no problem reaching stratospheric high Notes, and then in verismo opera, the tenor voices literally crap out at Bb⁴. I read in a treatise by Manuel Garcia, the register limits of the tenor chest voice end at Bb⁴ no wonder del monaco and Caruso amongst many others who sang verismo, capped out at Bb⁴ and even in the case of Del monaco, sometimes he would omit even Bb⁴'s in his singing. To much chest voice destroys the voice.
@@alb.3818 You are absolutely correct
MAGNIFIQUE !!!! THANKS FROM COTE D AZUR FRANCE
i'm done with pop singing, i now want to be a great opera singer! i've been always told to go sing tenor, but i love singing bass. seeing this approves what i want which most people deny.
Well, as he said at 17:10, you "just" have to learn the technique... I would add that one should also have an interesting colourful voice, a captivating stage presence and great acting skills, and there you go!
The great Canadian baritone Louis Quilico recorded tenor arias back in the 70's
Didn't know. When and where ?
Great singing 👏👏🎶
7:08 Mozart « Don Giovanni » Deh, vieni alla finestra
12:15 Donizetti « La fille du régiment » Ah! mes amis
18:32 Offenbach « Les contes d’Hoffmann »Va! Pour kleinzach
Bravo Michael
I love this man ❤
Браво!!!!
¡¡¡¡Bravo !!!!
that aria from La Fille du Regiment...wow!
This is the one.
🌟🌟🌟EXCELLENT🌟🌟🌟
Excellent
Kein Bariton,oder kein Tenor?
🌟🌟🌟BRAVISSIMOOO🌟🌟🌟
Massa!!!
Thrilling! The wonderful, unforgettable Mr. Hvorostovsky dreamed of such singing.
Excusez mais Mr Hvorostovsky avait largement ce talent 🙏🏾
@@pasdenom623 Oui, c'est probablement l'un des plus grands barytons, il voulait aussi chanter des parties de ténor, mais c'est M. Spyres qui y réussit
Dmitri Hvorostovsky not only dreamt of singing this aria but he sang it to PERFECTION and his perfarmances are simply unmatchable!!!
@@jessiecaruana9268 Yes, Mr. Hvorostovsky was one of the greatest baritones in the history of recorded music, he dreamed of singing with the voice of a tenor, but I only know this declaration, I do not know such recordings. Mr. Spyres proved that it is possible to sing mainly with a beautiful lyrical tenor and occasionally a beautiful baritone.
@@mjk5807 Dmitri Hvorostovsky chose to nurture his uniquely exquisite, vibrant, melodious baritone voice with the utmost achievement.
Having a wide voice range is different.
Uauuu👏👏👏👏👏
Ce mec est un extraterrestre vocal
👑🌟FAVOLOSOOO🌟👑
COOL
This is music. Seeing 99.9999% of singers today singing being a full volume vocal track so they don't sound imperfect is so unbearably annoying.
Desde hoy soy su fan!!! No lo conocía.
Eres genial
👍👍👍
Enjoy even not one word understood.
На мое ухо - это лирический тенорок. Но мастер вокально искусства.
Très bonne prononciation du français !
C'est italien, pas français...
@@riccardobiffoli628 L'air "Ah mes amis" à 12 minutes et qq c'est en italien peut-être ?! n'importe quoi
Now Spyres sing baritone or bass?
Interesting! I don’t like the baritone quality of his voice. Something about is lacking some ufff quality. I like his tenor voice more. The C’s on the french aria was definitely reinforced falsetto. Seems more natural in my opinion (light lyric tenor/character tenor). The Hoffmann aria in my opinion is a great aria for him. Beppe aria’s I would love it hear him sing that as well.
They were NOT ‘reinforced falsetto’!! Very audibly still modal voice. For voic mixt from him you’d have to look at other pieces but all the stuff in this video was full voice, except the high F in Largo.
@@KajiVocals Sorry I have to disagree. On the top notes in most places it was reinforces falsetto. When I was studying as a baritone, then later transition to as a tenor, my voice teacher was adamant about me carrying my chest up and the way to do it. He showed me examples of tenors who were singing in this reinforced falsetto and tenors who were not. Clearly here in this video his top notes is mostly sung in reinforced falsetto not full voice.
Caruso once sang the Colline aria in Lá Boheme when the bass became sick.
That he did.
Why is there talking in a concert video?
Probably both Domingo and Del Monica were baritenors. So cool.
Domingo: strained on top, weak on bottom? Enh...
Michael can could Alfredo and Giorgio Germont, the son and the father in La Traviata opera
Well he is a tenor. Even if he lacks the high notes. I do agree that allot of people are somewhere in between though. I'm in a similar situation although not classical trained. Can sing very low D-Eb then up to high Bb. I do have a lighter quality in my voice and my bridge is in the tenor range. I just think the whole high note chase is why people get confused. You can be a tenor without having the high C
He is using the baritenor term here more as a skillset rather than the biological difference. He is absolutely a natural tenor. It is very obviously audible even when he darkens a lot and sings dramatic baritone arias, or bass arias even. There is a baritone who did the opposite from Spyres - sang tenor comfortably. Igor Gorin. And even in his tenor singing he had a distinct baritonal edge, despite being a high lyric baritone, and close to tenor in terms of biology.
The notes at 15.30, 15:55 do qualify as high notes in my book
I've heard full on baritones sing high C's before as well as Bb⁴'s if a tenor doesn't have a high C he ain't no tenor
@@MrTb2arvd yes high and bad technique. He is competely missing chest, squilo, core up there whatever you want to call it. Its a heady mix, not full voice as should be.
@@DrRhyhmyou are completly wrong.
It's clear that he's a tenor. Had a slip there with the words.
This is obviously not a baritone. The central tenor with falsetto acuti.
Maestro Michael is a Formula1 auto, but his pianist is a production car...poor lady just can't keep up the pace/lagging behind, while missing shifts/notes...you can see the frustration in his face..2:15...the man is a Saint -any other artist would have stopped rhe concert& walked off in frustration/exasperation.
His historical explanation is not accurate. There was a kind of high baritone in the French repertoire called a baryton-Martin after the singer whose vocal center of gravity lay higher than the norm, and parts like Hamlet and Pelléas illustrate the type. There was nothing similar in the Italian repertoire. Bellini did not write a high F for his Arturo in the expectation that the singer would alternate that part with Riccardo. Mr. Spyres shows here what I have always thought: he is naturally a lyric baritone with a strong falsetto that has allowed him to manufacture some very high (and often weird) tenor notes. He might have trained as a counter-tenor. He would be a splendid Figaro (badly overacted here, though) or Dulcamara. The high Q business is vocal smoke and mirrors.
Why is so important to you to give a name and to categorise a voice or a person? He is just Michael Spyres. A singer. He can be whatever he likes as much as he can support it and "sell" it. And that's something that should apply to everyone I believe.
Have a great night.
Spyres reminds me somewhat of Michel Dens. Who was a baryton-Martin, even if not called so.
His historical explanation was true though. Rossini wrote tenor parts that were sang by both tenors and baritones. The lead tenor in Armida is a ‘baritenor’ role. Even has a written low G#. And a high C.
And Spyres is a natural big voices tenor. If you watch more of his material and interviews, he is honest about it too. He has said before that he is a spinto tenor in various interviews. You can hear it very well in the last piece in this video. Not a baritone.
He is a baritone with an unhealthy technique. However, if he ever were to make his vocal technique healthy, I'm not opposed to a natural biological man who, let's say, is a baritone but who decides to sing an aria meant for a tenor or even a basso. After all, Enrico Caruso himself, with a rock solid technique, sang not just live on stage (to help out mid-performance a sick colleague in trouble, who lost his voice) but also recorded the Coat Aria by Puccini and that's intended for a basso role. Moreover, I've heard Mario Del Monaco, a tenor, sing a baritone aria, as well as Nelson Eddy, a baritone, sing parts meant for tenors in the cartoon "Willie the Whale". Likewise, women have been guilty of doing the same and worse - Ruby Helder a low contralto and mezzo-sopranos, including some sopranos sing roles that are better suited for and should be played by men (albeit transposed as necessary), or as they are infamously known as pants roles. Heck even Lawrence Tibbett, a baritone, was guilty of committing the same - when he sang the mezzo-soprano aria "Defend her, Heav'n". While I do not condone people gender-bending roles, within the same gender arias - I'm not against it. I wasn't against Rosa Ponselle singing a mezzo/contralto aria like Dalila or mezzo/contralto like Louise Kirkby Lunn singing a soprano aria. :) So long as it fits the natural gender, and the voice technique is healthy - sing away! ^_^ Even Callas herself sang stuff not suited for her "voice type" - like mezzo-soprano and contralto arias. :)
" ... a tour de force with 18 arias by 15 composers, spanning 3 centuries of opera ..." I burst out laughing ... What shall we call a woman with a repertoire of over 50 arias by Mozart, Puccini, Rossini, Donizetti, Verdi, Vivaldi and dozens of other composers ... who sings in ten languages ... with three and a half octaves and who has written nearly 1,000 songs, a dozen musicals and is putting the finishing touches on the creation of her first opera? What is this woman who has performed - since she was a teen - across a span of over 7,000 miles ... while creating hundreds of * other * genius-level projects? How should we refer to this goddess who's been called an "arsenal" ... a "saint" ... a "priestess" ... a "StarBeing" ... while she refers to herself as a "beginner".
I'd like to hear less nasal focus and a little more air in the sound.
Yeah, nasality is his main flaw. Good singer other than that though.
Se Spyres ha messa a fuoco nasale cosa dovremmo dire di Kraus che ha insegnato tecnica di canto a molti?
@@KajiVocals Il principale difetto... e gli altri di difetti quali sono.Mi piacerebbe conoscerlo.
@@sergiobuccianti4224 Gli altri suoi difetti vocali sono: a volte tende a schiarire eccessivamente la voce (poco impegno di massa delle corde vocali) provocando un timbro leggero, arioso o aspirato. Succede principalmente nel mezzo della sua gamma vocale. A volte la sua laringe si alza troppo, il che gli fa perdere il calore e la profondità del suono. Ma alla fine è un buon tenore e MOLTO meglio dal vivo. I nastri non gli rendono giustizia. Proietta bene la sua voce. Questi sono solo alcuni di questi problemi. Facilmente anche riparabile. Sono sicuro che migliorerà in futuro. È già molto meglio di 10 anni fa.
La sua voce è meno nasale e più piena di quella di Kraus (dopo gli anni '60 e '70).
@@sergiobuccianti4224 Questi buffoni sono personaggietti che niente sanno sul canto e vogliono dare lezioni sull'internet.
i appreciate his talent and artistry, but i'd still prefer hearing robert merrill singing the baritone arias. spyres can sing the notes but does not have the actual baritone heft so why bother singing what others can do so much better. but if that's what he wants to do, more power to him. look at what frank sinatra and perry como have been able to do with the baritenor range.
when he sings the tenor's high notes it sounds more like a very well-supported occasionally pitchy falsetto. ultimately because he tries to sing both, he is neither fish nor fowl (and unsatisfying).
No es un baritenor , es un baritono que canta con voz de cabeza cada ves que hace repertorio de belcanto cómo Rossini. En total una falla , cómo la mayoría de los que se denominan tenores hoy en día........
Franco Corelli non avrebbe mai parlato così!!! Ma il suo commento non fa una piega!!! Saluti
Chriss Merritt another northamerican could sing all the roles Mr Spyres sings and perhaps better so nothing new
Bruce Ford too. And from older examples Sergio Franchi.
Ritengo Merritt all'inizio della carriera eccezionale pur con intonazione spesso traballante ma ha cantato un decimo dei ruoli di Spyres.
Questo simpatico signore non ha la voce da baritono, e anche quando fa il tenore non è il massimo, è l'ennesimo fenomeno commerciale dei tempi nostri.
Wow some people here can’t appreciate music at all..smh
Subpar Italian. I'd expect a lot better from this "caliber" singer
Oooo someone's mad they ain't getting representation like Spyres 🤪🤣
@@downfromkentuckeh moronic comment and out of place/reach. "You can't know what you don't know".
"Down, kentuckreh...tin"
My concern is that the vocal technique of the baritone Spyres is not secure or healthy. If he learned to fix and make sure his vocal technique was secured and healthy, like in the teachings of Manuel Garcia, then I'm not opposed to biological natural (non-fake) men who may be tenors singing a baritone or basso or even a countertenor aria/role, provided that the vocal technique is healthy and secure throughout the range - chest, passagio, head, falsetto voice and have a good delivery of what they are performing. 😊 Likewise, the same applies also goes for biological natural (non-fake) women who may be sopranos singing a mezzo-soprano or contralto aria/role, and vice versa for all the other ranges. After all, Enrico Caruso sang not only tenor arias but one time sang a basso aria "The Coat Song" by Puccini and Mario del Monaco also sang the baritone aria "Largo al Factotum" as well, etc. For those who may accuse me, I do not hate Michael Spyres. I love to encourage all people to learn healthy vocal technique.
But you ARE a transphobe. Yuck!
wow, what a masterful singer. Purely brilliant.
Motivates me a lot to keep practicing singing and discovering lots of different colors within it. :)