MICHAEL SPYRES singing Luna's aria "Il balen del suo sorriso" from Giuseppe Verdi's IL TROVATORE, s part of a concert of his "BariTenor" album, released by Warner Classics and just declared "Recital of the Year" by OPERA AWARDS.
Extraordinaria voz es un barítono a TENER MUY EN CUENTA. Su voz y su timbre son únicos. Tiene naturalidad al cantar y no tiene problemas con los graves ni los agudos yo es la primera vez que lo escucho y la verdad quede sorprendido de lo fácil que hace esta romanza. Cuando no lo Es me hace recordar a GINO BECHI EN SU JUVENTUD. MUY BUENOOOOOOOOOO
This man can sing as a baritone because he is a real baritone, and can sing as a tenor, because he sings in falsettone, without any real note either of head or chest.
@@konradottingen7187but sadly, a baritone without a real voice. Clearly he believes in himself and has convinced ill educated opera house managers to engage him. For me, there is just nothing there. Happened to hear his attempt at some Rossini aria on the radio last week. The use of falsetto was, how can I put it kindly, amateurish
I’ve always thought he was naturally a baritone who had found some very clever vocal tricks that allowed him to sing in a very high tessitura. He sounds better to me in this repertoire.
It’s bizarre because his vocal technique here is completely different than in his tenor rep. I’d argue that he is an exceptionally talented dark lyric tenor who can manipulate his technique to sound darker or brighter (with MUCH more success than a Domingo). I don’t think any real baritone can sustain the tenor roles he sings, even if the baritone has the notes. But Spyres sounds like Giorgio Zacanario here.
@@ER1CwC I agree with you. There is always those alien voices like Callas that have not only a huge range but also possess a supreme ability to be able to manipulate the color of their voice to whatever they feel makes it fit the repertoire best. Absolutely incredible. I would put Spyres in a category with Callas because they were both incredibly gifted and unique singers that were polarizing during their lifetimes. In 100 years I feel that Spyres will become a legend.
@@JacquelineLanceTenor I think the case of Callas is a lot more clearcut actually. Despite what people say (and what she sometimes said), she was always a soprano through and through, and a high tessitura soprano at that. She never sounded like a mezzo.
@@ER1CwC oh for sure. In her case I just mean within the soprano fach, though she sang Carmen beautifully. It always amazes me how she can sing something like Lucia and then turn around and absolutely kill it in Macbeth or Verismo operas.
@@ER1CwC. listened a few times and he sounds baritonal throughout the range. There is a tonal resemblance to Zancanaro, who did not much have the extended top of some baritones. I’d still prefer Giorgio. More satisfying as a Verdian baritone. Probably a larger voice, as well and more manly chutzpah..
Lo preferisco come tenore....va bene se studia per spessire la voce per affontare un repertorio da tenore spinto o drammatico ma diventare baritono non gli si addice, poi, lui è nato rossiniano.....cantare da baritono è uno sforzo inutile per le sue corde vocali.....
It's a fabulous instrument and a beautiful vibrato, but he has intonation issues throughout this aria and it would be nice if he paid at least a LITTLE attention to tempo and rhythm -- he rushes, loses the orchestra, runs through the ornamentations as if they were just throw-away notes... it's a total train-wreck rhythmically. The cadenza he sings is just bizarre and makes no musical sense. Lastly, he brings none of the lilting, serenading quality that Verdi wrote into the music. It's just typical "park and bark." This aria is musically far closer to Bellini's lyrical "Ah per sempre io ti perdei" than it is to Verdi's "Credo" or "L'onore ladri."
Too bad he spent 15 years developing his tenor range. How great would he be had he spent those 15 years developing his baritone range andskill? I understand why he had made that decision, I just wish she didn't.
this is absolutely not a theater sound ,,,,,,,, I really don't understand how anybody can be fooled by this vocal result ,,,,, also, the notion that anyone can develop a legitime sound as both a Verdian Baritone and a Rossinian tenor is quite unintelligent...... this man is here on youtube proving to us that the whole notion is quite stupid ,,,,,, lolololo. Narcissism doesn't change certain impositions of mother nature; what worries me here is the poor example that this kind of behavior gives to young singers. I really hope no young singers try to imitate this guy.
Это очень плохо и он не может и не должен это петь. Люди, Вы что глухие? Его надо закидать помидорами. А вживую в театрах его вообще очень плохо слышно.
Clearly, Mr. Spyres cannot sing from the chest, neither from tenor nor from baritone, because when he sings the acute notes all his body trembles for the unnatural effort.
Literally every singer has trembled a bit when belting notes above B4s, its normal. And I think if his technique was any less than perfect he wouldn't have a 3.5 octave full voice range... But who am I, and all his fans, and all those "professional critics" and "fellow opera stars" to say hes good! Random RU-vid Persons opinion is definitely the correct one!
You "voice experts" I very often wonder, if you are still able to simply lean back and enjoy an aria, or have you to lurk for the next wobble or hoping for any other mistake all the time?
