Nobody even comes close to this guy. I've just seen and heard his Florestan and am obsessed with the Baritenor CD. He gets better and better. But Mitridate is one of his very special roles.
Yes. He is quite good, isn't he? The Baritenor repertoire is interesting to hear in his voice. I have noticed a change in his upper register. Perhaps Baritone rep. is not serving his high notes? Love his work as an artist as a vocal technician!!
Estimada Nicole, en ningún momento ha visto que el tenor Michael haga falsete, es un tenor rarísimo, hace notas de barítono, y luego sube a agudos y sobre agudos de manera muy natural sin forzar la laringe. Es único!!!
I truly wonder at how he is able to recover from the last "di vergona" he literally exhausts all of the air and without taking a moment inhales all the air necessary to sat "mi ....."and finish the last words. I've seen people try this before and even with the best microphones the sound picks up the fatigue in the singers voice when they inhale air here, they must have cut the mic off for literally a third of a second or something, or otherwise superb performance by this man🙉
Both great, Ford is still the champ (imho) but certainly not by a knockout. Both are great singers and every listener will fill out their score card differently. With 2 great singers in the ring you'll never get a unanimous decision. I'd give the belt to Ford, another would give it to Spyres.
I’d give it to Bruce Ford too. His performance was even more astonishing to me than that by Spyres. I never had the pleasure of hearing him perform live though… Having seen and heard Michael live in the Elbphilharmonie a few weeks ago was thrilling beyond words. I love him to bits. His Postillon du Lonjumaux is simply to die for: fun, great acting and a voice like Gedda, but better pronunciation of French…
I hated all the changes as well, it came across as arrogant, and at first the alterations were small and forgivable. He's the kind of tenor who loves to show off the ease of high range. When I perfect my high C, I'm coming for this Aria, and I'll stick to the score. 👍👍👍
It's impressive that he can do it, but it doesn't have the same impact as say Bruce Ford's rendition, and I don't think Ford was necessarily a better singer.
@@aaronbarber6238 I can understand that way of thinking, but then again, historically in opera seria, it was the norm for singers to insert spectacular flourishes and variations into the final part of a da capo aria. My view is this material IS showy, always WAS showy, and if you've got the notes (like Spyres does) why not flaunt 'em!
@@brendant19 VERY different voices. Ford had an unusually baritonal lower register and that mixed with his squillo top made the leaps in the vocal line really exciting. Spyres has a much higher voice placement : meaning the voice has no struggle with the top but that it can all b come a little generic.
