24 Feb 2012
Michael Spyres — A Fool for Love
Tenor Michael Spyres’ star is on the rise and his highly enjoyable debut recital disc offers ample proof as to why.
Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
The economics of the recording companies dictate much that is not ideal. Wagner’s operas were not composed as they were in order to permit the extraction of bleeding chunks, even on those occasions when strophic song forms do occur.
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
Tenor Michael Spyres’ star is on the rise and his highly enjoyable debut recital disc offers ample proof as to why.
As he launched into the first cut, “Ah! mes amis” (Daughter of the Regiment) I found his sweet tone reminiscent of Javier Camarena, the poised musical line similar to Lawrence Brownlee’s, and the panache comparable to Juan Diego Florez. Not a bad triple threat combination there! And a very ballsy selection to start with since bel canto poster boy JDF not only had a very recent blockbuster success with Daughter in every major house and on DVD, but we also still have over-sized memories of the legendary Pav in the part.
Spyres seems to have a bit more heft going on than his immediate contemporaries, and while he squarely nails the requisite high C’s he doesn’t quite manage the varied colors and sassy ‘tude at the top that others bring to the part. Still, while his core voice may not exactly ‘live’ up there, he zings out the money notes with accuracy and skill. As he progresses directly to “Here I stand” (The Rake’s Progress), we immediately hear a more weighted quality, slightly rounder, discernibly fuller. If richness at the very top eludes him by a hair, he makes as much musical sense of the piece as anyone I have heard, keeping the angular dips and leaps admriably connected and focussed. The penultimate held note (“Ride”) is thrilling, gleaming, substantial. Moreover, Mr. Spyres has impeccable diction, and a dash of wit as he speaks “I wish I had money” as the tag.
As the tenor then segues into “Cessa di piu resistere” (The Barber of Seville), I am beginning to get the idea that he is looking to show his full aresenal, with sharp contrasts between the selections. Here, Michael utilizes a light-voiced approach for the most part, and scales back considerably to negotiate the fiendishly tricky, awkward, melismatic writing. His take-no-prisoners approach to Rossini and Donizetti, while commendable, makes him pull back on the very top notes, keeping everything very focused so that color and variety are somewhat slighted. In the stretto section where things get rhytmically heated, some of the fireworks are fudged ever so slightly. Spyres did astonish with a few very solid descents to the depths of his range and he has an unusually responsive lower middle.
The pendulum swings back to more full-bodied singing with “Una furtive lagrima” (L’elisir d’amore), in which he once again rounds the tone, lets it turn over, and brings it more into the speaking mask. He makes this aria anything but an old chestnut, lavishing it with creamy lines in which everything is solidly hooked up. This was excpetional vocalism, incorporating a masterful melding of the registers. For the first time, the voice seemed to have significant presence and power, so it made me curious just how much size he can convey in the house. With “Il Mio Tesoro” (Don Giovanni), Mr. Spyres seems to be affecting a “Mozart” style which came off a little bloodless compared to his other, more theatrically realized set pieces. There was absoltuely nothing wrong with it but he seemed a bit removed for the first time, when lo, he rallied for a solidly realized finish. I wish he could inform the first nine tenths of that piece with his final personalized commitment.
As for “Je crois entendre encore” (The Pearl Fishers) and “Pourquoi me reveiller” (Werther), based on this recorded evidence, Michale Spyres seems born to sing these French roles. He commands a well-controlled ‘messa di voce’ and an understanding of ‘voix mixte’ that are suavely deployed and exceptionally pleasing. In both, Spyres keeps the forward motion going with intensity and introspection. In the Werther he starts off with a slightly darkened tone and sober coloring that serve him quite well. By now I am seriously beginning to think his strong suit is not the florid singing (which seems more a party piece, just cuz he can do it). Both French pieces draw forth all his best instincts and elicit his most sonorous vocal approach. It would be a real pleasures to hear him in either of these roles.
Speaking of party pieces, I am not sure I have ever encountered the Italian Tenor’s solo from Der Rosenkavalier (“Di rigori armato il seno”) on a recital disc although plenty of star tenors have taken their turn at it on stage (fond memories here of Pavarotti at the Met during the “Luciano” season). Mr. Spyres sings it with a surging sense of line and an easy squillo that could be a preview of his own star turn in this role some day. I wondered what anyone could bring to “Che gelida manina” (La Boheme) that was fresh? How about simply an absolutely fresh new voice that is possessed of a solid technique. He convinces me even more with this aria that such roles are his eventual forte. He knows what he is singing and conveys it with directness, not as easy as it sounds. Michael unearths absolute truthfulness in the uncomplicated poet’s exposition.
Inviting another comparison with Florez, “La Donna e mobile” (Rigoletto) is a piece that JDF does most usually only in recital and it does push the brilliant Peruvian’s outer limits. But no such limitation exists for Spyres who delivers all the goods with bravado. Many a lyric tenor has come to grief over Edgardo (Lucia di Lammermoor) in general and “Fra poco a me ricovero” in particular. Spyres suggests a decent amount of gravitas and summons up a burnished tone for the long recit intro, then he doles out good but rather generic vocal lines in the wide-ranging aria. I wonder if he might discover the same wonderful variety that he brought to the recit and carry it forward into the aria?
“Kuda, kuda” (Lenksy’s aria, Eugene Onegin) is similarly characterized by a gorgeous tone but seems to lack a specifitiy evident elsewhere. He may speak Russian like a native for all I know but he finds less individualized drama in the text on this piece, which is well coached but not just yet his own. (When it is vocalized this well, and is so well-intended, am I just carping?) The reliable Moscow Chamber Orchestra really shines here under Constantine Orbelian’s efficient and supportive baton. The final selection “E la solita storia” (L’Arlesiana - Cilea) also really showcases Spyres interpretive gifts. The haunting, well-calculated musical build wedded to a splendid display of well accented parlando segued easily into beautiful arching lines.
This young tenor really knows where the music and the story are going, with each tale having a beginning, middle and end. He appears to be a conscientious and intelligent interpreter, coloring and tailoring his instrument and technique to make each genre as stylistically pure as possible. While he does tend to slightly cover or brighten top notes as needed for the varying demands, his is a reliable, freely-produced, imminently enjoyable timbre.
As for the structuring of the program, in the liner notes Michael makes a case for the sequence of the arias, selected to document a man’s life journey from first love to love lost. I do appreciate the thought that went into the content and the ordering of the pieces, but this is not after all Frauenliebe und -leben which is composed specifically with such a journey in mind. Rather it is more jukebox concertizing no better or worse than the shoe-horned songs of Mamma Mia! and the like. There is such a change in demeanor, such a departure of styles from one selection to the next that it just doesn’t communicate that this is one man on one journey. Admiring the scholarship, I demur that it does not play out to its intended effect. And really, with such diverse and wondrously effective singing on display, who cares?
As if a “Bonus” were needed, an encore of Dein ist mein ganzes Herz caps the disc, complete with dreamy, oozing, honeyed lines that drip Viennese enchantment, and featuring the very best climactic top notes of the compilation, ringing, forward and free.
Michael Spyres is on the fast track to being ‘the’ versatile, in-demand, go-to tenor in several different fachs. He promises much and, as evidenced by this debut solo effort, is already delivering handsomely on that potential.