"Baritenor" is a voice category popular in 18th and early 19th century opera mostly lost in the present day as vocalists generally fit into specified roles, but Michael Spyres is on a mission to reclaim its place. Spyres, known for his tenor portrayals in French opera and bel canto roles, began his career as a baritone before training his voice to handle the upper register. With a program spanning from Mozart to Erich Wolfgang Korngold, he makes a compelling case. The agility he displays in his upper register and the dark, ...
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"Baritenor" is a voice category popular in 18th and early 19th century opera mostly lost in the present day as vocalists generally fit into specified roles, but Michael Spyres is on a mission to reclaim its place. Spyres, known for his tenor portrayals in French opera and bel canto roles, began his career as a baritone before training his voice to handle the upper register. With a program spanning from Mozart to Erich Wolfgang Korngold, he makes a compelling case. The agility he displays in his upper register and the dark, lush sound of his deep baritone are both equally attractive. For an example of Spyres' rich baritone, try "Tutto è deserto - Il balen del suo sorriso" from Verdi's Il trovatore, or "Si può? Signore! Signor!" from Leoncavallo's Pagliacci. Spyres' tenor soars in Donizetti's "Pour mon âme" from La fille du regiment as he takes the optional ninth high C final note. As is the custom in concert performances, he takes both the soprano and tenor parts in the program finale, "Glück, das mire...
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