MICHAEL SPYRES La damnation de Faust - Nature immense - Hector Berlioz

[@paullewis2413]

IMO, Berlioz is the most extraordinary composer who ever lived. A RAH performance of Les Troyens I attended as a teenager (LSO/Davis) totally mesmerised me and began my infatuation for this musical genius.

[@Cor6196]

I’ve listened to this a dozen times now, the first time that’s ever happened in many years. The sheer power of this magnificent voice gives so much dramatic weight to the character - I feel as if, had I been in the audience, I would have been lifted at least a few inches off my seat.

[@ladyizolde9851]

Berlioz's music is extremely hard to perform due to it's phenomenal dynamic and color changes and it demands very complex singers both good lyrically and dramatically, with endless legato, exceptional breath and super human stamina. Plus elegance of French style and brilliant vocal technique. And don't forget about monumental Berlioz's orchestration, so needs also that ''squillo'' - the ability to sing over the orchestra and solid Berlioz's chorus. And Mr. Spyres proves, that one doesn't need to own a very big voice to reach all that goals of Berlioz style. True musical taste, beautiful voice and perfect technique need instead. As Berlioz's Faust Michael made his debut today, 08 February 2020, at Metropolitan Opera and I hope this collaboration with Met will continue in future. Take care of your voice, dear Michael, and gain new professional victories.

[@mei-chinwang8670]

) I

[@jacquelinedumont5155]

Tout réussit à Michael Spyres .Que d’ émotion et quelle voix !Merci Monsieur

[@DIDIERFARNIR]

Chanteur Immense..... merci Monsieur !

[@panospeters8195]

Perfect vocal agility to match the dramatic style of the piece!

[@expatmartin]

a very special singer and artist, Michael's Hoffmann performances in Munich were absolutely splendid.

[@230858]

Une immense voix au service d' une musique sublime ... Merci

[@jaseharold3119]

I realize I am pretty off topic but does anybody know a good website to watch new series online?

[@iyadkanaan5991]

Berlioz au pic de son art dramatique. Merveilleuse interprétation.

[@christianvandeputte7351]

Merveilleux, bravo !

[@sageoopnorth1937]

This is phenomenal singing. Faust is an extremely difficult role to sing, requiring Heldentenor heft one moment and high-lying coloratura delicacy the next. Whilst I had no doubt that Michael Spyres would be able to encompass the latter with ease, I had my doubts that he could manage the former. This particular arioso is extremely taxing, requiring sustained declamatory force and long-held notes, gradually rising in tessitura to an impassioned climax just when the voice is beginning to tire. Spyres throws everything into it, which is what the piece needs if it is to make its intended effect, and the result here is thrilling, aided by superb conducting and playing. Bravo!

[@marcpeycker]

I had my doubts too, but he's really holdind his own. Even better in London 2012, in my opinion, in spite of Terry Gilliam's histrionic staging.

[@liliacristinapohl4905]

¡¡What a lovely and beautiful voice !! 🌷🌷🌷🌷..

[@pilarpaco6569]

Such a good voice

[@cinziavidali411]

Gran bella voce adatta al pezzo

[@김모찌쓰미는]

bravo!

[@brandonburrell8517]

Superb.

[@idasteinbach1730]

❤❤❤

[@jordipanadesribera6890]

Un gran tenor poc reconegut.

[@ronchinifrancois7674]

Excellente interprétation du ténor . L'orchestre quant à lui ne sonne pas comme il faudrait pour cette œuvre musicalement sublime de Hector Berlioz. Assurément, Gardiner n'est pas dans le registre sonore exigé par le romantisme cher à Hector Berlioz. Il donne à son orchestre une interprétation dont la sonorité est trop mozartienne . La couleur s'en ressent . Trop lisse. Elle manque de relief et de consistance.

[@marcpeycker]

L'orchestre avec instruments d'époque y est pour beaucoup, je crois. Le son apparaît plus sec, aigrelet et étriqué que sur instruments modernes. On a l'habitude d'une sonorité plus ample, plus ronde, plus sensuelle. La démarche "muséologique" m' a toujours paru assez discutable pour un compositeur aussi axé sur la richesse des timbres et des couleurs orchestrales que Berlioz, qui avait souvent exprimé sa frustration vis-à-vis des limitations des instruments de son temps ...

[@francoishuglo]

Assez d'accord. En revanche, Gardiner est très bien dans un Berlioz plus intime : L'enfance du Christ.

[@grandisdavid]

Absolument ! C'est une hérésie totale de jouer Berlioz sur instruments d’époque puisqu'il se plaignait continuellement des limitations des instruments et espérait sans cesse qu'on les améliore. Gardiner a pourtant lu le traité d'instrumentation, mais il s'agit d'effet de mode...Il faut reconnaître qu'il est un grand musicien, le phrasé des cordes en conclusion, par exemple, est très fidèle au découpage très original de la ligne mélodique par Berlioz.

[@TheVaughan5]

Great voice, great performance but listen to Richard Leech/Charles Dutoit/OSM - even more expression and the best conductor today of this music.

[@shentseng]

Both tenors are good and different. Please do not compare.

[@grandisdavid]

Good too, and also Richard Verreau with Markevitch (the reference), but that shows that several people can do a great job, no need to compete.

[@xjAlbert]

Berlioz wrote thrilling moments in this opera, but these are surly the most boring pages of his score ʕ•́؈•̀ʔ

[@manuelpetit7091]

I half agree. He wrote thrilling moments in this piece and this is one of them, in tune with the lyrics.

[@grandisdavid]

Do you understand the text? The music is fitting perfectly. It shows how Berlioz was maybe as much of a composer as he was a writer. Extraordinary literary talent as well.