HR 96.0kHz/24Bit 
专辑名称: Baritenor
创作艺人: [Michael Spyres]
音乐流派: Classical|古典
专辑规格: 1碟18首
出品公司: Warner Classics
发行时间: 2021/9/24
官方标价: ¥120.00 （会员免费下载）
域名语言: [fr][ca] （AI检测）
曲目介绍：
Idomeneo, K. 366, Act II: "Fuor del mar" (Idomeneo)
Le nozze di Figaro, K. 492, Act III: "Hai gia vinto la causa?" (Il Conte d'Almaviva)
Don Giovanni, K. 527, Act II: "Deh, vieni al la finestra" (Don Giovanni)
Ariodant, Act III: "Oh, Dieux! Ecoutez ma prière" (Edgard)
La Vestale, Act III: "Qu’ai-je vu! Quels apprêts" (Licinius)
Il Barbiere di Siviglia, Act I: "Largo al factotum" (Figaro)
Otello, Act I: "Ah si, per voi già sento" – "Premio maggior di questo" – "Amor, dirada il nembo" (Otello, Iago, Chorus)
Le Postillon de Lonjumeau, Act I: "Mes amis, écoutez l'histoire" (Chapelou, Chorus)
La fille du régiment, Act I: "Ah! Mes amis, quel jour de fête!" – "Pour mon âme" (Tonio, Chorus)
Il trovatore, Act II: "Tutto è deserto" – "Il balen del suo sorriso" (Il Conte di Luna)
Hamlet, Act II: "C'est en croyant revoir" – "Oh, vin! Dissipe la tristesse" (Hamlet, Marcellus, Horatio, Chorus)
Les Contes d'Hoffmann, Act I: "Va! pour Kleinzach" (Hoffmann, Nathanaël, Chorus)
Lohengrin, Act III: "Aux bords lointains" (Lohengrin)
Pagliacci, Prologue: "Si può? Signore! Signori!" (Tonio)
Die lustige Witwe, Act I: "O Vaterland du machst bei Tag" – "Da geh ich zu Maxim" (Danilo)
L'heure espagnole, M. 52: "Voilà, ce que j'appelle une femme charmante" (Ramiro)
Carmina Burana, Pt. 4 “Cour d'amours”: Dies nox et omnia
Die tote Stadt, Op. 12, Act I: Lied. "Glück, das mir verblieb" (Marietta)
详细介绍:
Usually classified into five practical categories: soprano, alto, tenor, baritone and bass, the characterisation of the various vocal registers is in fact more subtle and complicated than that. The baritone voice, for example, serves, depending on the repertoire, as an intermediary between the bass and the tenor, but there is also the baritenor (baryton-martin in French) as illustrated by this very pleasant recording of the American singer Michael Spyres, a veritable vocal phenomenon.
Very comfortable singing bel canto, notably in Rossini's operas, he has a particularly wide range, enabling him to take on a wide variety of roles as a baritone, tenor and often both at the same time. Michael Spyres takes on the eighteen tracks of this recital with disconcerting ease, traversing the tessituras with an assumed and delightful casualness, leaping octaves in head-spinning fashion. Who would not be amused by his Largo al factotum from Rossini's Barber of Seville through which he joyfully capers, or by his irresistible high notes in the Postillon de Lonjumeau (Adolphe Adam).
If Michael Spyres is having fun showing off his exceptional voice, he always does so to good effect, respecting the work and its style. The opening track sets the tone with a dazzling version of Fuor del mar, one of the most virtuoso and ornate arias written by Mozart for Idomeneo. The rest is just as good: impeccable French in Méhul, Spontini, Donizetti, Ambroise Thomas, Ravel, Wagner (Lohengrin sung in French!) or Offenbach, equally perfect Italian with Mozart, Rossini and Verdi or silky German with Korngold, ending in Latin with Orff. Of course it is a collection of musical non-sequiturs, but that is in the nature of a recital. Michael Spyres keeps us on the edge of our seats from start to finish. © François Hudry/Qobuz
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