At first, listening causes trouble. Is it really a necessity to conceive of a recording as an almost sporting feat? So we listen to Michael Spyres in Mozart chain Idomeneo (tenor), the count of Wedding and Don Giovanni (baritones) with polite but indifferent admiration. Then comes a pretty delirious thing Make way for the factotum (Rossini, baritone) to which are linked The postilion of Lonjumeau and Daughter of the Regiment, two steep bravery arias for tenor, Spyres continuing with the Count de Luna (The Finder) and Hamlet d’Ambroise Thomas. At this point, we have become fascinated. What we hear there, from the same human being, is truly amazing and it is to our knowledge unheard of at this level in the history of singing. Certainly, a voice naturally darkens over time. But playing “t” on both registers with this quality is quite unique. For the good palate, Spyres goes from Lohengrin’s aria to Paillasse’s prologue as if nothing had happened. We think we are dreaming!
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