Quel plaisir d'écouter une voix si merveilleuse et puissante accompagnée de magnifiques musiciens !! 😍🙏❤️🎶🎤🎻...🎻🎺🪈...🪈🎻🎶❤👌😌🤗 Félicitations et merci infiniment à tous et Warner Classics. 😍🌹❤️😍🌹❤️🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹🙋♀️🇨🇵🫂🫂🫶🫶
Lohengrin Michael Spyres ci sospinge con lui sulla navicella con il cigno talmente sono profondi e viscerali il suo rimpianto e il suo addio. Per pochi minuti diventiamo immortali! Grazie Michael 🔥🔥🔥
Beautiful singing, but I'm sorry: Wagner played by a string section using no vibrato? These people need to re-read their historical treatises. Nobody's asking for this.
Beautiful even if it seems a bit score-bound and green in experience. Still, I look forward to this release. And it is good to hear this HIP band not sounding like shredded wheat, particularly in Wagner.
It might be me, but the orchestra could be more pronounced. It's fine in the louder parts but I could barely hear it at the beginning - which is what makes this aria so rich and lovely.
I was skeptical when I saw what kind of voice would be interpreting this. I always associate Mr. Spyres with the lighter side of opera. Then I clicked and was very nicely surprised.
@@ralphoperaphile The Ralph Moore? In any case, what you wrote is not necessarily so. But if you are firm and set in that belief, then you should publish something in relation to certain untouchables from days bygone who sang “everything” and who are generally held beyond reproach. Not only that but who are admired and respected for having dared to sing “everything”. By the way, those untouchables left behind scant documents of what truly went on night after night in real time so it is very easy and comfortable to imagine and believe in the illusion of a Golden Age unaffected and unimpacted by the 24 hour news cycle of the Internet, RUclips and social media.
@@ralphoperaphile Moreover, that no one alive today heard in the flesh. And yet moreover, singers who routinely sang in smaller venues, with below-standard orchestral playing and conducting and in lower tuning. Never mind the cuts and transpositions that were commonplace at the time. And so forth.
Well, I have written half a million words in my surveys of over 100 operas for MusicWeb and regularly review for that website, so I hope I'm covered there. You could take a look there for more detailed back-up of my views.
Yeah, yeah, lots of comments from people who know little about singing. This is mixed falsetto crooning of the Florian Vogt type; the top notes are choked and throaty, the voice small and constricted. I cannot understand this adulation of a very ordinary singer with poor technique - but there's not much about these days to set a proper standard and unless you listen to recordings of real tenors and have heard some greats you might be persuaded this is how it should sound. Try Jess Thomas or Sandor Konya, instead.
Former professional opera singer here. While I might agree with you generally that the singing is not to my taste, the idea that something “should” sound a particular way - especially anchored to a particular past ideal - is a dangerous path. Tastes change. Orchestras change. Tuning changes (when Wagner wrote this, many orchestras tuned to A432, whereas today many are as high as A446), even vocal technique changes over time. I love Jess Thomas. However, I’d never say all Lohengrins SHOULD sound like him. We need to leave room for differences and variety, and simply state our preference. And Spyres’ voice most definitely is not small despite the more croony pianissimo sections. NY Times actually described his voice as too big and voluminous for the space in which they heard him.
@@danielakerman8241 Tastes do change but I think there are still good, even unchanging, fundamentals in the right sound proceeding from proper technique and we can hear that from careful listening to former - and even current - great singers. I confess to not having heard Spyres live - but I have heard his regular partner Joyce DiDonato and there is a voice which is wrong in so many ways, yet she sets herself up giving master classes. Vogt's voice "carries", too - but so does a baby's cry, so obviously sheer volume s not the only qualitative criterion. I am interested that although you are kind of defending him, I get the impression that you don't actually like Spyres' voice either and I wonder why; my suspicion is that you know instinctively and empirically that it isn't right - nor is that "baritenor" nonsense "legitimate" either.
Really?? I would agree that overall opera singing technique is nowhere near what it used to be, but he at least has a consistent clarity and very free sounding high notes. I don't hear a lot of 'troubled biology' like you do with so many other singers these days. Vogt is actually pretty unique in some ways, but at any rate i don't see the likeness at all. Is this really constricted?
@@danielakerman8241 Right.. i think i can imagine that.. and i've never heard him sing something really intimate and delicate (someone compared him to Nicolai Gedda, and i would say i want to hear him sing some of the really more expressive things that Gedda did before agreeing or not), but i have to give him credit for at least sounding much more consistent and vocally healthy than most today
@@ralphoperaphile My guess is that what perhaps we 'don't like' is a lack of any particular expressivity. Strangely though to me he sounds like a very good and accomplished vocalist, i can't say i hear a ton of musicality, but i've only just recently started listening to him, so...
extraña sensacion --podria ser, prometia ser superbien -peroescuchando -escuchando resulta un putchwork compuesto de varios modos de emision, sufriendo con frecuensia los sonidos finales resueltos a medias.pare che el cantante utiliza un eschema ---un episodio en forte -otro en mezzo forte o mezzo piano que tiene valor en si -sobretodo el mezzo piano, pero LIEBE VOLLE SE PIERDE:..completamente!
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
The epitome of refined singing and pure elegance. Mesmerizing cantilena and nobility. True knight indeed.
C est toujours un plaisir de vous écouter. Quelle voix merveilleuse ! Un immense merci. ❤
Bravissimo, un spettacolo!
Absolutely fantastique! Wagner is an extremely difficult composer for a singer not only to sing but to interpret. BRAVO❤❤❤❤❤
Interpret??? Not seen - concentration on singing here! Should vibrate more with feeling!
Una delicia escucharle, magnífica voz, magnífica interpretación. La orquesta también maravillosa. Me ha alegrado el día.❤
Quel plaisir d'écouter une voix si merveilleuse et puissante accompagnée de magnifiques musiciens !! 😍🙏❤️🎶🎤🎻...🎻🎺🪈...🪈🎻🎶❤👌😌🤗 Félicitations et merci infiniment à tous et Warner Classics. 😍🌹❤️😍🌹❤️🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹💐🌹🙋♀️🇨🇵🫂🫂🫶🫶
c' est vrai il est vraiment bluffant mais bravo à vous de souligner l' excellence des musiciens, on l' oublie parfois !
Lohengrin Michael Spyres ci sospinge con lui sulla navicella con il cigno talmente sono profondi e viscerali il suo rimpianto e il suo addio. Per pochi minuti diventiamo immortali! Grazie Michael 🔥🔥🔥
Grazie 🤩
Bravo Bravo 👏🏻 👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
So good interpretation!
Absolutely stunning!
Bravissimo!!!
Qué voz tan exuberante. En verdad, esta interpretación es un ejemplo del esplendor wagneriano.
What can one say? Simply glorious!
So beautiful 💓
Splendid!
Beautiful singing, but I'm sorry: Wagner played by a string section using no vibrato? These people need to re-read their historical treatises. Nobody's asking for this.
Beautiful even if it seems a bit score-bound and green in experience. Still, I look forward to this release. And it is good to hear this HIP band not sounding like shredded wheat, particularly in Wagner.
OMG!
j'aime
It might be me, but the orchestra could be more pronounced. It's fine in the louder parts but I could barely hear it at the beginning - which is what makes this aria so rich and lovely.
❤
💘🎼💘
He is the best in any style, french italian and german
Sehr schön gesungen, aber hoffentlich nur eine Probe. Tempo verschleppt.
Hmm… ich finde der steckt noch mitten drin aber steht noch nicht drüber.
Sehe ihn (noch) nicht im Heldenfach.
I was skeptical when I saw what kind of voice would be interpreting this. I always associate Mr. Spyres with the lighter side of opera. Then I clicked and was very nicely surprised.
he can sing everything
And you/we know what is said of those who sing “everything”.
yes; badly
@@ralphoperaphile The Ralph Moore? In any case, what you wrote is not necessarily so. But if you are firm and set in that belief, then you should publish something in relation to certain untouchables from days bygone who sang “everything” and who are generally held beyond reproach. Not only that but who are admired and respected for having dared to sing “everything”. By the way, those untouchables left behind scant documents of what truly went on night after night in real time so it is very easy and comfortable to imagine and believe in the illusion of a Golden Age unaffected and unimpacted by the 24 hour news cycle of the Internet, RUclips and social media.
@@ralphoperaphile Moreover, that no one alive today heard in the flesh. And yet moreover, singers who routinely sang in smaller venues, with below-standard orchestral playing and conducting and in lower tuning. Never mind the cuts and transpositions that were commonplace at the time. And so forth.
Well, I have written half a million words in my surveys of over 100 operas for MusicWeb and regularly review for that website, so I hope I'm covered there. You could take a look there for more detailed back-up of my views.
Yeah, yeah, lots of comments from people who know little about singing. This is mixed falsetto crooning of the Florian Vogt type; the top notes are choked and throaty, the voice small and constricted. I cannot understand this adulation of a very ordinary singer with poor technique - but there's not much about these days to set a proper standard and unless you listen to recordings of real tenors and have heard some greats you might be persuaded this is how it should sound. Try Jess Thomas or Sandor Konya, instead.
Former professional opera singer here. While I might agree with you generally that the singing is not to my taste, the idea that something “should” sound a particular way - especially anchored to a particular past ideal - is a dangerous path. Tastes change. Orchestras change. Tuning changes (when Wagner wrote this, many orchestras tuned to A432, whereas today many are as high as A446), even vocal technique changes over time. I love Jess Thomas. However, I’d never say all Lohengrins SHOULD sound like him. We need to leave room for differences and variety, and simply state our preference. And Spyres’ voice most definitely is not small despite the more croony pianissimo sections. NY Times actually described his voice as too big and voluminous for the space in which they heard him.
@@danielakerman8241 Tastes do change but I think there are still good, even unchanging, fundamentals in the right sound proceeding from proper technique and we can hear that from careful listening to former - and even current - great singers. I confess to not having heard Spyres live - but I have heard his regular partner Joyce DiDonato and there is a voice which is wrong in so many ways, yet she sets herself up giving master classes. Vogt's voice "carries", too - but so does a baby's cry, so obviously sheer volume s not the only qualitative criterion. I am interested that although you are kind of defending him, I get the impression that you don't actually like Spyres' voice either and I wonder why; my suspicion is that you know instinctively and empirically that it isn't right - nor is that "baritenor" nonsense "legitimate" either.
Really?? I would agree that overall opera singing technique is nowhere near what it used to be, but he at least has a consistent clarity and very free sounding high notes. I don't hear a lot of 'troubled biology' like you do with so many other singers these days. Vogt is actually pretty unique in some ways, but at any rate i don't see the likeness at all. Is this really constricted?
@@danielakerman8241 Right.. i think i can imagine that.. and i've never heard him sing something really intimate and delicate (someone compared him to Nicolai Gedda, and i would say i want to hear him sing some of the really more expressive things that Gedda did before agreeing or not), but i have to give him credit for at least sounding much more consistent and vocally healthy than most today
@@ralphoperaphile My guess is that what perhaps we 'don't like' is a lack of any particular expressivity. Strangely though to me he sounds like a very good and accomplished vocalist, i can't say i hear a ton of musicality, but i've only just recently started listening to him, so...
La gola la gola ! Povero Lohengrin ha un nodo alla gola😢
Correct
extraña sensacion --podria ser, prometia ser superbien -peroescuchando -escuchando resulta un putchwork compuesto de varios modos de emision, sufriendo con frecuensia los sonidos finales resueltos a medias.pare che el cantante utiliza un eschema ---un episodio en forte -otro en mezzo forte o mezzo piano que tiene valor en si -sobretodo el mezzo piano, pero LIEBE VOLLE SE PIERDE:..completamente!
this is really slow.
furchtbar