Die Fledermaus (Lyric Opera of Chicago, 12/2013
"In another noteworthy company debut, Michael Spyres was inspired in the role of Alfred. The American tenor sang with a vibrant echt-Viennese tone with easy high notes and proved comically adept as Rosalinde’s persistent admirer."
Lawrence A. Johnson, Chicago Classical Review
"You won't hear Alfred, Rosalinde's lovelorn former flame, sung with greater sweetness or ease, or portrayed with more succulent ham, as Spyres does here."
John von Rhein, Chicago Tribune
"American tenor Michael Spyres brought just the right level of pomposity and ringing Italianate tone to Alfred, Rosalinde’s would-be lover."
Wynne Delacoma, Chicago Sun-Times
"Michael Spyres is consistently hilarious as a German singer pretending, or wanting, to be Italian, which is made all the funnier because he really has an exceptional voice. That’s the key to this kind of operetta: it should be ridiculous and ravishing at once."
Dan Wang, Bachtrack.com
"Michael Spyres was altogether charming as Alfred, and his delivery of the role's requisite snatches of phrases from the Italian Romantic repertoire was aural pleasure in itself."
Mark Thomas Ketterson, Opera News
"Making his Lyric Opera debut is tenor Michael Spyres as Alfred, who skillfully rides the line between hammy tenor and flirt in his portrayal, yet never allows his performance to go over the top."
Dennis Polkow, New City Stage
"... the ardent American tenor Michael Spyres... "
Scott C. Morgan, Daily Herald
"Missouri tenor Michael Spyres, in an excellent Lyric debut"
Phyllis Dreazen, The Times Weekly
La damnation de Faust (London, 11/2013
"The shining light in a drab evening was Michael Spyres, who single-handedly saved it from two-star ignominy. Having played Faust at the Vlaamse Opera last season the American tenor was able to sing without a score and interpret his character with complete security while all around him floundered. It was like a camera trick in a black-and-white movie where one lone character is picked out in glorious Technicolor. He had the voice for the part, too: even the cruel high notes rang true in ‘Merci, doux crépuscule!', and the cry of "Seigneur! Seigneur!" opened out gloriously. And in ‘Nature immense', Faust's extended aria in Part Four and an enormous challenge at the end of a long evening, Spyres still sounded refulgent."
Mark Valencia, Whatsonstage.com
"But – and it is, thankfully, a very big “but” – there was a saving grace in all this (apart from Palazzi’s rather lovely little devil): Michael Spyres’ Faust (sung, unlike everybody else, without a score, and what a difference in communicative effect it makes). Where to start? With the perfectly even placement and emission? (you couldn’t slide a cigarette paper between his vibrations) With the full-bodied, virile tone? With his amazing resort just the once to voix-mixte for a high note that single-handedly persuaded me that this old French trick of half-head-voice can really work? With his dead-centre-of-the-note pair of high C#s in “Ange adorée”? With the rock-solid declamation of “Nature immense” in Act IV, both thrilling and deeply moving? (Aeneas is plainly on the cards somewhere down the line, please God in time for the ROH revival as I don’t think I can sit through another performance by Brian Hymel as long as I live). Or with the sheer effortless beauty of the sound, ductile, and yet not so much warm as clarion? Yeah, I’m going with the latter. This must be the sort of tenor sound Berlioz – and Rossini before him, from whom the Frenchman inherited it – had in his mind’s ear when writing those sudden, impossible excursions way, way above the stave: the voice of Adolphe Nourrit (and let us trust that Mr. Spyres enjoys an entirely different fate). If Covent Garden cannot persuade the sooty-lashed one to sing Arnold in the upcoming Guillaume Tell – thereby guaranteeing that one of their latter-day exhumations of French grand operas doesn’t end up deader than the average Dodo – I’d be perfectly happy to hear Michael Spyres instead, whose greater baritonal heft and generally fleshier sound might be even more close to the ideal."
Stephen Jay-Taylor, Opera Britannia
"in the title role Michael Spyres rose impressively to the challenges of his invocation, “Nature immense”. Secure right up to his top notes, the American tenor has plangent tone ideally suited to this music."
John Allison, The Daily Telegraph
"This must have been what Berlioz had in mind when he wrote the part, a flinty penetrating tenor, strong and even throughout its wide range, weighty but nimble. Singing without a score (the only one to do so) proved more than a feat of memory - Spyres has the part completely under his skin. And while his accent would never convince a native, his French was so clear and correct the surtitles became superfluous (good job, as his head was blocking my view anyway). A couple of shaky top notes revealed the effort in their attainment, but otherwise this was as perfect a performance as you could hope for. Folks, he was better in this part than Jonas Kaufmann."
Intermezzo Blog
Pesaro 2013 (Concerto di belcanto, La donna del lago
Guillaume Tell (Rossini in Wildbad, 07/2013
„One made acquaintance with Michael Spyres, a singer without reason to be scared of the frightening high notes and who nailed all the top Cs with aplomp. At the same time, with even vocal lines and colours, he also knew how to portray the inner conflict of his character.“
Gerhard R. Koch, FAZ
„… not only does he tackle the extreme top range – numerous high Cs and Csharps – absolutely smoothly, he also possesses the penetrating voice of a young hero. And on top he is a most subtle actor.“
„... faszinierenderweise bewältigt er nicht nur die abstruse Höhe – mehrere hohe Cs und Cis' – vollkommen geschmeidig, sondern verfügt auch noch über die Durchschlagskraft des jugendlichen Helden. Ein sensibler Gestalter ist er obendrein.“
Michael Stallknecht, SZ
„Michael Spyres managed this partly murderously high tenor role with verve and steady intonation.“
„Michael Spyres stemmt die teils mörderisch hohe Tenorpartie mit Verve und stabiler Intonation.“
Werner Müller-Grimmel, Stuttgarter Nachrichten
„Michael Spyres shines in the demanding role of Arnold with breathtaking high notes, without pushing or giving the impression of being strained.“
„Michael Spyres glänzt in der anspruchsvollen Partie des Arnold mit atemberaubenden Spitzentönen, ohne dabei zu pressen oder angestrengt zu wirken. Dass man diesen Tenor hier in Bad Wildbad verpflichten konnte, dürfte der Tatsache zu verdanken sein, dass Spyres' große Karriere hier mehr oder weniger seinen Anfang genommen hat.“
Thomas Molke, OMM
„Michael Spyres with a glamouros high Belcanto tenor who masters the breakneck demands of his extensive part with bravura.“
„Michael Spyres mit glanzvoll hohem Belcanto-Tenor, der auch exorbitant halsbrecherische Anforderungen seines umfangreichen Parts mit Bravour meistert.“
Eckehard Uhlig, Die Deutsche Bühne
„an exemplary performance. His clear French articulation, the steadiness of his vocal line, the flexibility of his register changes, effortless projection also of the extreme top range are among his many advantages. A staunch stage presence and an endearing personality complete the positive impression.“
„An der Spitze einer bis auf eine Ausnahme niveauvollen Besetzung stehen die beiden männlichen Hauptgestalten. Aufgrund der gefürchtet schweren Anforderungen an den Part des Arnold Melchthal gewähren wir ihm den Vortritt vor dem Titelrollenträger. Michael Spyres Aufstieg zu einem der führenden Vertreter des Barytenors ist seit seinem hiesigen Debut 2007 eng mit Rossini in Wildbad verbunden. Nach zahlreichen Rollendebuts in teils exorbitant schweren Partien an zunehmend renommierten internationalen Bühnen dürfte er hier nun eine weitere Stufe nach oben erklommen haben, denn seine Leistung kann nicht anders als exemplarisch bezeichnet werden. Von der klaren französischen Artikulation, über die Kontinuität seiner Linie, der flexiblen Registerschaltung, dem mühelosen Tonansatz in den höchsten Regionen bis zur transparenten emotionalen Vermittlung von anfänglicher Liebeszärtlichkeit zum kämpferischen Umschwung reicht die Palette seiner Vorzüge. Abgerundet werden sie noch durch ein entschiedenes Auftreten und eine sympathische Persönlichkeit.“
Udo Klebes, Der Neue Merker
„Star tenor Michael Spyres … managed to demonstrate all of his strength.“
„Startenor Michael Spyres, in der nur schwer zu besetzenden Rolle des zwischen Liebe und Patriotismus hin und her gerissenen Arnold Melchthal, konnte all seine Stärken ausspielen.„
Focus (dpa)
„world class singing: … Michael Spyres in the role of Arnold Melchthal, which is full of high Cs. He hits them all and even some notes above that.“
„Im Dreierzentrum die schiere Weltklasse: ... namentlich jedoch Michael Spyres in der mit hohen Cs nur so gespickten Rolle des Arnold Melchthal. Er trifft sie alle und noch einiges darüber. Das Schönste an diesem eher weich-belkantesken Tenor ist freilich, dass er die Höhenraketen aus der perfekten Phrasierung heraus gewinnt und in eine souveräne große Linie einbindet.“
Badische Zeitung
„Not only the aria „Asile héréditaire“ showed the solid position of his voice, the eveness of his singing, the ability to integrate the high notes into the vocal line. He also demonstrated the inner conflict of the role convincingly.“
„... [Sänger wie] der Tenor Michael Spyres kommen zurück, obwohl sie längst in Berlin, London, Mailand, Paris oder Salzburg singen.
Der Amerikaner, der u.a. in Wien studiert hat, war 2007 erstmals in Wildbad zu hören und kehrte nun in der gefürchteten Partie des Arnold zurück. Nicht nur in der Arie „Asile héréditaire“ erwies sich der sichere Sitz seiner Stimme, die weitgehende Ausgeglichenheit der Tonbildung, die Fähigkeit, auch die Höhen in die Linie einzubinden. (...) Überzeugend dargestellt ist auch der innere Konflikt Arnolds: Die Liebe zur Habsburgerin Mathilde lässt ihn dazu neigen, sich mit den Besatzern zu arrangieren, bis er die Nachricht vom gewaltsamen Tod seines Vaters erhält. Spyres kann glaubhaft machen, wie sich der pragmatische, am privaten Glück hängende junge Mann wandelt, wie er sich selbst zum verzichtenden Heros stilisiert, der Mathilde entschlossen zurückweist.“
Werner Häußner , Der Neue Merker
„Rossini tenor Michael Spyres in the role of Arnold Melctal was convincing... . Spyres is a baritenor and the basis for his well placed, bright high notes is a dark-coloured middle voice.“
„Michael Spyres konnte als Rossini-Tenor in der Rolle des Arnold Melctal überzeugen; es ist dramaturgisch nicht die typische schmachtende Liebhaber-Tenorrolle der italienischen Oper; aber sie erfordert mindestens deren Fähigkeiten. Spyres sang als baritenore aus einer dunkel timbrierten Mittellage heraus gut getroffene helle Spitzentöne... .“
Manfred Langer, Der Opernfreund
„Especially Foster-Williams and Spyres as Tell and Arnold: What vocal charisma! What energy on stage!“
„Großer Beifall, Bravos, musikalisch (...) ein Ereignis. Vor allem Foster-Williams und Spyres als Tell und Arnold: Welches stimmliche Charisma! Welche Energie!"
GEA, Reutlinger Generalanzeiger
„the impressive tenor Michael Spyres as Arnold. What charisma! What energy!“
„Viele junge Stimmen hat er für Wildbad entdeckt, die mit Leidenschaft agieren, so auch hier, insbesondere der beeindruckende Tenor Michael Spyres als Arnoldo.„
Bernhard Doppler, Deutschlandradio Kultur
„Spyres has a phantastic, clear tenor voice, which is perfect for 'Grand Opera'. He has convincing high notes, considerable volume and had his strongest moments in the first two acts. The duets with Tell and Mathilde were incredibly well sung, as was the trio in the second act with Tell and Walter.“
„Michael Spyres (begin deze maand nog geïnterviewd door Place de l’Opera) hield het echter bij de latere traditie en bleek zeer goed tegen die taak opgewassen te zijn. Tegelijk toonde hij ook affiniteit met de lichtere manier van zingen, zoals Nourrit .
Spyres heeft een fantastische, klaroenachtige tenor, die perfect geschikt is voor de ‘grand opéra’. Een makkelijke hoogte en een goed volume. Zijn sterkste momenten lagen in de eerste twee aktes. De duetten met Tell en met Mathilde waren ongekend goed gezongen, net als het terzet in de tweede akte met Tell en Walter.“
Lennaert van Anken, Opera Magazine NL
„His sense for nuances, the quality of his French pronouncation and his musicality are admirable.“
„Arnold, enfin, est interprété par Michael Spyres, un ténor en passe d’accéder au premier rang des rossiniens et dont la fidélité à Bad Wildbad, quand des cachets plus élevés l’attendent ailleurs, révèle une intégrité encore intacte. Il choisit dans l’air célèbre d’émettre le fameux contre-ut du rôle comme on le fait depuis Gilbert Duprez, en voix de poitrine, et non en falsetto comme le souhaitait Rossini. Il en a les moyens et aussi l’intelligence de ne pas appuyer ou de forcer si bien que le résultat audible s’accorde très exactement au climat de mélancolie douloureuse exprimé de façon si poignante par la musique. Evidemment ses duos avec Mathilde perdent un peu, pour les raisons indiquées plus haut, de leur fascinante beauté mais comme il y a deux ans dans Le Siège de Corinthe on admire chez lui la tenue, la netteté, le sens des nuances, la qualité de la prononciation du français et l’intention constante de musicalité.“
Maurice Salles, Forum Opéra
Candide (Vlaamse Opera, 6/2013
"he adopts all his technical knowledge as experienced Rossini-singer into service for Bernstein, especially regarding his messa di voce and breathcontrol that allows him to produce some notes of spectacular length. His diction is always clear... . Above all, his acting is on the same level of his singing and he offers a refined portrayal of the role. ... was it just a coincidence that the young baritenor ... shared the stage with one of his most illustrious predecessors ... Chris Merritt?
"le ténor met au service de Bernstein toute la science acquise en chantant Rossini, notamment l'usage de la messa di voce et une gestion du souffle qui produit quelques notes d'une longueur spectaculaire. La diction, toujours claire, ne pose aucun problème à celui qui s'exprime ici dans sa langue maternelle. Surtout, l'expression scénique se hisse au niveau de l'interprétation musicale, offrant de Candide un portrait accompli. Par une coïncidence troublante (mais s'agit-il d'une coïncidence ?), le jeune baritenore, au sens rossinien du terme, partage l'affiche avec l'un de ses plus illustres prédécesseurs ... Chris Merritt."
Christophe Rizoud, Forum Opéra
"His Candide was great. (...) The absolute highlight and the only moment that created goose bumps was his solo "Nothing more than this". ... Spyres's effortless low and high register.
"Net als in de vorige serie in 2009 zingt tenor Michael Spyres in Antwerpen de titelrol. Spyres maakt als tenor een succesvolle ontwikkeling door en is steeds vaker te vinden op grote operapodia, van de zomer zelfs in Rossini-mekka Pesaro.
Zijn Candide was geweldig. In de regie van Lowery was hij een in chinos en collegeblazer gestoken jongeman, een tikje nerdy, met een grote bril. Absoluut hoogtepunt – het enige dat kippenvel opriep – was zijn solo ‘Nothing more than this’. Het is een musicalachtig lied, maar waar ze in de musical soms enorm moeten stuwen en belten, scheerde Spyres moeiteloos door alle hoogtes en laagtes.
Vergeleken met zijn Rossini-rollen zal Candide geen enorm grote uitdaging voor hem zijn, maar in elke noot die hij tijdens de avond zong, hoorde je zijn kwaliteit. In de agenda op zijn website staat een veelbelovend zinnetje over Il viaggio a Reims in Amsterdam, in de komende jaren."
Francois van den Anker, Opera Magazine NL
"With his beautifully shaped voice and perfect diction, he is the best singer of the night"
"De titelrol is gelukkig wel dezelfde gebleven. Vier jaar geleden was Michael Spyres een ontdekking, ondertussen hebben we hem nog een paar keer gehoord als Tamino en Faust. Zijn Candide is nog altijd het beste van de hele avond, met zijn mooi gevormde stem en perfecte dictie."
Gopera.com
La donna del lago (Covent Garden, 5/2013
"The star of the show is the young American Michael Spyres. He had to take on the part of the “monstrous, hairy, pillaging” Rodrigo at short notice, but you wouldn't know it: in the “spine-tingling” Act II trio he traded high Cs with Juan Diego Flórez “like a brave young boxer swapping punches with a champ”."
The Week
„... one of those electrifying short-notice debuts that can make a career. (…)
Then there's Spyres, whose mix of baritonal lower registers with a Flórez-like ease and flexibility at the top is sensational and unique.“
Tim Ashley, The Guardian
„But the shock of the night was American tenor Michael Spyres who, scheduled to make his debut later in the run, stepped in to replace the indisposed Colin Lee as highland chieftan Rodrigo.
His knockout tenor isn’t so much full-throated as full-bodied, his support so strong that his huge, amazingly virile sound gleams, rising from an astoundingly well-grounded baritone to a ringing top C. It’s a world away from Florez, which made their second act vocal duelling over DiDonato into the most exhilarating, pulse-quickening singing bout - yes, that’s the word – I think I’ve ever heard.“
David Benedict, Theartsdesk.com
„... Michael Spyres, whose remarkable vocal range and technical facility were deployed to excellent effect.
Barry Millington, London Evening Standard
„Standing in at short notice as Rodrigo is the charismatic American tenor Michael Spyres, possessor of a sound to equal Florez’s in the high range while also able to deliver a wonderfully baritonal warmth.“
Michael Church, The Independent
„Michael Spyres, a high tenor who can call on a cavernous lower register, making an auspicious debut as Rodrigo.“
Rupert Christiansen, The Daily Telegraph
"Spyres very nearly stole the entire show in a display of vocal resources from top Cs to an incredibly firm baritone lower register – a real ‘baritenor’ if you will... . In Act II, there is a duet between Elena and the king, which turns into a trio when Rodrigo confronts them. Here, Flórez and Spyres traded top Cs like blows in a duel – Flórez’s more rapier-like in attack, Spyres’ a little more blustery. Spyres sings the title role in Benvenuto Cellini at ENO next season and performances such as this should do everything to shift ticket sales at the Coli.“
Mark Pullinger, Opera Britannia
„No less impressive is Michael Spyres as Rodrigo whose lower register is blessed with power and grit, and who can be menacing or soft as required in the upper register.“
Sam Smith, MusicOMH
"... Michael Spyres’ baritonal Rodrigo contrasts nicely with Flórez’s high-flying King."
Andrew Clark, Financial Times
"Surprise of the evening is Missouriborn tenor Michael Spyres, replacing an indisposed Colin Lee as Rodrigo. His storming performance and voice ranging from high tenor to baritone made for an electrifying debut."
Clare Colvin, Sunday Express
"Brilliantly supported as she [Joyce di Donato] is by Barcellona, Florez and Spyres... ."
Anna Picard, Independent on Sunday
„Great singing is the thing in this production, but actually the "stars" are largely outshone by their less famous colleagues. (…) Also magnificent is Michael Spyres, brought in last minute to cover the "baddie role" of Rodrigo after an ailing Colin Lee was forced to pull out. Rodrigo is a role of extremes, even within the bel canto repertoire, requiring heroic weight in the extended coloratura passages, very high singing, and also a very strong low register. This was an exceptional début - Spyres delivered all of this in spades, offering full support of the vocal line across at least two whole octaves from a very rich, powerful, warm and beautiful baritonal low register, to a firm and nicely coloured middle, to a clear and almost as beautiful high register. He's not baritonal in the Kaufmann sense because the top is nowhere near as covered and has authentic Italianate ping. The coloratura is accurate and exciting. ... I rate this amongst the very best tenor singing we've heard this season. Physically too, he was very convincing, and I can't wait to hear more from him.“
Capriccio Blog
„... Rodrigo (gloriously sung by American tenor Michael Spyres)... .“
Daily Express
"They’re matched here by some excellent work from mezzo Daniela Barcellona, tenor Michael Spyres and conductor Michele Mariotti. Bel canto (beautiful singing) has never seemed so ‘bel’. "
Metro
"Michael Spyres (standing in for an indisposed Colin Lee) gives his dramatic tenor a terrific workout through the punishing tessitura of his role."
Jonathan Lennie, Time Out London
„Spyres, who was scheduled to sing Rodrigo later in the run, is an adequate foil to Flórez in the sparky tenor rivalry which is as much about vocal prowess as getting the girl.“
Simon Thomas, Whatsonstage.com
„Michael Spyres, brought in from later in the run to replace an unwell Colin Lee as Highland Chieftain Rodrigo, acquits himself honourably... .“
George Hall, The Stage
La Muette de Portici (Bari, 3/2013
"On the vocal side of the evening, the performance of the American tenor Michael Spyres, who sang the difficult role of Masaniello is worth mentioning: In our opinion, he managed to find the right balance between technique and interpretation in his grand aria in the fourth act."
"Sul versante prettamente vocale, va segnalata la performance del tenore americano Michael Spyres impegnato in un ruolo non privo di difficoltà, quello del sanguigno Masaniello, il quale ci è parso trovare un giusto equilibrio tecnico-interpretativo nella grande aria dell’atto quarto."
Dino Foresio, OperaClick.com
„...il timbro deciso e accattivante di (…) Michael Spyres.“
„... Michael Spyres's firm and disarming timbre.“
Antonio V. Gelormini, affariitaliani.it
„Michael Spyres was a versatile Masaniello who stood well through his demanding and long part“
"... il Masaniello di Michael Spyres, versatile e resistente nella sua parte impegnativa e lunga."
Stefania Gianfrancesca, Puglia In
„vocally exemplary“
„vocalmente esemplare“
Alessandro Romanelli, L'Orecchio di Dioniso
„splendide le prove del soprano Maria Alejandres (Elvire) e del tenore Michael Spyres (Masaniello)“
Dinko Fabris, La Repubblica
Les Contes d'Hoffmann (Liceu, 2/2013
"The audience especially appreciated Michael Spyres as Hoffmann, who faced up to all the vocal difficulties of the role. ... he always proved himself brave and very respectful towards the score. ... a refined timbre and a powerful, virile emission of tone; easy top notes... ."
"Le public a particulièrement apprécié le travail de Michael Spyres, Hoffmann, qui n’a escamoté aucune difficulté vocale. Qu’il ait été amoureux ou déçu, il s’est toujours montré vaillant et très respectueux des indications de la partition. Il a récité ses vers sans le moindre pathos, se limitant à mettre le texte bien en relief avec un timbre affiné et une émission puissante et masculine ; très à l’aise dans le registre aigu, il n’a pas rechigné à descendre vers le grave pour exprimer, désespéré, les côtés plus sombres du personnage."
Jaime Estaba, Webthea
"... agile and involved on stage, especially convincing when playing Hoffmann's different emotional states such as enthusiasm, melancholy, passion and cynicism – emotions with which the poet is living his different love affairs. He has his best moments when he is phrasing in the central register, when he is skillfully shading thanks to a convincing use of the dynamics."
"Il tenore americano Michael Spyres si tuffa con entusiasmo in questa sfida: scenicamente risulta vivace e partecipe, credibilissimo nel delineare di volta in volta l’entusiasmo, la malinconia, la passione e il cinismo con cui il poeta vive i suoi differenti amori; trova i suoi momenti migliori quando può fraseggiare nel registro centrale, sfumando con abilità grazie a un convincente uso delle dinamiche."
Daniele Galleni, OperaClick
"Michael Spyres, North-American tenor, was a very agile Hoffmann. He has a voice of great beauty, with seemingly easy top notes, always with high quality. His singing was growing and improving during the performance, offering us a very credible character. A young singer to follow!"
"Michael Spyres, tenor norte-americano, foi um Hoffmann muito ágil em palco. Tem uma voz de grande beleza, com agudos aparentemente fáceis e de grande qualidade. Achei que a qualidade que foi crescendo ao longo da récita, oferecendo-nos uma personagem muito credível. Um cantor a seguir"
Fanáticos da Ópera
"Michael Spyres, with his light and clear voice, was a musical Hoffmann... ."
Xavier Cester, Opera Magazine UK
Beatrice di Tenda (New York Carnegie Hall, 12/2012
"The one performer who delivered consistently idiomatic bel canto singing was tenor Michael Spyres, as Orombello, the romantic lead. He applied dynamic and coloristic shading and a sure sense of rubato to give the music drive, structure and purpose. Spyres showed that Beatrice can be more than just an occasion for a good healthy sing; it is a work of true lyrical distinction. He is the kind of advocate that bel canto needs in order for its true beauty to emerge."
Fred Cohn, Opera News
"... the bright-voiced, ardent tenor Michael Spyres."
Anthony Tommasini, The New York Times
"Spyres' honey-tinged voice embraced both virile power and barely audible tenderness... ."
Verena Dobnik, The Washington Post
"Michael Spyres, already in demand in a wide variety of roles of the lyric tenor and heroic-lyric repertory—Raoul, Arnold, Masaniello—brought a coolly beautiful grace to Orombello’s music, making us wish there was more of it. Although he never seemed under any strain, Spyres, originally trained as a baritone, sang the role with a dark quality that made one suspect Arturo (in Puritani) and Elvino (in Sonnambula) would not suit him as well as, say, Pollione (in Norma). But other tenors with baritonal backgrounds (Bergonzi, Domingo) have used bel canto as a springboard to long and wide-ranging careers."
John Yohalem, Parterre Box
"Tenor Michael Spyres sang the doomed Orobello. His is a bright, beautiful tenor voice that shimmered in the more dramatic passages. One could almost hear colors akin to a young Franco Corelli."
Jake Johansen, Examiner.com
"Michael Spyres as Orombello has a lyric tenor with a solid, consistent sound armed with a metallic edge that makes it project very well."
Bachtrack.com
"When you have on stage in addition to the fine Collegiate Chorale, a lineup like Angela Meade, Jamie Barton, Michael Spyres and Nicholas Pallesen, lovers of the human voice come out in droves. (...)
Michael Spyres has a rich, firm voice. His top is secure and his phrasing incisive. He stood out recently in a Carnegie performance of Beethoven's Ninth. (...)
He was in the correct context in the thankless role of Orombello. He explains how he brings a back story to his vocal lines if the opera’s context is thin and unclear."
Susan Hall, Berkshire Fine Arts
„Michael Spyres was an elegant Orombello; the tenor is known for his high-lying Rossini roles but got to show off very little in this part. His most beautiful moment is in the second-act prayer, “Angiol di pace”, the loveliest trio Bellini ever wrote... .“
Robert Levine, Classics Today
"As the ardent Orombello, Michael Spyres displayed consistent vocal strength and bright sound, using good diction and phrasing. Although the character of the besotted courtier is hardly nuanced, Spyres sang with impressive commitment as well as fine technique."
Operaobsession Blog
"Michael Spyres is another one of those young bel canto talents who gets heard in concert settings but not nearly enough on the big stage. Here, he sang Orombello with just the right amount of "push" in his instrument, producing pleasing tone and nailing the ornamentation. There was enough volume to sound heroic, but more importantly the tonal column was beautiful and pure."
Superconductor Blog
La damnation de Faust (Vlaamse Opera, 9&10/2012
"A lot of singers of the role of Faust are struggling with the C sharp, but for Michael Spyres it doesn't pose any problem. He is one of today's best Rossini interpreters and Rossini demands even more. His French is flawless, it is impressive how well projected his voice is (...). His low register alone – sensational as always – was worth the journey to Gent. But like each time with Spyres, what excites enthusiasm apart from the singing is the way in which the artist portays his character. This grotesque and pitiful Faust reveals a face too human to leave us cold. After "Ciro" in Pesaro this summer, this was another more than successful role debut for one of the most fascinating tenors of our days."
"Tout comme le duo d’amour, qui voit Faus escalader seul les sommets. L’Ut dièse, sur lequel trébuchent tant de titulaires du rôle, ne pose aucun problème à Michael Spyres. Rossini, dont il est aujourd’hui l’un des meilleurs interprètes, exige davantage. Le français est sans bavure, la projection impressionnante au point de friser la surexposition, l’ampleur suffisante pour surmonter l’Invocation à la nature. Le grave – toujours aussi sensationnel – vaut à lui seul le détour. Mais comme à chaque fois avec Spyres, ce qui enthousiasme, outre le chant, c’est la manière dont l’artiste investit son personnage. Ce Faust grotesque et pitoyable montre un visage trop humain pour laisser indifférent. Après Ciro à Pesaro cet été, nouvelle prise de rôle réussie donc, et même au-delà, pour l’un des ténors les plus captivants du moment."
Christophe Rizoud, Forum Opéra
"Vocals were fine by everyone, including Michael Spyres in the demanding title tenor role, which required a huge percentage of the score’s delivery."
Phillip Woolever, Opera Today
"Michael Spyres's first Faust gives us good reasons to be enthusiastic: a homogenous emission of sound, pure phrasing, magnificent legato... . "
"Le premier Faust de Michael Spyres suscite l’enthousiasme : émission homogène, ligne pure, legato somptueux... . Doté d’une affreuse coiffure rousse, le ténor américain rend le personnage aussi pitoyable qu’un Wozzeck."
Sébastien Foucart, Concertonet
"... Michael Spyres's superb Faust, sung with a smooth and simultaneously strong voice."
"... superbe Faust, suave et en même temps corsé, de Michael Spyres."
Nicolas Blanmont, La Libre
"... Michael Spyres - a superb tenor (...), a Faust full of nuances across the full range..."
"... un ténor superbe, Michael Spyres, aux cheveux roux en pétard, un Faust tout en nuances, sur toute la tessiture..."
Michèle Friche, Le Soir BE
"Michael Spyres gave his role debut as Faust. He also completely adapted to Gilliam's production and sang with a beautiful, bright timbre."
"Michael Spyres debuteerde als Faust. Ook hij paste zich volledig in de visie van Gilliam in en zong met een mooi en licht timbre."
Lucrèce Maeckelbergh, Klassiek Centraal
"magnificent'"
"magnifique"
Caroline Alexander, Webthea
Ciro in Babilonia (Pesaro, 8/2012
“Michael Spyres sings Baldassare with a voice that not only is flexible and attractive but also conveys drama.
As expected, he [Will Crutchfield] ensured that vocal ornamentation was gracefully applied and also showed an awareness of niceties that other conductors are oblivious to, such as encouraging singers to close quick numbers with panache yet stylishly; Ms. Pratt and Mr. Spyres are exemplary here.”
George Loomis, The New York Times
Michael Spyres gave a singular performance, thanks to the richness of colours and to his phrasing, especially in Baldassare's grand aria “Qual crudel, qual trista sorte”.
“Non è stato da meno Michael Spyres, tenore, che, specie nella grande aria di Baldassarre “Qual crudel, qual trista sorte”, ha messo in campo una ricchezza di colori e di fraseggio che hanno segnato un'interpretazione unica.”
Antonio Castaldo, Corriere dello spettacolo
“Spyres could confirm the impression he recently left in “La muette de Portici” in Paris and as Candide in Antwerp: in addition to his youth, he demonstrates a perfect baritenor in a very tricky part (after the mad scene … big and well deserved ovations).”
“Spyres ha vuelto a confirmar la impresión causada recient emente en La muette de’ Portici en París y antes en su Candide de Amberes: para su juventud, un baritenor perfecto en una parte en la que arriesga mucho (su escena de la locura, poco lograda dramáticamente -pensar lo que sería en el futuro la de Semiramide- fue acogida con grandes aplausos, también merecidos).”
Jorge Binaghi, Mundoclasico.com
“He cut a good figure, his very long lament Qual crudel, qual trista sorte made a case for the greatness of the Rossini-to-come, and earned him a real ovation (real ovations are long and loud in Pesaro). “
Michael Milenski, Opera Today
“... the singing is phantastic, especially from (…) tenor Michael Spyres as Baldassare with his big, strong but nevertheless incredibly flexible tenor.”
“... gesungen wird phantastisch, insbesondere von (…) dem großen, kräftigen und dennoch unglaublich beweglichen Tenor von Michael Spyres als Baldassare.“
Derek Weber, klassikinfo.de
“Michael Spyres convinces as villain Baldassare with a secure high register and his flexible tenor... .”
“Michael Spyres überzeugt als Bösewicht Baldassare mit höhensicherem und beweglichem Tenor und verleiht dem babylonischen König in seiner Arie "Qual crudel, qual trista sorte", wenn er verzweifelt überlegt, wie er dem fatalen Orakelspruch entgehen könne, beinahe schon bemitleidenswerte Züge.”
Thomas Molke, OMM
"The American tenor Michael Spyres was a superb Baldassare, with an enormous vocal extension, especially in the long mad scene, in which he was constantly singing scales which went from very low to very high notes and vice versa.”
“De Amerikaanse tenor Michael Spyres was een superbe Baldassare met een enorme stemomvang Vooral tijdens zijn lange waanzinsscène ging hij onvermoeibaar van hoog naar laag en terug.”
Peter Vandamme, Opera Magazine Netherlands
"A singer who certainly made progress since his previous appearances, including in Bad Wildbad, is the American tenor Michael Spyres. ...In the role of Baldassare, Spyres impressed with his passage work, high notes and the octave jumps which are so typical for these roles. We would not be surprised if next year one would ask him to sing Rodrigo in the planned concert performances of "La donna del lago" in Pesaro."
"Een zanger die zeker de nodige vooruitgang geboekt heeft sinds zijn eerdere optredens in onder andere Wildbad, is de Amerikaanse tenor Michael Spyres. ... Spyres maakte als Baldassare indruk met de aartsmoeilijke coloraturen, de hoge noten en de octaafsprongen zo typisch voor dit soort rollen. Het zou ons niet verbazen als hij volgend jaar gevraagd wordt om Rodrigo te zingen in de geplande concertante voorstellingen van “La donna del lago”. In Wildbad zingt hij in juli 2013 normaal gesproken in een ultravolledige versie van “Guillaume Tell”."
Operagazet.be
Michael Spyres tackles the difficulties of the role of Baldassare with vigor and astonishing security. He gives a moving, ravishing performance, especially with his dizzying passage work and with the opulence of his low register. … he is also shaping the musical lines in an always varied and interesting way.”
“Michael Spyres affronta le difficoltà della parte di Baldassare con slancio e guasconeria coinvolgenti ed entusiasmanti, soprattutto nella resa della vorticosa coloratura e nella pienezza delle note gravi: ... anche l’accento è sempre vario e interessante.”
Gabriele Cesaretti, OperaClick
“Michael Spyres as Baldassare asserted himself with balance and against the extensive vocal demands of this baritenor role... .”
“Michael Spyres in Baldassare ha fatto valere con equilibrio e freschezza quella estesissima vocalità di baritenore che anticipa i ruoli analoghi nell’Aureliano in Palmira e in Eduardo e Cristina.“
Andrea Zepponi, GBOpera
“Con tecnica collaudata giunge a scurissime profondità, per poi elevarsi al grido straziante, passando da passionali centri invocanti. L’utilizzo dei vari registri da parte dei singoli cantanti è stata una caratteristica di tutta l’opera riscontrabili infatti anche nelle prestazioni delle voci maschili che affascinano sia negli acuti che nei gravi.
Michael Spyres nell’interpretazione significativa di Baldassarre rientra in questo tipo di duttile vocalità ricca di colori ed imperiosi sentimenti esaltati dagli scuri che imprimono verità al personaggio.“
Blog “Unavocepocofa”
“Jessica Pratt and Michael Spyres are doing justice to the very difficult parts of Amira and Baldassare.”
“Jessica Pratt e Michael Spyres sono all'altezza delle parti molto impegnative di Amira e Baldassarre. “
Mauro Mariani, Il giornale della musica
Ciro in Babilonia (Caramoor, 7/2012
“The biggest single ovation of the night went to the villain, the tenor Michael Spyres, who brought his bright, penetrating voice and brilliant technique to the role of Baldassare. In Act II (...), Baldassare sings a tormented bel-canto mad scene. Mr. Spyres, ranging from chesty low tones to soaring high notes, gave such a fearless account that he was called back to the stage for a bow.”
Anthony Tommasini, The New York Times
“Rossini didn't quite have his dramatic timing down yet, and scenes alternated between lengthy stretches of dull recitative and slow-fast arias that could be as long as da capos but were not always inventive enough to sustain interest. It was up to the three principal singers to make them fly. One who could was Michael Spyres (Baldassare), who deployed his precise, scintillating tenor with absolute confidence and abandon, and made the insinuating runs and fierce high notes into a portrait of nastiness. One fluid upward swoop in Act II provoked an audible gasp of "Wow!" from an audience member, and he was called back to the stage for an extra bow after his mad scene.”
Heidi Waleson, The Wall Street Journal
“After Michael Spyres as Baldasarre completed an incredibly difficult aria, one solo 'Wow' from the audience was followed by boisterous and appreciative crowd cheers.”
Susan Hall, Berkshire Fine Arts
"Michael Spyres gave a marvellously nuanced and fascinating characterization of Baldassare with his strong, flexible tenor voice and his ability to shape his line with elegance and expression.
Michael Miller, New York Arts
"Throwing the opera a bit off balance is the “mad scene” for Baldassare after the notorious “Mene, mene” writing on the wall foretelling the conquest of Babylon. At Caramoor, Michael Spyres hurdled page upon page of ornate coloratura extending well over two octaves, including—unusually for a tenor specializing in bel canto—easy access to dark, muscular chest tones around low C. After he ripped through one particularly rangy roulade, an overwhelmed audience member yelled “wow!,” and when he finally reached the end of this spectacular showcase and lurched offstage, the whole crowd erupted in cheers and bravos until he returned for a solo bow. "
James Jorden, Musical America Worldwide
“However, not even the most loyal opera fan-boys could keep tenor Michael Spyres from stealing the evening. As Baldisare (Belshazzar) Mr. Spyres displayed an astonishing command over his instrument, rising to dizzy heights of hysteria in the banquet scene and plunging down the stave in his depiction of the ruler's despair. Playing the villain of the piece, he nonetheless drew sympathy as a man who had to face the fact that God was, in the end, against him.”
Paul J. Pelkonen, Superconductor.com
“As Baldassare (Belshazzar), tenor Michael Spyres impressed mightily with his technique, stamina and ringing high notes, especially in his "mad scene" after he has seen the writing on the wall foretelling his demise.”
Mike Silverman, San Francisco Chronicle
La Muette de Portici (Paris, 4/2012
“As Masaniello, the tenor Michael Spyres shows a genuine affinity for French style. He sings buoyantly in the fisherman’s delightful barcarolle and invests the hauntingly beautiful lullaby “Du pauvre seul ami fidèle” with arresting pianissimos... .”
George Loomis, New York Times
“In a part originally written for Adolphe Nourritt, the American tenor Michael Spyres caused a sensation. Both his scenic and vocal agility was remarkable and his Masaniello could already enthuse with his barcerolle. His singing is amazingly natural and the low Ds, and there are several low Ds in the score, impressed with their projection. “Ferme tes yeux” was also mastered skillfully with a sophisticated use of the “voix mixte” and an ability to diminish his notes which made a veritable moment of poetry out of this Neapolitan lullaby. The French pronouncation shined with its clarity and the volume of his voice as well as his courage was notable, too. The cherry on the cake, a resounding high C in the end confirmed that Masaniello is the firstborn brother of Raoul in Les Huguenots.
“Dans un rôle pensé à la mesure d'Adolphe Nourrit, le ténor américain fait sensation. Remarquable d'aisance scénique et vocale, un tel Masaniello enthousiasme dès sa barcarolle. Le chant est confondant de naturel et les ré graves, qui en laisseraient plus d’un sur le carreau, impressionnants de projection. A l'opposé de la tessiture, « Ferme tes yeux » est tout aussi habilement négocié avec un usage varié de la voix mixte et une capacité à filer les sons qui font de la berceuse du napolitain un véritable moment de poésie. La prononciation du français brille par sa clarté. La puissance est au rendez-vous, la vaillance aussi. Cerise sur le gâteau, un contre-ut final percutant confirme que Masaniello est le frère aîné de Raoul des Huguenots.”
Christophe Rizoud, Forum Opéra
"American tenor Michael Spyres as Masaniello distinguishes himself from the rest of the cast with his subtly nuanced and colourful singing. Only he is bringing some sensibility into this "Muette"... .
“Le ténor américain Michael Spyres se distingue par son chant subtilement nuancé et coloré qu'il prête à Masaniello. Lui seul apporte un peu de sensibilité à cette « Muette » en définitive très sonore. “
Philippe Venturini, Les Echos
“... Michael Spyres' remarkable Masaniello: In this role, written for Adolphe Nourrit, the tenor is overwhelming us with a delicate musicality, never boring in the soft parts of the role... A lasson of taste... .”
“... le remarquable Masaniello de Michael Spyres : dans ce rôle écrit pour Adolphe Nourrit, le ténor nous abreuve d’une musicalité délicate dans ses effets, jamais mièvre dans la tendresse ni tonitruant dans la révolte. Une leçon de classe... .”
Chantal Cazaux, L'Avant Scène Opéra
“Michael Spyres is definitely dominating the cast with an impressive commitment on stage... . Particularly at ease in the low register, he deals effortlessly with all the diffiulties of this breakneck role, with a perfect diction.”
“Le ténor Michael Spyres domine sans conteste la distribution avec un engagement dramatique impressionnant dans l’interprétation de Masaniello. Particulièrement à l’aise dans le registre grave, il se joue de toutes les difficultés techniques de ce rôle périlleux, avec une diction parfaite.”
Florent Coudeyrat, Les Trois Coups
“His acting (especially in the mad scene) and singing are powerful and he has a resonant tenor voice. His barcarole “Amis, la matinée est belle” (2nd act) (…) is refreshing, and his lullaby (...), sung in pianissimo, is very moving.”
“Im Gegensatz dazu verkörpert Michael Spyres als Masaniello die Urkraft des Volkes. Er spielt (besonders in der Wahnsinnsszene) und singt mit kräftigem und klangvollem Tenor erfrischend die Barkarole Amis, la matinée est belle (2. Akt) im Wechselgesang mit dem Chor, und sehr bewegend das pianissimo Wiegenlied für Fenella Ferme les yeux la fatigue t’accable (4. Akt).”
Alexander Jordis-Lohausen, Operapoint
“But the young tenor (…) Michael Spyres is the apex of the opera. His Masaniello is bright and open-hearted, his voice is lucent and warm at the same time, his acting is direct... .”
“Mais c’est le jeune ténor (...) Michael Spyres qui incarne la clé de voûte de l’oeuvre. Son Masaniello, tout de lumière et de franchise, sa voix à la fois claire et chaleureuse, son jeu direct, en font d’évidence un héros.”
Webthea
Michael Spyres (Masaniello), a fervent and sensitive tenor whom the audience owes the most intensive moments of the production... .”
“... l’Américain Michael Spyres (Masaniello), ténor ardent et sensible auquel on doit les moments (...) les plus intenses de la production... .”
Martine D. Mergeay, La Libre
Luckily, there is the male cast: … above all, the extraordinary vocal courage of the prodigious Michael Spyres raised the fate of the performance.
“Per fortuna, c'era il cast maschile: hanno sollevato le sorti della serata l'esecuzione elegante di Maxim Mironov, la presenza inconfondibile di Laurent Alvaro e, soprattutto, l'eccezionale prodezza vocale del prodigioso Michael Spyres.”
Alessandro Di Profio, Il giornale della musica
“Tenor Michael Spyres (Masaniello) sang with a fantastic vigour like a “bête de scène”, bringing ferocious energy to the role of the revolutionary. His duo with baritone Laurent Alvaro (Pietro), Amour sacré de la patrie, rends nous l’audace et la fiereté was the highlight of the evening.”
“Il tenore Michael Spyres (Masaniello) ha cantato con un grande vigore, un vero “bête de scène”, portando l’energia feroce al ruolo del rivoluzionario. Il suo duetto con il baritono Laurent Alvaro (Pietro), Amour sacré de la patrie, l’audace endenze nous et la fiereté è stato il momento più alto della serata.”
Giorgio Bagnoli, Gbopera
“One must emphasize the excellent quality of the whole cast (…), especially the young American tenor Michael Spyres, who knows exactly how to deal with the complex character of the role of Masaniello: “
Doveroso, visto che parliamo di un'opera lirica, sottolineare l'ottimo livello di tutto il cast: Maxim Mironov nel ruolo del seduttore, Eglise Gutiérrez in quello della sua sposa Elvira, e soprattutto il giovane tenore americano Michael Spyres, che sa restituire tutta la complessità del personaggio di Masaniello: fratello premuroso, uomo che crede in valori fondamentali come la giustizia e l?ospitalità, capopopolo quasi controvoglia che ripudia la violenza. Insomma, un martire del potere, ben diverso dallo psicolabile megalomane tramandato dalla storia.
Vega Partesotti, Krapp's Last Post
Rising star tenor Michael Spyres finally came on stage in Two and immediately elevated the entire performance by a notch (or two or three). First, he ‘gets’ French style and is as good at it as anyone currently in the business. And then there is the beauty and richness of his substantial lyric tenor itself. He has the high-flying top notes to be sure, but a real glory of his singing to me is the robust presence of his lower register and his accomplished presentation of the parlando phrases. …the voice is freely and clearly produced in all registers and at all volumes. His extended aria featured some exquisite ‘piano’ passages … . (...) Michael is young, he is talented, and he is making a serious case for ownership of this repertoire.
James Sohre, Opera Today
“Masaniello, her brother and the leader of the rebellion, is sung by the young U.S. tenor Michael Spyres. He has an appealing voice, and his French diction is impeccable.”
Jorg von Uthmann, Bloomberg News
“The young American tenor Michael Spyres who had to deal with the complexly written role of Masaniello, showed courage in the heroic arias and a masterly technique in the cantabile, notable in the magical aria “Du pauvre seul ami fidèle”, written for one of the archetypes of the opera singers of the Romantic period, the tenor Adolphe Nourrit.
“Le jeune ténor américain Michael Spyres, confronté à la complexe écriture du rôle de Masaniello, fait preuve de qualités de vaillance incontestable dans les airs héroïques et d’une appréciable maîtrise technique dans le cantabile, notamment dans le magique air du sommeil « Du pauvre seul ami fidèle », conçu pour un des parangons du chant romantique, le ténor Adolphe Nourrit.”
Frédéric Norac, Musicology.org
“... the excellent Michael Spyres.”
“Vocalement, la distribution est dominée par les humbles (le Pietro de Laurent Alvaro, l'excellent Masaniello de Michael Spyres).”
Serge Martin, Le Soir (BE)
“She [Elena Borgoni] is irresistible, just like the American tenor Michael Spyres, who is an ideal Masaniello. … he is incredible.”
“Elle [Elena Borgoni] est irrésistible comme que le ténor américain Michael Spyres, idéal Masaniello. Bravache sentimental, d’une présence scénique et vocale autant dans la berceuse que lors du contre-ut final, il est époustouflant... .”
Nicole Duault, Altamusica
"Michael Spyres is a superb (...) tenor that we would love to see singing in a larger venue before actually jumping on the bandwagon. He sang his heart and soul out but never doing so to steal the show. His singing was the support of the drama and to the character of Masaniello that he incarnated with brio. Great ovations for him in the end of the premiere and a totally deserved triumph. Bravo!
Opera Cake
“The most interesting singer of the evening, taking on Nourrit’s terrifyingly exposed part as Masaniello (my thought was that you had to be mad to take it on at all), was Michael Spyres, a young American tenor with a voice made for Rossini heroes that had the very distinguished critic thinking of the art of Nicolai Gedda and Gregory Kunde, and me thinking back to Chris Merritt’s early days.”
We Left At The Interval
“It was as act 4 opened and we had a long meditative solo for Masaniello that I began to understand how the plot structure of Rossini's Guillaume Tell could be made to relate to the earlier, influential opera. Spyres was simply stunning in this long scene. Again the tessitura of the tenor part was very high and Spyres coped manfully, mixing full voice with quieter mixed voice in a very expressive way. He developed a fine rapport with Borgogni was his mute sister. (...) Spyres made a strong impression as the dying and deranged Masaniello. (…) Spyres made a strong revolutionary leader but with a vein of thoughtful melancholy. None of the principals seemed at all phased by the technical demands of their roles and all sang quite brilliantly.”
Planet Hugill
“The tenor Michael Spyres gives him [Masaniello] a lot of vocal agility...”
“Le ténor Michael Spyres lui [Masaniello] prête autant d’agilité vocale que de faconde scénique.”
Gilles Macassar, Télérama
"Michael Spyres is American, with a very good French diction and particularly a real, pure tenor sound – warm, round, (…), rich and secure top notes...
Michael Spyres est Américain, avec un très bon français et surtout un vrai franc timbre de ténor, chaleureux, rond (...) ; l’aigu riche et sûr ; une très bienvenue cordialité, sympathique, devenue bien rare chez les ténors (elle va avec la générosité du timbre) ; et tenant très poétiquement après son brillantissime air d’entrée du IV la sublime cavatine rêveuse dite du Sommeil, qui est un des trois ou quatre (on compte très sérieusement) merveilles écrites spécifiquement pour la voix de ténor."
L'Oeil Et L'Oreille
“Michael Spyres (…) performs his part with enthusiasm and sings an electrifying Masaniello”
“Michael Spyres (…) incarne avec enthousiasme un Masaniello au chant électrisant.”
Michael Parouty, Diapason
“Le plateau vocal est de belle tenue. À commencer par Michael Spyres (Masaniello) qui conjugue efficacement les ambiguïtés vocales et théâtrales de son rôle, dont il magnifie la juste dose de vaillance et de fragilité.”
Frank Langlois, ResMusica
“Dans le rôle écrasant du pêcheur Masaniello, le ténor Michael Spyres fait preuve de vaillance...”
Emmanuelle Giuliani, La Croix
“Le duo le plus probant est celui formé par Masaniello et Pietro : le ténor américain Michael Spyres qui incarne Masaniello donne généreusement corps à son rôle de fer de lance dans la lutte du peuple napolitain ; il domine d’une tête son frère d’armes (et bientôt rival), Laurent Alvaro.”
Philippe Dewolf, RTBF
“formidable”
Nicole Duault, le JDD
"In another noteworthy company debut, Michael Spyres was inspired in the role of Alfred. The American tenor sang with a vibrant echt-Viennese tone with easy high notes and proved comically adept as Rosalinde’s persistent admirer."
Lawrence A. Johnson, Chicago Classical Review
"You won't hear Alfred, Rosalinde's lovelorn former flame, sung with greater sweetness or ease, or portrayed with more succulent ham, as Spyres does here."
John von Rhein, Chicago Tribune
"American tenor Michael Spyres brought just the right level of pomposity and ringing Italianate tone to Alfred, Rosalinde’s would-be lover."
Wynne Delacoma, Chicago Sun-Times
"Michael Spyres is consistently hilarious as a German singer pretending, or wanting, to be Italian, which is made all the funnier because he really has an exceptional voice. That’s the key to this kind of operetta: it should be ridiculous and ravishing at once."
Dan Wang, Bachtrack.com
"Michael Spyres was altogether charming as Alfred, and his delivery of the role's requisite snatches of phrases from the Italian Romantic repertoire was aural pleasure in itself."
Mark Thomas Ketterson, Opera News
"Making his Lyric Opera debut is tenor Michael Spyres as Alfred, who skillfully rides the line between hammy tenor and flirt in his portrayal, yet never allows his performance to go over the top."
Dennis Polkow, New City Stage
"... the ardent American tenor Michael Spyres... "
Scott C. Morgan, Daily Herald
"Missouri tenor Michael Spyres, in an excellent Lyric debut"
Phyllis Dreazen, The Times Weekly
La damnation de Faust (London, 11/2013
"The shining light in a drab evening was Michael Spyres, who single-handedly saved it from two-star ignominy. Having played Faust at the Vlaamse Opera last season the American tenor was able to sing without a score and interpret his character with complete security while all around him floundered. It was like a camera trick in a black-and-white movie where one lone character is picked out in glorious Technicolor. He had the voice for the part, too: even the cruel high notes rang true in ‘Merci, doux crépuscule!', and the cry of "Seigneur! Seigneur!" opened out gloriously. And in ‘Nature immense', Faust's extended aria in Part Four and an enormous challenge at the end of a long evening, Spyres still sounded refulgent."
Mark Valencia, Whatsonstage.com
"But – and it is, thankfully, a very big “but” – there was a saving grace in all this (apart from Palazzi’s rather lovely little devil): Michael Spyres’ Faust (sung, unlike everybody else, without a score, and what a difference in communicative effect it makes). Where to start? With the perfectly even placement and emission? (you couldn’t slide a cigarette paper between his vibrations) With the full-bodied, virile tone? With his amazing resort just the once to voix-mixte for a high note that single-handedly persuaded me that this old French trick of half-head-voice can really work? With his dead-centre-of-the-note pair of high C#s in “Ange adorée”? With the rock-solid declamation of “Nature immense” in Act IV, both thrilling and deeply moving? (Aeneas is plainly on the cards somewhere down the line, please God in time for the ROH revival as I don’t think I can sit through another performance by Brian Hymel as long as I live). Or with the sheer effortless beauty of the sound, ductile, and yet not so much warm as clarion? Yeah, I’m going with the latter. This must be the sort of tenor sound Berlioz – and Rossini before him, from whom the Frenchman inherited it – had in his mind’s ear when writing those sudden, impossible excursions way, way above the stave: the voice of Adolphe Nourrit (and let us trust that Mr. Spyres enjoys an entirely different fate). If Covent Garden cannot persuade the sooty-lashed one to sing Arnold in the upcoming Guillaume Tell – thereby guaranteeing that one of their latter-day exhumations of French grand operas doesn’t end up deader than the average Dodo – I’d be perfectly happy to hear Michael Spyres instead, whose greater baritonal heft and generally fleshier sound might be even more close to the ideal."
Stephen Jay-Taylor, Opera Britannia
"in the title role Michael Spyres rose impressively to the challenges of his invocation, “Nature immense”. Secure right up to his top notes, the American tenor has plangent tone ideally suited to this music."
John Allison, The Daily Telegraph
"This must have been what Berlioz had in mind when he wrote the part, a flinty penetrating tenor, strong and even throughout its wide range, weighty but nimble. Singing without a score (the only one to do so) proved more than a feat of memory - Spyres has the part completely under his skin. And while his accent would never convince a native, his French was so clear and correct the surtitles became superfluous (good job, as his head was blocking my view anyway). A couple of shaky top notes revealed the effort in their attainment, but otherwise this was as perfect a performance as you could hope for. Folks, he was better in this part than Jonas Kaufmann."
Intermezzo Blog
Pesaro 2013 (Concerto di belcanto, La donna del lago
Guillaume Tell (Rossini in Wildbad, 07/2013
„One made acquaintance with Michael Spyres, a singer without reason to be scared of the frightening high notes and who nailed all the top Cs with aplomp. At the same time, with even vocal lines and colours, he also knew how to portray the inner conflict of his character.“
Gerhard R. Koch, FAZ
„… not only does he tackle the extreme top range – numerous high Cs and Csharps – absolutely smoothly, he also possesses the penetrating voice of a young hero. And on top he is a most subtle actor.“
„... faszinierenderweise bewältigt er nicht nur die abstruse Höhe – mehrere hohe Cs und Cis' – vollkommen geschmeidig, sondern verfügt auch noch über die Durchschlagskraft des jugendlichen Helden. Ein sensibler Gestalter ist er obendrein.“
Michael Stallknecht, SZ
„Michael Spyres managed this partly murderously high tenor role with verve and steady intonation.“
„Michael Spyres stemmt die teils mörderisch hohe Tenorpartie mit Verve und stabiler Intonation.“
Werner Müller-Grimmel, Stuttgarter Nachrichten
„Michael Spyres shines in the demanding role of Arnold with breathtaking high notes, without pushing or giving the impression of being strained.“
„Michael Spyres glänzt in der anspruchsvollen Partie des Arnold mit atemberaubenden Spitzentönen, ohne dabei zu pressen oder angestrengt zu wirken. Dass man diesen Tenor hier in Bad Wildbad verpflichten konnte, dürfte der Tatsache zu verdanken sein, dass Spyres' große Karriere hier mehr oder weniger seinen Anfang genommen hat.“
Thomas Molke, OMM
„Michael Spyres with a glamouros high Belcanto tenor who masters the breakneck demands of his extensive part with bravura.“
„Michael Spyres mit glanzvoll hohem Belcanto-Tenor, der auch exorbitant halsbrecherische Anforderungen seines umfangreichen Parts mit Bravour meistert.“
Eckehard Uhlig, Die Deutsche Bühne
„an exemplary performance. His clear French articulation, the steadiness of his vocal line, the flexibility of his register changes, effortless projection also of the extreme top range are among his many advantages. A staunch stage presence and an endearing personality complete the positive impression.“
„An der Spitze einer bis auf eine Ausnahme niveauvollen Besetzung stehen die beiden männlichen Hauptgestalten. Aufgrund der gefürchtet schweren Anforderungen an den Part des Arnold Melchthal gewähren wir ihm den Vortritt vor dem Titelrollenträger. Michael Spyres Aufstieg zu einem der führenden Vertreter des Barytenors ist seit seinem hiesigen Debut 2007 eng mit Rossini in Wildbad verbunden. Nach zahlreichen Rollendebuts in teils exorbitant schweren Partien an zunehmend renommierten internationalen Bühnen dürfte er hier nun eine weitere Stufe nach oben erklommen haben, denn seine Leistung kann nicht anders als exemplarisch bezeichnet werden. Von der klaren französischen Artikulation, über die Kontinuität seiner Linie, der flexiblen Registerschaltung, dem mühelosen Tonansatz in den höchsten Regionen bis zur transparenten emotionalen Vermittlung von anfänglicher Liebeszärtlichkeit zum kämpferischen Umschwung reicht die Palette seiner Vorzüge. Abgerundet werden sie noch durch ein entschiedenes Auftreten und eine sympathische Persönlichkeit.“
Udo Klebes, Der Neue Merker
„Star tenor Michael Spyres … managed to demonstrate all of his strength.“
„Startenor Michael Spyres, in der nur schwer zu besetzenden Rolle des zwischen Liebe und Patriotismus hin und her gerissenen Arnold Melchthal, konnte all seine Stärken ausspielen.„
Focus (dpa)
„world class singing: … Michael Spyres in the role of Arnold Melchthal, which is full of high Cs. He hits them all and even some notes above that.“
„Im Dreierzentrum die schiere Weltklasse: ... namentlich jedoch Michael Spyres in der mit hohen Cs nur so gespickten Rolle des Arnold Melchthal. Er trifft sie alle und noch einiges darüber. Das Schönste an diesem eher weich-belkantesken Tenor ist freilich, dass er die Höhenraketen aus der perfekten Phrasierung heraus gewinnt und in eine souveräne große Linie einbindet.“
Badische Zeitung
„Not only the aria „Asile héréditaire“ showed the solid position of his voice, the eveness of his singing, the ability to integrate the high notes into the vocal line. He also demonstrated the inner conflict of the role convincingly.“
„... [Sänger wie] der Tenor Michael Spyres kommen zurück, obwohl sie längst in Berlin, London, Mailand, Paris oder Salzburg singen.
Der Amerikaner, der u.a. in Wien studiert hat, war 2007 erstmals in Wildbad zu hören und kehrte nun in der gefürchteten Partie des Arnold zurück. Nicht nur in der Arie „Asile héréditaire“ erwies sich der sichere Sitz seiner Stimme, die weitgehende Ausgeglichenheit der Tonbildung, die Fähigkeit, auch die Höhen in die Linie einzubinden. (...) Überzeugend dargestellt ist auch der innere Konflikt Arnolds: Die Liebe zur Habsburgerin Mathilde lässt ihn dazu neigen, sich mit den Besatzern zu arrangieren, bis er die Nachricht vom gewaltsamen Tod seines Vaters erhält. Spyres kann glaubhaft machen, wie sich der pragmatische, am privaten Glück hängende junge Mann wandelt, wie er sich selbst zum verzichtenden Heros stilisiert, der Mathilde entschlossen zurückweist.“
Werner Häußner , Der Neue Merker
„Rossini tenor Michael Spyres in the role of Arnold Melctal was convincing... . Spyres is a baritenor and the basis for his well placed, bright high notes is a dark-coloured middle voice.“
„Michael Spyres konnte als Rossini-Tenor in der Rolle des Arnold Melctal überzeugen; es ist dramaturgisch nicht die typische schmachtende Liebhaber-Tenorrolle der italienischen Oper; aber sie erfordert mindestens deren Fähigkeiten. Spyres sang als baritenore aus einer dunkel timbrierten Mittellage heraus gut getroffene helle Spitzentöne... .“
Manfred Langer, Der Opernfreund
„Especially Foster-Williams and Spyres as Tell and Arnold: What vocal charisma! What energy on stage!“
„Großer Beifall, Bravos, musikalisch (...) ein Ereignis. Vor allem Foster-Williams und Spyres als Tell und Arnold: Welches stimmliche Charisma! Welche Energie!"
GEA, Reutlinger Generalanzeiger
„the impressive tenor Michael Spyres as Arnold. What charisma! What energy!“
„Viele junge Stimmen hat er für Wildbad entdeckt, die mit Leidenschaft agieren, so auch hier, insbesondere der beeindruckende Tenor Michael Spyres als Arnoldo.„
Bernhard Doppler, Deutschlandradio Kultur
„Spyres has a phantastic, clear tenor voice, which is perfect for 'Grand Opera'. He has convincing high notes, considerable volume and had his strongest moments in the first two acts. The duets with Tell and Mathilde were incredibly well sung, as was the trio in the second act with Tell and Walter.“
„Michael Spyres (begin deze maand nog geïnterviewd door Place de l’Opera) hield het echter bij de latere traditie en bleek zeer goed tegen die taak opgewassen te zijn. Tegelijk toonde hij ook affiniteit met de lichtere manier van zingen, zoals Nourrit .
Spyres heeft een fantastische, klaroenachtige tenor, die perfect geschikt is voor de ‘grand opéra’. Een makkelijke hoogte en een goed volume. Zijn sterkste momenten lagen in de eerste twee aktes. De duetten met Tell en met Mathilde waren ongekend goed gezongen, net als het terzet in de tweede akte met Tell en Walter.“
Lennaert van Anken, Opera Magazine NL
„His sense for nuances, the quality of his French pronouncation and his musicality are admirable.“
„Arnold, enfin, est interprété par Michael Spyres, un ténor en passe d’accéder au premier rang des rossiniens et dont la fidélité à Bad Wildbad, quand des cachets plus élevés l’attendent ailleurs, révèle une intégrité encore intacte. Il choisit dans l’air célèbre d’émettre le fameux contre-ut du rôle comme on le fait depuis Gilbert Duprez, en voix de poitrine, et non en falsetto comme le souhaitait Rossini. Il en a les moyens et aussi l’intelligence de ne pas appuyer ou de forcer si bien que le résultat audible s’accorde très exactement au climat de mélancolie douloureuse exprimé de façon si poignante par la musique. Evidemment ses duos avec Mathilde perdent un peu, pour les raisons indiquées plus haut, de leur fascinante beauté mais comme il y a deux ans dans Le Siège de Corinthe on admire chez lui la tenue, la netteté, le sens des nuances, la qualité de la prononciation du français et l’intention constante de musicalité.“
Maurice Salles, Forum Opéra
Candide (Vlaamse Opera, 6/2013
"he adopts all his technical knowledge as experienced Rossini-singer into service for Bernstein, especially regarding his messa di voce and breathcontrol that allows him to produce some notes of spectacular length. His diction is always clear... . Above all, his acting is on the same level of his singing and he offers a refined portrayal of the role. ... was it just a coincidence that the young baritenor ... shared the stage with one of his most illustrious predecessors ... Chris Merritt?
"le ténor met au service de Bernstein toute la science acquise en chantant Rossini, notamment l'usage de la messa di voce et une gestion du souffle qui produit quelques notes d'une longueur spectaculaire. La diction, toujours claire, ne pose aucun problème à celui qui s'exprime ici dans sa langue maternelle. Surtout, l'expression scénique se hisse au niveau de l'interprétation musicale, offrant de Candide un portrait accompli. Par une coïncidence troublante (mais s'agit-il d'une coïncidence ?), le jeune baritenore, au sens rossinien du terme, partage l'affiche avec l'un de ses plus illustres prédécesseurs ... Chris Merritt."
Christophe Rizoud, Forum Opéra
"His Candide was great. (...) The absolute highlight and the only moment that created goose bumps was his solo "Nothing more than this". ... Spyres's effortless low and high register.
"Net als in de vorige serie in 2009 zingt tenor Michael Spyres in Antwerpen de titelrol. Spyres maakt als tenor een succesvolle ontwikkeling door en is steeds vaker te vinden op grote operapodia, van de zomer zelfs in Rossini-mekka Pesaro.
Zijn Candide was geweldig. In de regie van Lowery was hij een in chinos en collegeblazer gestoken jongeman, een tikje nerdy, met een grote bril. Absoluut hoogtepunt – het enige dat kippenvel opriep – was zijn solo ‘Nothing more than this’. Het is een musicalachtig lied, maar waar ze in de musical soms enorm moeten stuwen en belten, scheerde Spyres moeiteloos door alle hoogtes en laagtes.
Vergeleken met zijn Rossini-rollen zal Candide geen enorm grote uitdaging voor hem zijn, maar in elke noot die hij tijdens de avond zong, hoorde je zijn kwaliteit. In de agenda op zijn website staat een veelbelovend zinnetje over Il viaggio a Reims in Amsterdam, in de komende jaren."
Francois van den Anker, Opera Magazine NL
"With his beautifully shaped voice and perfect diction, he is the best singer of the night"
"De titelrol is gelukkig wel dezelfde gebleven. Vier jaar geleden was Michael Spyres een ontdekking, ondertussen hebben we hem nog een paar keer gehoord als Tamino en Faust. Zijn Candide is nog altijd het beste van de hele avond, met zijn mooi gevormde stem en perfecte dictie."
Gopera.com
La donna del lago (Covent Garden, 5/2013
"The star of the show is the young American Michael Spyres. He had to take on the part of the “monstrous, hairy, pillaging” Rodrigo at short notice, but you wouldn't know it: in the “spine-tingling” Act II trio he traded high Cs with Juan Diego Flórez “like a brave young boxer swapping punches with a champ”."
The Week
„... one of those electrifying short-notice debuts that can make a career. (…)
Then there's Spyres, whose mix of baritonal lower registers with a Flórez-like ease and flexibility at the top is sensational and unique.“
Tim Ashley, The Guardian
„But the shock of the night was American tenor Michael Spyres who, scheduled to make his debut later in the run, stepped in to replace the indisposed Colin Lee as highland chieftan Rodrigo.
His knockout tenor isn’t so much full-throated as full-bodied, his support so strong that his huge, amazingly virile sound gleams, rising from an astoundingly well-grounded baritone to a ringing top C. It’s a world away from Florez, which made their second act vocal duelling over DiDonato into the most exhilarating, pulse-quickening singing bout - yes, that’s the word – I think I’ve ever heard.“
David Benedict, Theartsdesk.com
„... Michael Spyres, whose remarkable vocal range and technical facility were deployed to excellent effect.
Barry Millington, London Evening Standard
„Standing in at short notice as Rodrigo is the charismatic American tenor Michael Spyres, possessor of a sound to equal Florez’s in the high range while also able to deliver a wonderfully baritonal warmth.“
Michael Church, The Independent
„Michael Spyres, a high tenor who can call on a cavernous lower register, making an auspicious debut as Rodrigo.“
Rupert Christiansen, The Daily Telegraph
"Spyres very nearly stole the entire show in a display of vocal resources from top Cs to an incredibly firm baritone lower register – a real ‘baritenor’ if you will... . In Act II, there is a duet between Elena and the king, which turns into a trio when Rodrigo confronts them. Here, Flórez and Spyres traded top Cs like blows in a duel – Flórez’s more rapier-like in attack, Spyres’ a little more blustery. Spyres sings the title role in Benvenuto Cellini at ENO next season and performances such as this should do everything to shift ticket sales at the Coli.“
Mark Pullinger, Opera Britannia
„No less impressive is Michael Spyres as Rodrigo whose lower register is blessed with power and grit, and who can be menacing or soft as required in the upper register.“
Sam Smith, MusicOMH
"... Michael Spyres’ baritonal Rodrigo contrasts nicely with Flórez’s high-flying King."
Andrew Clark, Financial Times
"Surprise of the evening is Missouriborn tenor Michael Spyres, replacing an indisposed Colin Lee as Rodrigo. His storming performance and voice ranging from high tenor to baritone made for an electrifying debut."
Clare Colvin, Sunday Express
"Brilliantly supported as she [Joyce di Donato] is by Barcellona, Florez and Spyres... ."
Anna Picard, Independent on Sunday
„Great singing is the thing in this production, but actually the "stars" are largely outshone by their less famous colleagues. (…) Also magnificent is Michael Spyres, brought in last minute to cover the "baddie role" of Rodrigo after an ailing Colin Lee was forced to pull out. Rodrigo is a role of extremes, even within the bel canto repertoire, requiring heroic weight in the extended coloratura passages, very high singing, and also a very strong low register. This was an exceptional début - Spyres delivered all of this in spades, offering full support of the vocal line across at least two whole octaves from a very rich, powerful, warm and beautiful baritonal low register, to a firm and nicely coloured middle, to a clear and almost as beautiful high register. He's not baritonal in the Kaufmann sense because the top is nowhere near as covered and has authentic Italianate ping. The coloratura is accurate and exciting. ... I rate this amongst the very best tenor singing we've heard this season. Physically too, he was very convincing, and I can't wait to hear more from him.“
Capriccio Blog
„... Rodrigo (gloriously sung by American tenor Michael Spyres)... .“
Daily Express
"They’re matched here by some excellent work from mezzo Daniela Barcellona, tenor Michael Spyres and conductor Michele Mariotti. Bel canto (beautiful singing) has never seemed so ‘bel’. "
Metro
"Michael Spyres (standing in for an indisposed Colin Lee) gives his dramatic tenor a terrific workout through the punishing tessitura of his role."
Jonathan Lennie, Time Out London
„Spyres, who was scheduled to sing Rodrigo later in the run, is an adequate foil to Flórez in the sparky tenor rivalry which is as much about vocal prowess as getting the girl.“
Simon Thomas, Whatsonstage.com
„Michael Spyres, brought in from later in the run to replace an unwell Colin Lee as Highland Chieftain Rodrigo, acquits himself honourably... .“
George Hall, The Stage
La Muette de Portici (Bari, 3/2013
"On the vocal side of the evening, the performance of the American tenor Michael Spyres, who sang the difficult role of Masaniello is worth mentioning: In our opinion, he managed to find the right balance between technique and interpretation in his grand aria in the fourth act."
"Sul versante prettamente vocale, va segnalata la performance del tenore americano Michael Spyres impegnato in un ruolo non privo di difficoltà, quello del sanguigno Masaniello, il quale ci è parso trovare un giusto equilibrio tecnico-interpretativo nella grande aria dell’atto quarto."
Dino Foresio, OperaClick.com
„...il timbro deciso e accattivante di (…) Michael Spyres.“
„... Michael Spyres's firm and disarming timbre.“
Antonio V. Gelormini, affariitaliani.it
„Michael Spyres was a versatile Masaniello who stood well through his demanding and long part“
"... il Masaniello di Michael Spyres, versatile e resistente nella sua parte impegnativa e lunga."
Stefania Gianfrancesca, Puglia In
„vocally exemplary“
„vocalmente esemplare“
Alessandro Romanelli, L'Orecchio di Dioniso
„splendide le prove del soprano Maria Alejandres (Elvire) e del tenore Michael Spyres (Masaniello)“
Dinko Fabris, La Repubblica
Les Contes d'Hoffmann (Liceu, 2/2013
"The audience especially appreciated Michael Spyres as Hoffmann, who faced up to all the vocal difficulties of the role. ... he always proved himself brave and very respectful towards the score. ... a refined timbre and a powerful, virile emission of tone; easy top notes... ."
"Le public a particulièrement apprécié le travail de Michael Spyres, Hoffmann, qui n’a escamoté aucune difficulté vocale. Qu’il ait été amoureux ou déçu, il s’est toujours montré vaillant et très respectueux des indications de la partition. Il a récité ses vers sans le moindre pathos, se limitant à mettre le texte bien en relief avec un timbre affiné et une émission puissante et masculine ; très à l’aise dans le registre aigu, il n’a pas rechigné à descendre vers le grave pour exprimer, désespéré, les côtés plus sombres du personnage."
Jaime Estaba, Webthea
"... agile and involved on stage, especially convincing when playing Hoffmann's different emotional states such as enthusiasm, melancholy, passion and cynicism – emotions with which the poet is living his different love affairs. He has his best moments when he is phrasing in the central register, when he is skillfully shading thanks to a convincing use of the dynamics."
"Il tenore americano Michael Spyres si tuffa con entusiasmo in questa sfida: scenicamente risulta vivace e partecipe, credibilissimo nel delineare di volta in volta l’entusiasmo, la malinconia, la passione e il cinismo con cui il poeta vive i suoi differenti amori; trova i suoi momenti migliori quando può fraseggiare nel registro centrale, sfumando con abilità grazie a un convincente uso delle dinamiche."
Daniele Galleni, OperaClick
"Michael Spyres, North-American tenor, was a very agile Hoffmann. He has a voice of great beauty, with seemingly easy top notes, always with high quality. His singing was growing and improving during the performance, offering us a very credible character. A young singer to follow!"
"Michael Spyres, tenor norte-americano, foi um Hoffmann muito ágil em palco. Tem uma voz de grande beleza, com agudos aparentemente fáceis e de grande qualidade. Achei que a qualidade que foi crescendo ao longo da récita, oferecendo-nos uma personagem muito credível. Um cantor a seguir"
Fanáticos da Ópera
"Michael Spyres, with his light and clear voice, was a musical Hoffmann... ."
Xavier Cester, Opera Magazine UK
Beatrice di Tenda (New York Carnegie Hall, 12/2012
"The one performer who delivered consistently idiomatic bel canto singing was tenor Michael Spyres, as Orombello, the romantic lead. He applied dynamic and coloristic shading and a sure sense of rubato to give the music drive, structure and purpose. Spyres showed that Beatrice can be more than just an occasion for a good healthy sing; it is a work of true lyrical distinction. He is the kind of advocate that bel canto needs in order for its true beauty to emerge."
Fred Cohn, Opera News
"... the bright-voiced, ardent tenor Michael Spyres."
Anthony Tommasini, The New York Times
"Spyres' honey-tinged voice embraced both virile power and barely audible tenderness... ."
Verena Dobnik, The Washington Post
"Michael Spyres, already in demand in a wide variety of roles of the lyric tenor and heroic-lyric repertory—Raoul, Arnold, Masaniello—brought a coolly beautiful grace to Orombello’s music, making us wish there was more of it. Although he never seemed under any strain, Spyres, originally trained as a baritone, sang the role with a dark quality that made one suspect Arturo (in Puritani) and Elvino (in Sonnambula) would not suit him as well as, say, Pollione (in Norma). But other tenors with baritonal backgrounds (Bergonzi, Domingo) have used bel canto as a springboard to long and wide-ranging careers."
John Yohalem, Parterre Box
"Tenor Michael Spyres sang the doomed Orobello. His is a bright, beautiful tenor voice that shimmered in the more dramatic passages. One could almost hear colors akin to a young Franco Corelli."
Jake Johansen, Examiner.com
"Michael Spyres as Orombello has a lyric tenor with a solid, consistent sound armed with a metallic edge that makes it project very well."
Bachtrack.com
"When you have on stage in addition to the fine Collegiate Chorale, a lineup like Angela Meade, Jamie Barton, Michael Spyres and Nicholas Pallesen, lovers of the human voice come out in droves. (...)
Michael Spyres has a rich, firm voice. His top is secure and his phrasing incisive. He stood out recently in a Carnegie performance of Beethoven's Ninth. (...)
He was in the correct context in the thankless role of Orombello. He explains how he brings a back story to his vocal lines if the opera’s context is thin and unclear."
Susan Hall, Berkshire Fine Arts
„Michael Spyres was an elegant Orombello; the tenor is known for his high-lying Rossini roles but got to show off very little in this part. His most beautiful moment is in the second-act prayer, “Angiol di pace”, the loveliest trio Bellini ever wrote... .“
Robert Levine, Classics Today
"As the ardent Orombello, Michael Spyres displayed consistent vocal strength and bright sound, using good diction and phrasing. Although the character of the besotted courtier is hardly nuanced, Spyres sang with impressive commitment as well as fine technique."
Operaobsession Blog
"Michael Spyres is another one of those young bel canto talents who gets heard in concert settings but not nearly enough on the big stage. Here, he sang Orombello with just the right amount of "push" in his instrument, producing pleasing tone and nailing the ornamentation. There was enough volume to sound heroic, but more importantly the tonal column was beautiful and pure."
Superconductor Blog
La damnation de Faust (Vlaamse Opera, 9&10/2012
"A lot of singers of the role of Faust are struggling with the C sharp, but for Michael Spyres it doesn't pose any problem. He is one of today's best Rossini interpreters and Rossini demands even more. His French is flawless, it is impressive how well projected his voice is (...). His low register alone – sensational as always – was worth the journey to Gent. But like each time with Spyres, what excites enthusiasm apart from the singing is the way in which the artist portays his character. This grotesque and pitiful Faust reveals a face too human to leave us cold. After "Ciro" in Pesaro this summer, this was another more than successful role debut for one of the most fascinating tenors of our days."
"Tout comme le duo d’amour, qui voit Faus escalader seul les sommets. L’Ut dièse, sur lequel trébuchent tant de titulaires du rôle, ne pose aucun problème à Michael Spyres. Rossini, dont il est aujourd’hui l’un des meilleurs interprètes, exige davantage. Le français est sans bavure, la projection impressionnante au point de friser la surexposition, l’ampleur suffisante pour surmonter l’Invocation à la nature. Le grave – toujours aussi sensationnel – vaut à lui seul le détour. Mais comme à chaque fois avec Spyres, ce qui enthousiasme, outre le chant, c’est la manière dont l’artiste investit son personnage. Ce Faust grotesque et pitoyable montre un visage trop humain pour laisser indifférent. Après Ciro à Pesaro cet été, nouvelle prise de rôle réussie donc, et même au-delà, pour l’un des ténors les plus captivants du moment."
Christophe Rizoud, Forum Opéra
"Vocals were fine by everyone, including Michael Spyres in the demanding title tenor role, which required a huge percentage of the score’s delivery."
Phillip Woolever, Opera Today
"Michael Spyres's first Faust gives us good reasons to be enthusiastic: a homogenous emission of sound, pure phrasing, magnificent legato... . "
"Le premier Faust de Michael Spyres suscite l’enthousiasme : émission homogène, ligne pure, legato somptueux... . Doté d’une affreuse coiffure rousse, le ténor américain rend le personnage aussi pitoyable qu’un Wozzeck."
Sébastien Foucart, Concertonet
"... Michael Spyres's superb Faust, sung with a smooth and simultaneously strong voice."
"... superbe Faust, suave et en même temps corsé, de Michael Spyres."
Nicolas Blanmont, La Libre
"... Michael Spyres - a superb tenor (...), a Faust full of nuances across the full range..."
"... un ténor superbe, Michael Spyres, aux cheveux roux en pétard, un Faust tout en nuances, sur toute la tessiture..."
Michèle Friche, Le Soir BE
"Michael Spyres gave his role debut as Faust. He also completely adapted to Gilliam's production and sang with a beautiful, bright timbre."
"Michael Spyres debuteerde als Faust. Ook hij paste zich volledig in de visie van Gilliam in en zong met een mooi en licht timbre."
Lucrèce Maeckelbergh, Klassiek Centraal
"magnificent'"
"magnifique"
Caroline Alexander, Webthea
Ciro in Babilonia (Pesaro, 8/2012
“Michael Spyres sings Baldassare with a voice that not only is flexible and attractive but also conveys drama.
As expected, he [Will Crutchfield] ensured that vocal ornamentation was gracefully applied and also showed an awareness of niceties that other conductors are oblivious to, such as encouraging singers to close quick numbers with panache yet stylishly; Ms. Pratt and Mr. Spyres are exemplary here.”
George Loomis, The New York Times
Michael Spyres gave a singular performance, thanks to the richness of colours and to his phrasing, especially in Baldassare's grand aria “Qual crudel, qual trista sorte”.
“Non è stato da meno Michael Spyres, tenore, che, specie nella grande aria di Baldassarre “Qual crudel, qual trista sorte”, ha messo in campo una ricchezza di colori e di fraseggio che hanno segnato un'interpretazione unica.”
Antonio Castaldo, Corriere dello spettacolo
“Spyres could confirm the impression he recently left in “La muette de Portici” in Paris and as Candide in Antwerp: in addition to his youth, he demonstrates a perfect baritenor in a very tricky part (after the mad scene … big and well deserved ovations).”
“Spyres ha vuelto a confirmar la impresión causada recient emente en La muette de’ Portici en París y antes en su Candide de Amberes: para su juventud, un baritenor perfecto en una parte en la que arriesga mucho (su escena de la locura, poco lograda dramáticamente -pensar lo que sería en el futuro la de Semiramide- fue acogida con grandes aplausos, también merecidos).”
Jorge Binaghi, Mundoclasico.com
“He cut a good figure, his very long lament Qual crudel, qual trista sorte made a case for the greatness of the Rossini-to-come, and earned him a real ovation (real ovations are long and loud in Pesaro). “
Michael Milenski, Opera Today
“... the singing is phantastic, especially from (…) tenor Michael Spyres as Baldassare with his big, strong but nevertheless incredibly flexible tenor.”
“... gesungen wird phantastisch, insbesondere von (…) dem großen, kräftigen und dennoch unglaublich beweglichen Tenor von Michael Spyres als Baldassare.“
Derek Weber, klassikinfo.de
“Michael Spyres convinces as villain Baldassare with a secure high register and his flexible tenor... .”
“Michael Spyres überzeugt als Bösewicht Baldassare mit höhensicherem und beweglichem Tenor und verleiht dem babylonischen König in seiner Arie "Qual crudel, qual trista sorte", wenn er verzweifelt überlegt, wie er dem fatalen Orakelspruch entgehen könne, beinahe schon bemitleidenswerte Züge.”
Thomas Molke, OMM
"The American tenor Michael Spyres was a superb Baldassare, with an enormous vocal extension, especially in the long mad scene, in which he was constantly singing scales which went from very low to very high notes and vice versa.”
“De Amerikaanse tenor Michael Spyres was een superbe Baldassare met een enorme stemomvang Vooral tijdens zijn lange waanzinsscène ging hij onvermoeibaar van hoog naar laag en terug.”
Peter Vandamme, Opera Magazine Netherlands
"A singer who certainly made progress since his previous appearances, including in Bad Wildbad, is the American tenor Michael Spyres. ...In the role of Baldassare, Spyres impressed with his passage work, high notes and the octave jumps which are so typical for these roles. We would not be surprised if next year one would ask him to sing Rodrigo in the planned concert performances of "La donna del lago" in Pesaro."
"Een zanger die zeker de nodige vooruitgang geboekt heeft sinds zijn eerdere optredens in onder andere Wildbad, is de Amerikaanse tenor Michael Spyres. ... Spyres maakte als Baldassare indruk met de aartsmoeilijke coloraturen, de hoge noten en de octaafsprongen zo typisch voor dit soort rollen. Het zou ons niet verbazen als hij volgend jaar gevraagd wordt om Rodrigo te zingen in de geplande concertante voorstellingen van “La donna del lago”. In Wildbad zingt hij in juli 2013 normaal gesproken in een ultravolledige versie van “Guillaume Tell”."
Operagazet.be
Michael Spyres tackles the difficulties of the role of Baldassare with vigor and astonishing security. He gives a moving, ravishing performance, especially with his dizzying passage work and with the opulence of his low register. … he is also shaping the musical lines in an always varied and interesting way.”
“Michael Spyres affronta le difficoltà della parte di Baldassare con slancio e guasconeria coinvolgenti ed entusiasmanti, soprattutto nella resa della vorticosa coloratura e nella pienezza delle note gravi: ... anche l’accento è sempre vario e interessante.”
Gabriele Cesaretti, OperaClick
“Michael Spyres as Baldassare asserted himself with balance and against the extensive vocal demands of this baritenor role... .”
“Michael Spyres in Baldassare ha fatto valere con equilibrio e freschezza quella estesissima vocalità di baritenore che anticipa i ruoli analoghi nell’Aureliano in Palmira e in Eduardo e Cristina.“
Andrea Zepponi, GBOpera
“Con tecnica collaudata giunge a scurissime profondità, per poi elevarsi al grido straziante, passando da passionali centri invocanti. L’utilizzo dei vari registri da parte dei singoli cantanti è stata una caratteristica di tutta l’opera riscontrabili infatti anche nelle prestazioni delle voci maschili che affascinano sia negli acuti che nei gravi.
Michael Spyres nell’interpretazione significativa di Baldassarre rientra in questo tipo di duttile vocalità ricca di colori ed imperiosi sentimenti esaltati dagli scuri che imprimono verità al personaggio.“
Blog “Unavocepocofa”
“Jessica Pratt and Michael Spyres are doing justice to the very difficult parts of Amira and Baldassare.”
“Jessica Pratt e Michael Spyres sono all'altezza delle parti molto impegnative di Amira e Baldassarre. “
Mauro Mariani, Il giornale della musica
Ciro in Babilonia (Caramoor, 7/2012
“The biggest single ovation of the night went to the villain, the tenor Michael Spyres, who brought his bright, penetrating voice and brilliant technique to the role of Baldassare. In Act II (...), Baldassare sings a tormented bel-canto mad scene. Mr. Spyres, ranging from chesty low tones to soaring high notes, gave such a fearless account that he was called back to the stage for a bow.”
Anthony Tommasini, The New York Times
“Rossini didn't quite have his dramatic timing down yet, and scenes alternated between lengthy stretches of dull recitative and slow-fast arias that could be as long as da capos but were not always inventive enough to sustain interest. It was up to the three principal singers to make them fly. One who could was Michael Spyres (Baldassare), who deployed his precise, scintillating tenor with absolute confidence and abandon, and made the insinuating runs and fierce high notes into a portrait of nastiness. One fluid upward swoop in Act II provoked an audible gasp of "Wow!" from an audience member, and he was called back to the stage for an extra bow after his mad scene.”
Heidi Waleson, The Wall Street Journal
“After Michael Spyres as Baldasarre completed an incredibly difficult aria, one solo 'Wow' from the audience was followed by boisterous and appreciative crowd cheers.”
Susan Hall, Berkshire Fine Arts
"Michael Spyres gave a marvellously nuanced and fascinating characterization of Baldassare with his strong, flexible tenor voice and his ability to shape his line with elegance and expression.
Michael Miller, New York Arts
"Throwing the opera a bit off balance is the “mad scene” for Baldassare after the notorious “Mene, mene” writing on the wall foretelling the conquest of Babylon. At Caramoor, Michael Spyres hurdled page upon page of ornate coloratura extending well over two octaves, including—unusually for a tenor specializing in bel canto—easy access to dark, muscular chest tones around low C. After he ripped through one particularly rangy roulade, an overwhelmed audience member yelled “wow!,” and when he finally reached the end of this spectacular showcase and lurched offstage, the whole crowd erupted in cheers and bravos until he returned for a solo bow. "
James Jorden, Musical America Worldwide
“However, not even the most loyal opera fan-boys could keep tenor Michael Spyres from stealing the evening. As Baldisare (Belshazzar) Mr. Spyres displayed an astonishing command over his instrument, rising to dizzy heights of hysteria in the banquet scene and plunging down the stave in his depiction of the ruler's despair. Playing the villain of the piece, he nonetheless drew sympathy as a man who had to face the fact that God was, in the end, against him.”
Paul J. Pelkonen, Superconductor.com
“As Baldassare (Belshazzar), tenor Michael Spyres impressed mightily with his technique, stamina and ringing high notes, especially in his "mad scene" after he has seen the writing on the wall foretelling his demise.”
Mike Silverman, San Francisco Chronicle
La Muette de Portici (Paris, 4/2012
“As Masaniello, the tenor Michael Spyres shows a genuine affinity for French style. He sings buoyantly in the fisherman’s delightful barcarolle and invests the hauntingly beautiful lullaby “Du pauvre seul ami fidèle” with arresting pianissimos... .”
George Loomis, New York Times
“In a part originally written for Adolphe Nourritt, the American tenor Michael Spyres caused a sensation. Both his scenic and vocal agility was remarkable and his Masaniello could already enthuse with his barcerolle. His singing is amazingly natural and the low Ds, and there are several low Ds in the score, impressed with their projection. “Ferme tes yeux” was also mastered skillfully with a sophisticated use of the “voix mixte” and an ability to diminish his notes which made a veritable moment of poetry out of this Neapolitan lullaby. The French pronouncation shined with its clarity and the volume of his voice as well as his courage was notable, too. The cherry on the cake, a resounding high C in the end confirmed that Masaniello is the firstborn brother of Raoul in Les Huguenots.
“Dans un rôle pensé à la mesure d'Adolphe Nourrit, le ténor américain fait sensation. Remarquable d'aisance scénique et vocale, un tel Masaniello enthousiasme dès sa barcarolle. Le chant est confondant de naturel et les ré graves, qui en laisseraient plus d’un sur le carreau, impressionnants de projection. A l'opposé de la tessiture, « Ferme tes yeux » est tout aussi habilement négocié avec un usage varié de la voix mixte et une capacité à filer les sons qui font de la berceuse du napolitain un véritable moment de poésie. La prononciation du français brille par sa clarté. La puissance est au rendez-vous, la vaillance aussi. Cerise sur le gâteau, un contre-ut final percutant confirme que Masaniello est le frère aîné de Raoul des Huguenots.”
Christophe Rizoud, Forum Opéra
"American tenor Michael Spyres as Masaniello distinguishes himself from the rest of the cast with his subtly nuanced and colourful singing. Only he is bringing some sensibility into this "Muette"... .
“Le ténor américain Michael Spyres se distingue par son chant subtilement nuancé et coloré qu'il prête à Masaniello. Lui seul apporte un peu de sensibilité à cette « Muette » en définitive très sonore. “
Philippe Venturini, Les Echos
“... Michael Spyres' remarkable Masaniello: In this role, written for Adolphe Nourrit, the tenor is overwhelming us with a delicate musicality, never boring in the soft parts of the role... A lasson of taste... .”
“... le remarquable Masaniello de Michael Spyres : dans ce rôle écrit pour Adolphe Nourrit, le ténor nous abreuve d’une musicalité délicate dans ses effets, jamais mièvre dans la tendresse ni tonitruant dans la révolte. Une leçon de classe... .”
Chantal Cazaux, L'Avant Scène Opéra
“Michael Spyres is definitely dominating the cast with an impressive commitment on stage... . Particularly at ease in the low register, he deals effortlessly with all the diffiulties of this breakneck role, with a perfect diction.”
“Le ténor Michael Spyres domine sans conteste la distribution avec un engagement dramatique impressionnant dans l’interprétation de Masaniello. Particulièrement à l’aise dans le registre grave, il se joue de toutes les difficultés techniques de ce rôle périlleux, avec une diction parfaite.”
Florent Coudeyrat, Les Trois Coups
“His acting (especially in the mad scene) and singing are powerful and he has a resonant tenor voice. His barcarole “Amis, la matinée est belle” (2nd act) (…) is refreshing, and his lullaby (...), sung in pianissimo, is very moving.”
“Im Gegensatz dazu verkörpert Michael Spyres als Masaniello die Urkraft des Volkes. Er spielt (besonders in der Wahnsinnsszene) und singt mit kräftigem und klangvollem Tenor erfrischend die Barkarole Amis, la matinée est belle (2. Akt) im Wechselgesang mit dem Chor, und sehr bewegend das pianissimo Wiegenlied für Fenella Ferme les yeux la fatigue t’accable (4. Akt).”
Alexander Jordis-Lohausen, Operapoint
“But the young tenor (…) Michael Spyres is the apex of the opera. His Masaniello is bright and open-hearted, his voice is lucent and warm at the same time, his acting is direct... .”
“Mais c’est le jeune ténor (...) Michael Spyres qui incarne la clé de voûte de l’oeuvre. Son Masaniello, tout de lumière et de franchise, sa voix à la fois claire et chaleureuse, son jeu direct, en font d’évidence un héros.”
Webthea
Michael Spyres (Masaniello), a fervent and sensitive tenor whom the audience owes the most intensive moments of the production... .”
“... l’Américain Michael Spyres (Masaniello), ténor ardent et sensible auquel on doit les moments (...) les plus intenses de la production... .”
Martine D. Mergeay, La Libre
Luckily, there is the male cast: … above all, the extraordinary vocal courage of the prodigious Michael Spyres raised the fate of the performance.
“Per fortuna, c'era il cast maschile: hanno sollevato le sorti della serata l'esecuzione elegante di Maxim Mironov, la presenza inconfondibile di Laurent Alvaro e, soprattutto, l'eccezionale prodezza vocale del prodigioso Michael Spyres.”
Alessandro Di Profio, Il giornale della musica
“Tenor Michael Spyres (Masaniello) sang with a fantastic vigour like a “bête de scène”, bringing ferocious energy to the role of the revolutionary. His duo with baritone Laurent Alvaro (Pietro), Amour sacré de la patrie, rends nous l’audace et la fiereté was the highlight of the evening.”
“Il tenore Michael Spyres (Masaniello) ha cantato con un grande vigore, un vero “bête de scène”, portando l’energia feroce al ruolo del rivoluzionario. Il suo duetto con il baritono Laurent Alvaro (Pietro), Amour sacré de la patrie, l’audace endenze nous et la fiereté è stato il momento più alto della serata.”
Giorgio Bagnoli, Gbopera
“One must emphasize the excellent quality of the whole cast (…), especially the young American tenor Michael Spyres, who knows exactly how to deal with the complex character of the role of Masaniello: “
Doveroso, visto che parliamo di un'opera lirica, sottolineare l'ottimo livello di tutto il cast: Maxim Mironov nel ruolo del seduttore, Eglise Gutiérrez in quello della sua sposa Elvira, e soprattutto il giovane tenore americano Michael Spyres, che sa restituire tutta la complessità del personaggio di Masaniello: fratello premuroso, uomo che crede in valori fondamentali come la giustizia e l?ospitalità, capopopolo quasi controvoglia che ripudia la violenza. Insomma, un martire del potere, ben diverso dallo psicolabile megalomane tramandato dalla storia.
Vega Partesotti, Krapp's Last Post
Rising star tenor Michael Spyres finally came on stage in Two and immediately elevated the entire performance by a notch (or two or three). First, he ‘gets’ French style and is as good at it as anyone currently in the business. And then there is the beauty and richness of his substantial lyric tenor itself. He has the high-flying top notes to be sure, but a real glory of his singing to me is the robust presence of his lower register and his accomplished presentation of the parlando phrases. …the voice is freely and clearly produced in all registers and at all volumes. His extended aria featured some exquisite ‘piano’ passages … . (...) Michael is young, he is talented, and he is making a serious case for ownership of this repertoire.
James Sohre, Opera Today
“Masaniello, her brother and the leader of the rebellion, is sung by the young U.S. tenor Michael Spyres. He has an appealing voice, and his French diction is impeccable.”
Jorg von Uthmann, Bloomberg News
“The young American tenor Michael Spyres who had to deal with the complexly written role of Masaniello, showed courage in the heroic arias and a masterly technique in the cantabile, notable in the magical aria “Du pauvre seul ami fidèle”, written for one of the archetypes of the opera singers of the Romantic period, the tenor Adolphe Nourrit.
“Le jeune ténor américain Michael Spyres, confronté à la complexe écriture du rôle de Masaniello, fait preuve de qualités de vaillance incontestable dans les airs héroïques et d’une appréciable maîtrise technique dans le cantabile, notamment dans le magique air du sommeil « Du pauvre seul ami fidèle », conçu pour un des parangons du chant romantique, le ténor Adolphe Nourrit.”
Frédéric Norac, Musicology.org
“... the excellent Michael Spyres.”
“Vocalement, la distribution est dominée par les humbles (le Pietro de Laurent Alvaro, l'excellent Masaniello de Michael Spyres).”
Serge Martin, Le Soir (BE)
“She [Elena Borgoni] is irresistible, just like the American tenor Michael Spyres, who is an ideal Masaniello. … he is incredible.”
“Elle [Elena Borgoni] est irrésistible comme que le ténor américain Michael Spyres, idéal Masaniello. Bravache sentimental, d’une présence scénique et vocale autant dans la berceuse que lors du contre-ut final, il est époustouflant... .”
Nicole Duault, Altamusica
"Michael Spyres is a superb (...) tenor that we would love to see singing in a larger venue before actually jumping on the bandwagon. He sang his heart and soul out but never doing so to steal the show. His singing was the support of the drama and to the character of Masaniello that he incarnated with brio. Great ovations for him in the end of the premiere and a totally deserved triumph. Bravo!
Opera Cake
“The most interesting singer of the evening, taking on Nourrit’s terrifyingly exposed part as Masaniello (my thought was that you had to be mad to take it on at all), was Michael Spyres, a young American tenor with a voice made for Rossini heroes that had the very distinguished critic thinking of the art of Nicolai Gedda and Gregory Kunde, and me thinking back to Chris Merritt’s early days.”
We Left At The Interval
“It was as act 4 opened and we had a long meditative solo for Masaniello that I began to understand how the plot structure of Rossini's Guillaume Tell could be made to relate to the earlier, influential opera. Spyres was simply stunning in this long scene. Again the tessitura of the tenor part was very high and Spyres coped manfully, mixing full voice with quieter mixed voice in a very expressive way. He developed a fine rapport with Borgogni was his mute sister. (...) Spyres made a strong impression as the dying and deranged Masaniello. (…) Spyres made a strong revolutionary leader but with a vein of thoughtful melancholy. None of the principals seemed at all phased by the technical demands of their roles and all sang quite brilliantly.”
Planet Hugill
“The tenor Michael Spyres gives him [Masaniello] a lot of vocal agility...”
“Le ténor Michael Spyres lui [Masaniello] prête autant d’agilité vocale que de faconde scénique.”
Gilles Macassar, Télérama
"Michael Spyres is American, with a very good French diction and particularly a real, pure tenor sound – warm, round, (…), rich and secure top notes...
Michael Spyres est Américain, avec un très bon français et surtout un vrai franc timbre de ténor, chaleureux, rond (...) ; l’aigu riche et sûr ; une très bienvenue cordialité, sympathique, devenue bien rare chez les ténors (elle va avec la générosité du timbre) ; et tenant très poétiquement après son brillantissime air d’entrée du IV la sublime cavatine rêveuse dite du Sommeil, qui est un des trois ou quatre (on compte très sérieusement) merveilles écrites spécifiquement pour la voix de ténor."
L'Oeil Et L'Oreille
“Michael Spyres (…) performs his part with enthusiasm and sings an electrifying Masaniello”
“Michael Spyres (…) incarne avec enthousiasme un Masaniello au chant électrisant.”
Michael Parouty, Diapason
“Le plateau vocal est de belle tenue. À commencer par Michael Spyres (Masaniello) qui conjugue efficacement les ambiguïtés vocales et théâtrales de son rôle, dont il magnifie la juste dose de vaillance et de fragilité.”
Frank Langlois, ResMusica
“Dans le rôle écrasant du pêcheur Masaniello, le ténor Michael Spyres fait preuve de vaillance...”
Emmanuelle Giuliani, La Croix
“Le duo le plus probant est celui formé par Masaniello et Pietro : le ténor américain Michael Spyres qui incarne Masaniello donne généreusement corps à son rôle de fer de lance dans la lutte du peuple napolitain ; il domine d’une tête son frère d’armes (et bientôt rival), Laurent Alvaro.”
Philippe Dewolf, RTBF
“formidable”
Nicole Duault, le JDD