CD Review | In the Shadows (Erato, 2024)

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In the Shadows
Michael Spyres, baritenor; Les Talens lyriques; Christophe Rousset, conductor
Erato, 2024

The concept behind Michael Spyres’s new album, In the Shadows, is an original one—as is the order of the selected repertoire. It focuses on Wagner’s early works (Die Feen, Rienzi, Lohengrin), but not before first exploring the musical landscape that predated the composer, and which, for the most part, has remained “in the shadows,” earning the album its name.

Spyres expresses himself here in all the main languages of lyric art (French, German, Italian) and in all styles. As soon as you hear Méhul’s “Vainement Pharaon”, you sense a particular attention to the lace-like French diction. In Fidelio, the soloist transforms himself into an expert in German Romanticism, and suddenly takes on greater dramatic depth. Rossini’s “Della cieca fortuna”, the next piece, demonstrates yet another facet of Mr. Spyres—that of a true Italian belcantist. The performance of this little-known aria is prodigal, as the tenor effortlessly handles the stratospheric tessitura imposed by the composer. The same can be said of Bellini’s aria, “Me protegge”, which requires unfailing virtuosity.

Among the more direct influences on the Wagnerian style are German arias written by C.M. von Weber, Spontini and Marschner. The sense of drama, imbued with passion—and the breadth of writing, constantly prolonging the melodic breath—are common to all three composers, and certainly paved the way for Wagner. Vocally, in both the loud and soft passages, Spyres masters the material to perfection and with overwhelming intensity.

It’s also important to acknowledge the performance of the large orchestra, conducted by Christophe Rousset, which is very well balanced between all its sections, and offers the singer the best possible acoustic backdrop.