The American tenor Michael Spyres has taken an impressive and unusual highway through the operatic world. Hailing from a musical family in Laura Ingalls Wilder's little town on the prairie, he is 38 yet has already tackled 64 different roles, from baroque to bel canto to Berlioz. He is convinced he has sung the latter's Faust more than anyone else alive. And it's not exactly that he doesn't like Puccini, but...
In this 4 July special, I meet the US's mercurial Renaissance-man backstage at the Royal Opera House, where he is currently appearing in Mozart's Mitridate...
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| Michael Spyres as Mitridate at the Royal Opera House. Photo ROH/Bill Cooper |
JD: Michael, lovely to meet you. How are
you enjoying Mitridate?
MS: The role itself is absolutely incredible.
People don’t realise, simply because it’s not done enough in repertory, but
it’s so difficult. As a character
it’s comparable to Otello, or to any of the truly great characters in the
repertoire. The real Mithridate was one of the most mythic people who ever
lived. He was 72 when he died and he thwarted the Roman army for 39 years –
which is 39 years more than most people ever did! He was a famous polyglot and
spoke 22 languages: he owned the Black Sea and everything around it, there were
22 different regions and he made it a point to learn all the languages.
There’s also a word in French and high
English – “mithridisation” and “mithridatism” – which means to take small
amounts of poison in order to be immune to it. He believed that if you take
small amounts of poison every day then as you get older you do become immune.
One of the main dangers for kings was patricide or death by poisoning – nearly
everyone died of poison! – so he grew up in a strict regimen of taking poison
every day so he would be immune. But when the Romans were finally
defeating him, he tried to poison himself and couldn’t die from that, so he
either stabbed himself or had a friend do it so that the Romans couldn’t. He was
this epic, amazing person and even if some of his story is exaggerated nowadays,
it doesn’t matter; he was a real king and was able to hold off and defeat the
Roman army.
JD: Mozart’s portrayal of him is
extraordinarily sophisticated.
MS: From the beginning you get to see the heart
and the beauty of him, but in the recitatives you can also see this cunning,
brilliant man who would pit people against each other. In his first aria, he
says: “Thank God I’m back home – I thought I’d never see this place again. It’s
OK to lose but I still hold my head high…” And you find out just afterwards, in
the recitative, that this is totally a ruse, because he’s sent false information
to his sons to test if they’re loyal or not. In the recit you hear him say he
faked his own death just to see if they were traitors. Wooah!
About half way through you start to see his
inner turmoil and the anger he feels because he knows he’s ageing. He
died when he was 72 and usually kings died when they were about 30, killed by
their brothers or their sons. But the way Mozart and Metastasio wrote the
character, based on the Racine play, it shows he’s an old man used to
conquering everything, but the worst thing for him is not losing the battle but
losing his heart, losing his love. You see this throughout the opera. He’s
scared, just like all of us, that nobody’s going to love him again…
There’s a
wonderful scene between him and the queen in which she says, “Yes, I’ll go to
the alter as your slave and do whatever you want.” He's so incensed: “So I
have to drag you to the altar – you don’t want to marry me, you’re just going
to do it out of spite?” And you see this crazy rage and jealousy in him. But
then at the end he gives his sons freedom and says that at the end of his life
he wants to be again the great lion that he is. “Please marry her, and I’m
sorry I’m a terrible person, but I’m showing you how to live. This is how a real
person should live - no regrets…” At the end he says “I can die happy now because
I’ve done what I need to” – and he just dies. I can’t think of a more complex
character. You’re a god among men, a god personified. Hoffmann or Otello would
be comparable, but there’s only a handful of characters who run the gamut of
what a Shakespearean character is and this is definitely one of them.
JD: Mozart was only 14 when he wrote it –
what an astounding thought…
MS: Mozart had three major influences: Mysliveček,
JC Bach and another I only found out about because I did an obscure
baroque opera in Lisbon called Antigono,
by Antonio Mazzoni. I did the modern revival a few years ago and we made a
recording. The only time people had ever heard it was three performances
in 1755 – it’s an incredible piece, but it was lost because of the terrible
fire in 1755 in Lisbon. When Mozart, aged 12, was travelling through Italy with
his father, Mazzoni taught the boy counterpoint in Bologna. Antigono was almost
the same kind of story as Mitridate – it’s a formulaic thing but a large
character. But the fact that Mozart was able to write such touching and
beautiful music was just beyond compare. To anyone who thinks it fails in comparison
to his later works I’d say: no, it’s something completely different. You can’t
compare it and you shouldn’t, because it’s raw, amazing emotion. Some of his
duets, Aspasia’s arias and the vocal writing with the recitatives – there’s
nothing like it.
At the last full rehearsal before we went
on the stage, Graham Vick, who’s one of the greatest directors I’ve had the
pleasure of working with, got us all round and said: I want you to realise that
26 years ago I premiered this here, and now I see this in a completely
different light and I see the absolute genius of Mozart – this little boy who
was shuffled around and hauled out by his father all over Europe. You can see
the animosity in the letters, you can see his wish to be just a normal boy –
all the angst and the problems between father and son is written into the music.
He was a mature being already at that age, because he was forced to be and he
had the genius to do it.
JD: Your particular type of tenor is
something unusual and special. What was your path towards finding your true
voice?
MS: Everyone finds their own path, but I had a
different path than anybody! I started as a baritone. And I wanted to be Mel
Blanc, who was the voice-over person for all the Loony Tunes cartoons. When I
was young I’d imitate everything, all the time and growing up I sang with my family
every kind of music there was – church music, bluegrass, folk. Then when I was
in college I made money by doing commercials and I was a radio DJ and I would
do commercials in different characters – and then I started getting into the
idea that “Oh, you can make a living being an opera singer, that’s weird…” Obviously
I couldn’t do what they were doing, so I thought “I’ll just take the recordings
and start imitating the best”.
The big thing happened when I was 20 years
old – and it was with this production of Mitridate. In my two years of vocal
study, 18-21, we had a VHS of this production and I heard Bruce Ford for the
first time. I didn’t know you could sound like this as a tenor. I’d never heard
a sound like it – it’s like a baritone, but it’s obviously a tenor role, and
that’s what I want to do. Low notes were the easiest things in the world – high
notes, ugh, they were so hard! But this was totally different from anything I
heard in Verdi and Puccini.
In the US, everyone said you can’t make a
career out of this, you just cannot – and that’s still true if you’re in the sticks.
So I decided that if I really wanted to learn to sing I needed to go to Europe
and try to figure out this weird baritenor kind of repertoire. It took another six
years of auditioning to think OK, I can do this weird trick of different mixed
techniques, so I started doing a lot of Rossini roles.
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| Michael Spyres. Photo: Dax Bedell |
JD: It sounds like it wasn’t an easy
beginning?
MS: I was in Vienna for two years at the
conservatory, and it’s a very Mozart-heavy town, so it was an invaluable
experience. That was the first time I got to sing these arias in public and I
crashed and burned. It was so hard! I was 26 and it just didn’t work. I went
back to the drawing board and started doing lots of Rossini again. This is my
third time doing Mitridate in the last year and only now is it starting to feel
good and right.
This is one of the most difficult fachs of
tenor, because you have to do a real mix of baritonal and tenor sounds, but you
have to keep it up in the extreme highs, the same kind of colour as a baritone
but not using the full voice. It’s a voix
mixte and it’s really tricky to navigate and very technical, but you don’t
want people to know you’re doing it! So that’s how I got into it: years and
years of practice and failure and finally things started to click. And now,
depending on repertoire, I change my technique. You have to, because it was
written for different people with different techniques.
JD: Next up, you’re singing Berlioz’s La
Damnation de Faust at the Proms?
MS: There’s a huge misconception about Berlioz!
He was a big admirer of the tenor Adolphe Nourrit, he admired Rossini and you
can hear it constantly in his music. Everyone thinks of Berlioz as these
unimaginable, gigantic pieces that are ultimately verismo – and it’s absolutely
false. In order to sing Berlioz, you have to be able to sing full voice, high,
and get over the orchestra, but the majority of his writing is for a lyrical
voice. He had Nourrit, who was known for doing a lot of voix mixte and had various kinds of colour-changing sounds, not
full-voice high Cs. He had him in mind for Benvenuto Cellini. But Nourrit was
having vocal problems and tragically then killed himself that year and Berlioz wrote it for Gilbert Duprez instead. But a work like Lélio is so lyrical and
beautiful, I can’t imagine some Puccini singer trying to sing it: it’s all
lightness and is based completely on the text.
There’s a great quote from Berlioz. He used
to say: “Above all, resonate”. He meant that both literally and figuratively. I
sang the Grande Messe des Morts in this massive cathedral that it was intended
for [Les Invalides], and in there Berlioz had realised that he needed more
people, it was too big a place, so the choir’s about 180-200 people and the
orchestra’s 120. I had friends at the performance and they said when I opened
up and started singing they could feel the sound resonating.
Berlioz was this great artist and dreamer
but although he had a giant ego, it was all about the art for him and he connected
everything to the text. He believed in art permeating society and being an
infectious thing, but it always has to be for a reason, it’s not just
superfluous. He was unlike anybody else and I love him!
JD: This isn’t entirely your Proms debut?
MS: I did the Beethoven Missa Solemnis with John
Eliot Gardiner two years ago. I’ve never done solo stuff there before, though,
so I’m excited. I love the Proms because it’s an awakening of classical music
for ‘everyperson’. I’m not saying that opera isn’t an elitist thing – because
it is, as it takes so much money to be able to put on an opera. But the coolest
thing about the Proms is that for many people this is their only possibility
that they might see something that’ll change their lives. So that’s why I love
the Proms. And I’ll give ‘em a good show, because now I’ve done Faust more
than, as far as I know, any other living person. I could conduct it with my
eyes closed – but all I have to do is sing, so it’s great! I love the piece so
much, mainly because I did the production with Terry Gilliam in the original
French in Belgium and that changed my life.
JD: What’s it like to work with Gilliam?
MS: He’s a madman and he’s wonderful! He seriously
reminds me of my uncle. We’ve kept in really good touch. We’re very much of the
same kind of mind – we’d start talking and still be there four hours later. We
have similar ideas and that’s also why he’s taken a liking, like me too, to
Berlioz. There are so many accounts of Berlioz being a true artist – ‘I don’t
care what you think of me, I’m going to do this because the art demands it’ – and
I’ve done that many times in my life. Of course I’ve failed – but I’ve
succeeded too!
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| As Faust in Gilliam's production |
JD: The production was brilliant, but quite
controversial, involving a concentration camp…
MS: To me it’s one of the most poignant
productions I’ve ever been a part of. I have many friends and colleagues who
say ‘Oh, opera’s going in such a bad direction, all these director things that
kill the production’ – but you have a choice to take that or not, and we have
to do the projects we believe in. I’ve been fortunate that out of my 64 operas
I’ve done, there have only been two or three that I haven’t been really
thrilled about.
JD: You don’t mind ‘Regietheater’, then?
MS: It depends on the director and the ideas.
I’m a director myself, I have my own opera company in the States that I run
with my family. We’re basically the von Trapps – we put on the shows, my
brother helps run the company and my sister’s a Broadway singer. I take it very
seriously, I can see when a director is just doing something for their own ego and
I choose not to be around those kinds of people.
It’s a difficult thing, being a director. Today
they’re in a weird position where these are major decisions, it takes huge
amounts of money to put on a project and everybody’s under pressure to do a
brand-new, original idea. Many people have an idea, but it doesn’t necessarily
work with the music. Many directors are not musicians to start out with –
they’re dramatists, which is a great concept on paper, but if you have to listen
to a piece for four hours and you don’t take into account the audience – you’re
gonna die! So I’m fine with any project as long as it’s well thought out and it
makes sense with the music. Because the whole reason you’re there is because of the music.
It’s gone crazy in certain places. I won’t
name names, but there was one instance where L’Italiana in Algeri was being
produced and the director wanted to have his name bigger on the poster than the
composer’s name or the opera’s title. Fortunately the festival director said no.
That’s how crazy people get!
JD: Do you see yourself moving more into directing
in the future?
MS: Yes, absolutely. I’m so inspired, the more
I read about the origins of opera. From Jacopo Peri, who wrote the first opera,
until the late 19th century, all singers were actors and directors. Nowadays
things are so specialised that people say “I’m just a singer” and some don’t
even act! It’s completely the opposite of what it should be. All of us need to
be acting, dancing, singing, learning as much as we can. That is why opera
created this wave of art because it was the first artform where everyone came
together, with the idea that we’re all part of it, we all need to be able to do
a little bit of everything.
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| Michael Spyres |
That was the great thing, growing up in my
family. We built our own amphitheatre. We built the stage first and everyone
sat on hay bales. I’m from a famous little town called Mansfield, Missouri – it
was the home of Laura Ingalls Wilder, author of the Little House of the Prairie books. Because of the books, we have
many visitors come through there. My mother wrote a musical about Laura Ingalls
Wilder when we were growing up and it’s now in its 28th year. At its biggest we
had about 120 people involved, which was 10 per cent of the town! So I’ve grown
up around this and I’ve been so vindicated reading about the origins of opera, what
got me into opera and how it split from its origins.
JD: The idea that you can do just do one
thing and the world owes you a living, that’s going nowhere fast…
MS: Of course! And people are tired of that.
One of my favourite futurist speakers is Michio Kaku, a fantastic theoretical
physicist. A big subject now is what’s going to happen when people become obsolete
in jobs. In the next 30-50 years half the people are going to be cut out
because of robots, so what’s going to happen? What are the jobs that will be
left? You’ve got to be an artist, a musician, someone who comes up with new ideas.
For a long time everyone wanted to have a good stable job, but now people are
being replaced by robots. But a robot will never be able to be an artist or a
musician – that’s what’s so exciting.
JD: I hope you’re right!
MS: They can try! But we are such complex
creatures in music. You can hear a piece that’s done by a robot and it doesn’t
feel right, it’s just algorithms. That’s why I’m so excited about the future of
music and art. I feel I came at the right time because by the time I’m in my
later years more and more people will be coming to art, because that’s where
the ideas come from. The same thing applies to the computer programmers – they
have the technicality and the vision for what needs to be done. Opera is
basically the computer of the art world.
JD: You sing, you act, you direct: are you
also tempted to write an opera?
A few years ago my brother wrote a
libretto, my mum helped – we took the music from The Magic Flute and created a
story based on Alice in Wonderland to take to all the kids in the area who’d
never seen opera before, in 32 schools that were among the poorest in the
community. Yes, someday I want to write an opera – that’s what I’m leaning
towards.
JD: What about future roles to sing? Any
big dreams?
MS: I’ve basically done every role I wanted to
do, except Verdi’s Otello. I’ll do that someday – but like Kaufmann, I’m smart and
I’ll wait. I’ll wait until I’m 50 for that, so I’ve got over a decade – but the
other dream roles are Monteverdi’s Orfeo and a lot of Rameau and Gluck, great
epic works on Greek stories. But modern opera for the most part is not as
appealing to me as a singer.
I like Puccini. I love Puccini. But it’s
like he put down pure gold on paper and if you want to do him justice you’ve
got to do what he wrote – and if you live within the characters that he wrote
there’s not a lot of freedom. I’ve taken a lot of flack for saying that – people
say, ‘Oh you just don’t like Puccini because you can’t sing it’ – but actually
I can sing it, I just don’t like it, because I believe in doing what
the composer wanted you to do and for my character there’s very little in Puccini
that I find interesting as an actor and singer. I love it when other people do
it, but for me personally I get angry because I want to do my own thing, but I
shouldn’t – he wrote it so perfectly and beautifully that it’s just right! So
that’s why most of the verismo period doesn’t appeal to me – there’s not enough
freedom for me,
As far as dream roles go, I’ve done most of
them and I know it’s crazy to say that. But I’ve done 64 already and I’m 38:
operas from modern to the earliest stuff, and a range from the lowest operas
written for a tenor voice to the highest, so I’ve lived out all my major
fantasies as far as roles are concerned. Now I’m just looking for true content and
characterisation. I find many of the more obscure things much more rewarding.
I’d love to do Die tote Stadt – that’s
a dream. I love Die tote Stadt – Korngold
was one of the greatest. The same with Massenet: he came on the heels of
verismo and was able to marry the two, and Korngold did the same thing. Korngold
is so overlooked, just because he went into film. But have you listened to his
film scores? They’re better than anything! Come on, you can’t write better than
that.
JD: You just made this Korngold biographer
very happy! Thank you, Michael, and toitoitoi for the final Mitridate.
And – as Loony Tunes would say – that’s
all, folks!
The final performance of Mitridate is on
Friday 7 July at the Royal Opera House – booking here. Michael Spyres sings
Berlioz’s La Damnation de Faust at the Proms on 8 August – booking here.
