Berlioz: Les Nuits d'ete (Summer Nights), Op. 7

[Lance]

I've hopped on the bandwagon for American tenor Michael Spyres. In listening to his Erato recording [71968] that came out in 2022, I was thinking how much I have enjoyed this six-song cycle, composed between 1841 and 1856 for voice and piano for a very long time. I remember how entranced I was in hearing Victoria de los Angeles' recording on RCA with Charles Munch conducting the Boston Symphony. In listening to Spyres new recording, I was thinking that it isn't very often performed by a male voice. The ones I have, now including Spyres, are with José Van Dam and Gerard Souzay (both baritones), and David Daniels (countertenor). There are probably more male voices. So, that's four with the male voice, and it works. Spyres brings a wonderful quality with an expansive range of expression to his performances.

Women are more involved with this wonderful cycle, which is heard more frequently with orchestra than piano these days though both are fine. One might get more "colour" give from the orchestral accompaniment. Without sounding brash or bragging, my recordings on CD number about 21 or 22 since the advent of CD (about 1984-85). These include: Elly Ameling, Lorraine Hunt-Lieberson, Eleanor Steber (2 versions), Susan Graham, Yvonne Minton, Hildegard Behrens, Regine Crespin, Suzanne Danco, Jessye Norman, Kiri Te Kanawa, Ann Sofie von otter, Barbara Hendricks, Janet Baker, Agnes Baltsa, Victoria de los Angeles, Leontyne Price, Veronique Gens, Jan de Gaetani, Measha Brueggergosman, Janice Taylor and Marilyn Horne. They are all different ... all have something to say. Having so many is just an indication of the love I have for all these great performing singers over a long period of time. It would have been interesting to hear one other soprano in this repertoire: Montserrat Caballé. ♫

[maestrob]

Lance, I have a huge soft spot in my heart for "Les nuits d'ete." My first exposure to it was with the great Regine Crespin in my early teens, accompanied by Ernst Ansermet and his Suisse Romande. Her rendition of "Le Spectre de la rose" inspired me so much that, to this day, her video remains a touchstone. I have chosen the final line of this poem to grace my wife's gravestone: "Ci-git une rose, que tous les rois vont jalouser." (Here lies a rose that every king will envy).

The way the vocal line is written throughout the cycle indicates to me that it was brilliantly composed to stretch the human voice to its limits, and is perhaps best served by having the music divided between a baritone and a soprano. I've sung it this way with a partner, much to my delight.

Like you, I am also moved by Michael Spyres's rendition: beautifully done.