As Don Ramiro, Philippine-American tenor Arthur Espiritu showed himself to be a master of bel canto style. His coloratura was immaculate, he was able to sing high-lying phrases in either piano or forte, as it were, and his high C in "Dolce speranza" was nothing short of thrilling. There was enough steel in his voice to guarantee projection yet enough silk in his timbre to seduce the ear.

"..... Arthur Espiritu as Roméo..... interpreted his leading role with a heroic tenor. Powerful and musically secure in all registers, he steered timelessly, singing his melodious tenor voice and making his role debut through the demanding role. The soft tones are touching.

Filipino-American tenor Arthur Espiritu as the poet Rodolfo, whose sound is exquisitely polished and contained – almost delicate – with a fine, burnished sheen. Espiritu’s voice warms in Che Gelida Manina as he sensitively crafts the swells and diminuendos.

DE

Der auf den Philippinen geborene Tenor Arthur Espiritu als feuriger Liebhaber und aufgeklärter Herrscher steht ihr in nichts nach. Er ist als einer der raren Spinto-Tenöre in der Tradition eines Pavarotti, die sichere Höhen mit lyrischem Schmelz und großer Virtuosität verbinden, an großen Häusern weltweit unterwegs. In den Duetten der beiden sprühen die Funken.

EN

The Philippines-born tenor Arthur Espiritu as a fiery lover and enlightened ruler is in no way inferior to her. As one of the rare Spinto-tenors in the tradition of a Pavarotti, which combine safe heights with lyrical melt and great virtuosity, he travels at large houses worldwide. Sparks spark in the duets of the two.

DE

Arthur Espiritu großen Erfolg. Er zeigte mit seinem gut geschulten Tenor und ohne Höhenangst, wie man die Vorgaben nach Leggerezza musikalisch umzusetzen hat.

EN

Arthur Espiritu achieved great success with his Duke, who also had an impeccable voice. With his well-trained tenor and no fear of heights, he showed how to musically implement the specifications of Leggerezza.

And the "dolcezza" that the Filipino-American tenor Arthur Espiritu exuded after a few phrases as Elvino made that even more understandable. In the combination of both, especially in the da capo parts of their duets, there was a retreat into fine mezza voce parts, which then began to glow and increased in unforced attacks to a luminous outburst of emotion. Fioriture and coloratura were not artificial embellishments, but rather the glittering sound of emotions and exaltations of exuberant souls. In the course of the plot, Amina's alleged infidelity followed - she sleepwalks into a guest room rented by the Count, is discovered there, rejected by Elvino as a bride and only excused and happily united by a renewed "dream walk" observed by everyone - like this this was lined up with moments of classic bel canto singing happiness, in which everything we had lost shone in utopian beauty: elegance, perfect form, harmony, subtlety, delicacy and grace.

Photo Credit: Mark Glassner

Arthur Espiritu convinces with a powerful sensitive implementation in the title role. His Don Carlo is characterized by emotions, suffering and hopelessness, to which he submits little rebelliously. His tenor follows effortlessly in all layers and warms with full bright timbre.

The Filipino-American tenor Arthur Espiritu makes this feeling at the mercy of his own doubts and desires come alive with his magnificent vocal power and fantastic height confidence. He crowns this production with top performances in singing and acting, for which he repeatedly receives applause from the audience.

The tenor Arthur Espiritu was a suitably ardent Leicester. His voice has a sweet timbre and he sings with a lilting Italianate intonation, ideal for the bel canto repertoire, which his aria “Ah! Rimiro il bel sembiante” beautifully confirmed, by highlighting his natural lyricism. He performed exceptionally well in the numerous interactive recitative passages and ensembles with Erraught, Ní Fhearraigh, and Thorpe in the role of Lord Talbot, with whom his voice blended particularly well.