Leopold Simoneau was the very first opera singer I ever got to hear "in person", back in 1962. He gave a solo recital in my high school auditorium, and I was simply stunned at the level of his artistry -- such finnesse. I was about 15 years old, and have been an abiding fan of his ever since. He put the "bel" in bel canto!
It's sad to read, today, of the passing of his wife, Pierrette Alarie. No doubt they are reunited, making beautiful music together once again.
Magnificent voice, superb expression , feeling and acting , spectacular music. Fantastic performance. Thank you fairlytaleofnewyork for sending and introducing this master!!!
Really fascinating!!! This great lyric tenor renders this aria with perfect style and gently restrained acting, conveying all the sadness of this music
Wonderful ! If anyone has a recording of him singing the messiah (I've been looking desperately for it, and I know it exists), please post or send me ! Thanks in advance !
I did too! OH who are you!? When did you study with him? I am now teaching in Austria and always insist that my pupils sing this aria to learn everything from my teacher Simoneau
Je n'ai pas fait comparaison entre les deux versions que Gluck a crée lui meme (bien que je préfère l'originale). J'ai dit seuelement que la version ici est pur Gluck et pas Berloz, qui l'avait adapté pour une mezzo.
This is NOT the Berlioz version. Gluck revised the original (Vienna) score for the Paris premiere adapting the title role for a tenor and adding dances. Berlioz made his edition for Pauline Viardot, a mezzo. This version, like it or not, is pure Gluck.
Cher Monsieur, pour les Français, la version de Paris 1774 est considérée comme la seule et l'unique! Evidemment! C'est rapport au texte, à la déclamation, au tempérament.
the reason because tenors dosn't have big roles in baroque was beacause for the compouser and people in general a tenor was a "half" soprano or soprano opaco,Tenor where not worthy to play a god, a semi god or a king,those roles where for high male voices,the singer is very good but this tottally out of context ,this aria should be sung by a countertenor a contralto or a mezzo-soprano...never a tenor or a baritone,so now mezzo sopranos r going to sing una furtiva lagrima?
Yeah cause french cause the french composers of that time didn't wanted to work with italian castrati...and actually not any tenor sing french baroque,there r very light almost alto tenors (haute-contre often mistaken with countertenors)I guess the haute-contre was the french version of castrati
Anyway this is not Lully(Lully died in 1687,Gluck the first perfomance of this opera was in 1762 75 years after Lully's dead) Gluck,this role was originally composed for Gaetano Guadagni a castrato
nobody asked for a biography of Gluck. My question was about the statement made earlier in this page that there were no hero roles for tenors in the age of the castrato.
When people talk about The age of castrati,is talking about Italy and italian opera. where the hero,the gods,semi gods,princes and all the main roles were composed for castrati.
French baroque opera is diferent,cause first,castrati were from italy there is not a french castrato age and with the end of italian baroque also ended the age of the primo uomo to be replaced till today for the prima donna.
Brilliant! I loved it! This piece does not have to be sung by a counter/contralto or a mezzo. It's not at all like "a mezzo is going to sing Nemorino". There are throughout times different ways of how to do and cast this opera. It also depends on which country it is/was produced. And how can you say that this is out of context?!!
Cést Rokoko, if you remember the film scaramouche,but nowadays and here ,this was one of the greatest Tenors for this music,but also for Music:Don Ottavio and "Zauberflöte",but for one rolle I like him very best and so often i hear him ,it is the Idamantes in my favorite Mozart Opera,it is Idomeneo,and he sings,no,he is Idamantes!!!!under the the direction of the great german conductor Fritz Busch!!!!In Glynbourne in the year 1951!
Leopold Simoneau was the very first opera singer I ever got to hear "in person", back in 1962. He gave a solo recital in my high school auditorium, and I was simply stunned at the level of his artistry -- such finnesse. I was about 15 years old, and have been an abiding fan of his ever since. He put the "bel" in bel canto!
It's sad to read, today, of the passing of his wife, Pierrette Alarie. No doubt they are reunited, making beautiful music together once again.
nationreader42 7 months ago
his CD of this role is 50 years old, still in print, and still one of the best. a surpassing voice and great portrayal.
bbbartolo 8 months ago
Un voix de ténor léger exceptionnel....un legato hors du commun...
StephaneMartineau 10 months ago
¡¡¡Que Artista Genuino, por estilo, por su escuela, realmente Magnifico!!! Su com-
posicion de Orphee, la comprencion de este dificil rol, es realmente soberbia.
55werther 11 months ago
Masterfull interpretation of this great tenor. Charming and yet full voice!!!
Bravooo!!!!
tenorschofield 1 year ago
Magnifique voix!!
77Opera 1 year ago
Simply stunning - thank you so much for uploading this clip.
ashbyjay 2 years ago
One of my favorite tenors singing his signature aria. I far prefer this version to the mezzo version in Italian. Just beautiful
SingDude 2 years ago
Magnificent voice, superb expression , feeling and acting , spectacular music. Fantastic performance. Thank you fairlytaleofnewyork for sending and introducing this master!!!
ditogam 2 years ago
His singing is as surberb as ever, -one of the great lyric tenors
MrRubberneck 2 years ago
Really fascinating!!! This great lyric tenor renders this aria with perfect style and gently restrained acting, conveying all the sadness of this music
manrico29 2 years ago
Interprétation référence de cet air de Gluck par celui qui fut aussi l'un des meilleurs mozartiens de son temps.
MrQuebec 2 years ago
Perfect, and very moving.
I love this tenor.
dermotafan 2 years ago
Wonderful ! If anyone has a recording of him singing the messiah (I've been looking desperately for it, and I know it exists), please post or send me ! Thanks in advance !
tenor9216 2 years ago
Comment removed
tenore23 1 year ago
Stupendous voice, acting so subtle it is
invisible and pathos to melt a heart of
stone!! Simmoneau's art is practiced
by no one today!!!
Kievest 2 years ago
It is so beautiful.His diction in French together with his beautiful voice and interpretation makes this perfomance eternal beauty.
Many thanks for posting this.
fairlytaleofnewyork 2 years ago
i studied with this elegant man...i was inspired to sing the french version from him...i am so very happpy to find him here...
SOYH 2 years ago
Definitely! His way of singing is elegant, delicate, and very sensitive...
Very very beautiful...
fairlytaleofnewyork 2 years ago
I did too! OH who are you!? When did you study with him? I am now teaching in Austria and always insist that my pupils sing this aria to learn everything from my teacher Simoneau
vocalbasic 2 years ago
A truly wonderful tenor Bravo! TY.
paulostroff99 2 years ago
Je n'ai pas fait comparaison entre les deux versions que Gluck a crée lui meme (bien que je préfère l'originale). J'ai dit seuelement que la version ici est pur Gluck et pas Berloz, qui l'avait adapté pour une mezzo.
NiemandNY 2 years ago
This is NOT the Berlioz version. Gluck revised the original (Vienna) score for the Paris premiere adapting the title role for a tenor and adding dances. Berlioz made his edition for Pauline Viardot, a mezzo. This version, like it or not, is pure Gluck.
NiemandNY 3 years ago
Cher Monsieur, pour les Français, la version de Paris 1774 est considérée comme la seule et l'unique! Evidemment! C'est rapport au texte, à la déclamation, au tempérament.
giloubreizh 2 years ago
Splendide! Gorgeous! Quelle voix, quel ténor!
Thank you very very much for posting this video!
melpomenea 3 years ago
Great underrated tenor of the past!
muschnik1961 3 years ago 4
no way underrated... maybe not so pop
gabohuaroc 3 years ago
@muschnik1961 Yes I agree.
tenorismo 11 months ago
somebody please post his Pearl Fishers stuff, even if it's just audio.
pasfresh123 3 years ago
Ah! Que cela est apaisant d'écouter M. Léopold après une semaine de dur labeur! La diction... la perfection!...
giloubreizh 3 years ago
Most moving.
forallyouknow 3 years ago
Superbe.
catleyas 3 years ago
une des plus belles voix de tenor que j'ai entendu, bra
girardje70 3 years ago
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bhairash 3 years ago
Voilà le vrai Orphée de Gluck 1774 - pas une femme, style version Hector! Honte! - Léopold = 100% Gluck.
giloubreizh 3 years ago 3
amen!!
BernardProfitendieu 3 years ago
the reason because tenors dosn't have big roles in baroque was beacause for the compouser and people in general a tenor was a "half" soprano or soprano opaco,Tenor where not worthy to play a god, a semi god or a king,those roles where for high male voices,the singer is very good but this tottally out of context ,this aria should be sung by a countertenor a contralto or a mezzo-soprano...never a tenor or a baritone,so now mezzo sopranos r going to sing una furtiva lagrima?
Heartlessiceboy 3 years ago
Yes!... Orphée 1774 is a tenor. The Berlioz version = shit. In french = à chier = fuck you! = shit!!!
giloubreizh 3 years ago 2
Berlioz is not a baroque composer!!!!!!!!!!
Heartlessiceboy 3 years ago
nobody said Berlioz was a baroque composer.
pasfresh123 3 years ago
yes the user Giloubreizh said :
Yes!... Orphée 1774 is a tenor. The Berlioz version = shit. In french = à chier = fuck you! = shit!!!
Heartlessiceboy 3 years ago
aren't there tenor heroes (not countertenor) in Rameau or Lully?
pasfresh123 3 years ago
Yeah cause french cause the french composers of that time didn't wanted to work with italian castrati...and actually not any tenor sing french baroque,there r very light almost alto tenors (haute-contre often mistaken with countertenors)I guess the haute-contre was the french version of castrati
Anyway this is not Lully(Lully died in 1687,Gluck the first perfomance of this opera was in 1762 75 years after Lully's dead) Gluck,this role was originally composed for Gaetano Guadagni a castrato
Heartlessiceboy 3 years ago
nobody said this was Lully. can't you read???
pasfresh123 3 years ago
nobody asked for a biography of Gluck. My question was about the statement made earlier in this page that there were no hero roles for tenors in the age of the castrato.
pasfresh123 3 years ago
When people talk about The age of castrati,is talking about Italy and italian opera. where the hero,the gods,semi gods,princes and all the main roles were composed for castrati.
French baroque opera is diferent,cause first,castrati were from italy there is not a french castrato age and with the end of italian baroque also ended the age of the primo uomo to be replaced till today for the prima donna.
just grab a music history book
Heartlessiceboy 3 years ago
Brilliant! I loved it! This piece does not have to be sung by a counter/contralto or a mezzo. It's not at all like "a mezzo is going to sing Nemorino". There are throughout times different ways of how to do and cast this opera. It also depends on which country it is/was produced. And how can you say that this is out of context?!!
bloydaage 2 years ago
c'est le véritable interprète du rôle d'Orphée, de GlucK - pas de femme! pas de version Berlioz! - Léopold! Léo! Léo!... Vive Léo!!!...
giloubreizh 3 years ago
Divin. Merci de tout coeur!
SENAFOREVER 3 years ago
Une voix si agile et si pure...
kevinfstrasbourg 3 years ago
Pureté et simplicité, pour une fois qu'un ténor ne gonfle pas toutes ses notes!
hoboken62 3 years ago
un ténor qui sais chanter bravo
guy1938 3 years ago
Du grand art,un des plus grand ténor mozartien de tous les temps. Je suis un de ses fervents admirateur. Le classisisme dans ce quil a de plus grand.
jacquesurlus 3 years ago
Cést Rokoko, if you remember the film scaramouche,but nowadays and here ,this was one of the greatest Tenors for this music,but also for Music:Don Ottavio and "Zauberflöte",but for one rolle I like him very best and so often i hear him ,it is the Idamantes in my favorite Mozart Opera,it is Idomeneo,and he sings,no,he is Idamantes!!!!under the the direction of the great german conductor Fritz Busch!!!!In Glynbourne in the year 1951!
tausendgold 3 years ago
Incroyable. C'est une leçon pour tous les ténors "légers" (voire "maigres") qui voudraient chanter ces rôles-là.
fidelious 3 years ago
One of the greatest Mozartian tenors Canada has produced and given to the world. Bravo
alcanuck 3 years ago
alcanuck: "One of the greatest Mozartian tenors Canada has produced" -- and who excels in non-Mozart, too!
forallyouknow 3 years ago
Une magnifique interprétation par un chanteur béni des Dieux!
Dlanercire 3 years ago 2