Suzie LeBlanc

Biography

Born: Acadia  
Soprano Suzie LeBlanc has been among the younger faces that have stimulated the vibrant early music scene in Montreal and in Canada in general. She has a light voice, refreshingly attuned to the natural strain in music of the eighteenth century rather than to its athletic feats. Accounts of LeBlanc's early life specify her point of origin as Acadia, perhaps suggesting a rejection of the Anglo geographical entity of New Brunswick in which most of Read more Canada's Atlantic Francophone community lives. She had both vocal talent and drive but was never particularly nurtured in terms of training even though her mother was a voice teacher. When she was young, she told La Scena Musicale, "I found it easier to sing before a public than to practice. My voice came out more easily, was more relaxed. That's rare, don't you think?" LeBlanc's introduction to early music came during her youth, and that of the historical-performance movement as a whole, soon after her family moved to Montreal in 1976. She attended a concert at the Studio de Musique Ancienne de Montréal (SMAM) and was instantly hooked. She took up the harpsichord, attending a vocational college in Montreal and minoring in music. It was SMAM director Réjean Poirier who noted her vocal skill and encouraged her first by asking her to sing at his wedding. LeBlanc's transition to singing was slow; she sang in a trio called Musica Secreta and received a baptism by fire after going to England to study early music and being invited to fill in for Emma Kirkby in Anthony Rooley's the Consort of Musicke for an eight-month stint. Since the late '80s she has recorded for ATMA and other labels, specializing in music from the decades after 1700 but also venturing forward to Mozart, for whose songs she has especially good instincts. LeBlanc has appeared in a Netherlands Opera production of Monteverdi's Orfeo and has collaborated with Tafelmusik, Fretwork, Les Voix Humaines, and a host of other historical-performance ensembles both in Canada and abroad. A member of the voice faculty at the University of Montreal, she has founded her own Académie Baroque de Montréal and serves as its artistic director. Read less

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Biography

Born: Acadia  
Soprano Suzie LeBlanc has been among the younger faces that have stimulated the vibrant early music scene in Montreal and in Canada in general. She has a light voice, refreshingly attuned to the natural strain in music of the eighteenth century rather than to its athletic feats. Accounts of LeBlanc's early life specify her point of origin as Acadia, perhaps suggesting a rejection of the Anglo geographical entity of New Brunswick in which most of Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Part I: Sinfonia
Part I Scene 1: Recitative: Invitto Clodoveo (Uberto)
Part I Scene 1: Aria: Di tua gloria (Uberto)
Part I Scene 1: Recitative: Vanne Uberto (Clodoveo)
Part I Scene 1: Voglio quel seno stringere (Clodoveo)
Part I Scene 2: Recitative: Clodoveo, mio signor (Clotilde)
Part I Scene 2: Aria: Rasserenatevi (Clodoveo)
Part I Scene 2: Recitative: Con prove di fterezza (Clotilde, Clodoveo)
Part I Scene 2: Aria: Volgi il cuore (Clotilde)
Part I Scene 2: Recitative: Clotilde, ben sovente (Clodoveo, Clotilde)
Part I Scene 2: Duet: Con tuoi begl'occhi (Clodoveo, Clotilde)
Part I Scene 3: Recitative: Mio Signor, mio Giesi (San Remigio)
Part I Scene 3: Aria: Sa mesta l'alma (San Remigio)
Part I Scene 4: Recitative: Remigio, amato padre (Clotilde, San Remigio)
Part I Scene 4: Aria: Io non so (Clotilde)
Part I Scene 4: Recitative: Scaccio il vano (San Remigio, Clotilde)
Part I Scene 4: Aria: Non sempre tuona (San Remigio)
Part I Scene 5: Recitative: Signora, infausto messo (Uberto, Clotilde, San Remigio)
Part I Scene 5: Aria: Vorrebbe l'Affetto (Uberto)
Part I Scene 5: Recitative: Regina, sono del Ciel (San Remigio)
Part I Scene 5: Aria: Picciol legno (San Remigio)
Part I Scene 5: Recitative: A tuoi detti mi rendo (Clotilde, San Remigio)
Part I Scene 5: Recitative: Mio Dio per me svenato (Clotilde)
Part I Scene 5: Aria: Se tanto il cuore ottiene (Clotilde)
Part II Scene 1: Aria: Agitato da speme (San Remigio)
Part II Scene 2: Recitative: Clodoveo superato (San Remigio, Uberto)
Part II Scene 2: Aria: Quando il turbino e vicino (Uberto)
Part II Scene 2: Recitative: Andiamo (Clotilde, Uberto, San Remigio)
Part II Scene 3: Aria: Clotilde, vincesti (Clodoveo)
Part II Scene 3: Recitative: Mio sposo (Clotilde, San Remigio, Uberto, Clodoveo)
Part II Scene 3: Aria: Gioisco che il tuo cuore (Clotilde)
Part II Scene 3: Recitative: Clotilde, e ver (Clodoveo)
Part II Scene 3: Aria: Come cerva che ferita (Clodoveo)
Part II Scene 3: Recitative: Remigio a questo accenti (Clotilde, San Remigio)
Part II Scene 3: Aria: Sommo Dio (San Remigio)
Part II Scene 4: Recitative: Con esempio si bello (Uberto)
Part II Scene 4: Aria: Che santo e bel piacer (Uberto)
Part II Scene 5: Recitative: Consorte amato (Clotilde)
Part II Scene 5: Duet: L'amor mio (Clodoveo, Clotilde)
Part II Scene 5: Quest e l'altare (Clotilde)
Part II Scene 5: Aria: Santo amor (Clotilde)
Part II Scene 5: Recitative: Signor, troppa ostinata (Clodoveo, San Remigio)
Part II Scene 5: Aria: V'adoro, o Padre (Clodoveo)
Part II Scene 6: Recitative: Mio Redentor (Clotilde)
Part II Scene 6: Duet: E' in piacer (Clodoveo, Clotilde)
Part I: Overture
Part I: Aria: Cor fedele, in vano speri (Tirsi)
Part I: Recitative: Povero Tirsi, quanto soffristi (Tirsi)
Part I: Aria: Quell'erbetta che smalta le sponde (Tirsi)
Part I: Recitative: Se il guardo non vaneggia, ecco Clori (Tirsi)
Part I: Aria: Va col canto lusingando (Clori)
Part I: Recitative: Dubbia cosi, o Fileno (Clori, Fileno)
Part I: Aria: Sai perche l'onda del fiume (Fileno)
Part I: Recitative: Vezzoso pastorello (Clori)
Part I: Aria: Conosco che mi piaci (Clori)
Part I: Recitative: Dunque sperando in vano (Fileno, Clori)
Part I: Aria: Son come quel nocchiero (Fileno)
Part I: Recitative: S'altra pace non brami, altro conforto (Clori, Tirsi, Fileno)
Part I: Duet: Scherzando sul tuo volto (Clori, Fileno)
Part II: Duet: Fermati! (Clori, Tirsi)
Part II: Recitative: Creder d'un angure al sibilo fatale (Tirsi)
Part II: Aria: Tra le fere la fera piu cruda (Tirsi)
Part II: Recitative: Tirsi, mio caro Tirsi, ah! (Clori)
Part II: Aria: Barbaro! tu non credi (Clori)
Part II: Recitative: Pur cederti mi e forza anco a dispetto (Tirsi, Clori)
Part II: Aria: Amo Tirsi, ed a Fileno (Clori)
Part II: Recitative: Va, fidati a promessa, a giuramenti (Fileno)
Part II: Aria: Povera fedelta (Fileno)
Part II: Recitative: Non ti stupir, Fileno (Tirsi)
Part II: Aria: Un sospiretto, d'un labbro pallido (Tirsi)
Part II: Aria: Tirsi, amico e compagno (Fileno)
Part II: Aria: Come la rondinella dall'Egitto (Fileno)
Part II: Recitative: Cosi, felici e avventurosi amanti (Clori, Tirsi, Fileno)
Part II: Trio: Vivere e non amar, amare e non languir (Clori, Tirsi, Fileno)
[Sonata]
Ich habe Lust abzuscheiden
Spann aus, spann aus, ach frommer Gott
Dann was ist doch die schnode Welt
Wie einer, welcher auf dem Meer
So spann doch aus, ach frommer Gott
Sonata
Salve, Jesu, Patris, gnate, unigenite
O vis amoris tui, Jesu, maxima!
Cur fasciis te involvis laceris, Jesule
Cur alges, qui fulmina dira vibras
O suavis, o grandis amor, o fortis amor
Jesu, opstupesco, in quem amorem tui colliquesco
Jesu dulcis memoria
Nil canitur suavius
Jesu, spes poenitentibus
Jesu, dulcedo cordium
Nec lingua valet dicere
Jesu, rex admirabilis
Mane nobiscum, Domine
Amor Jesu dulcissimus
Jesu dulcis memoria
Cantate Domino canticum novum
Cantate Domino, et benedicite nomini ejus
... in omnium populis mirabilia ejus
... quoniam magnus Dominus et laudabilis nimis
Gloria Patri et Filio et Spiritui Sancto


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