Bravo, LEONIDAS MIKLOS, vive nel mio cuore, come i ricordi più belli della mia vita teatrale. Grande, un uomo soprano, incredibile, un angelo col angeli e demoni nella voce, magnifica Violeta, Lucia, Amina, Medea...
Bravissimo! Molto convincente nella parte di Norma, arriva alle note senza fatica e senza spingere. Colore bellissimo. Può cantare Norma appieno. Anche il tenore particolarmente bravo, un grande Pollione.
Y pensar que fue el gran RICHARD BONYNGE, que enseño a LEONIDAS MIKLOS el estilo del BEL CANTO, tuve la ocasión de escucharle en Melbourne, Australia. Literalmente, el teatro en ovación de pie, puso a LEONIDAS en un altar, entre el público se encontraba la gran Joan Sutherland, a quien en un emotivo gesto cuando le entregaron a LEONIDAS, después del gran final, un magnífico ramo flores, se lo entregó a la famosa DIVA australiana. Que mi comentario y la interpretación sirvan de homenaje tanto para LEONIDAS MIKLOS, como para mi amada JOAN SUTHERLAND, que se encuentra en el cielo. Bravi!!!
Angelo della Musica! La NORMA, cantata con la giusta passione e utliliza registro di petto, ma senza cadere nella volgarità. Grande. Sig. Leonidas Miklos, un vero miracolo della musica, dal giorno che sei arrivato, ha iniziato un nuovo rinascere, di capolavori che sono stati dimenticati e che sono vere opere d'arte.
Definidamente conquistado por tu esplendida voz Señor Leonidas Miklos. Escuchar tu voz, sublime el alma y provoca un caleidoscopio de emociones. BRAVO.
En nombre del Sr. Leonidas Miklos, muy agradecido por sus palabras y conmovido por profundidad. Tan pronto sea posible, vamos a subir un video especialmente dedicado a Usted. Será una muestra cariñosa del Sr. Miklos de decirle, gracias, muchas gracias de todo corazón por sus sinceras palabras. Los comentarios para el Canal dependen de aprobación, porque el Equipo de Leonidas Miklos, no permitirá insultos ni cualquier tipo de agravio, para quien durante 19 años se dedico y entregó en cuerpo y alma a la música. Equipo Leonidas Miklos
Leonidas Miklos Jamás hubiese yo pensado, que mi escueto comentario, se mereciese un tal honor. Señor Miklos, es usted lo que se llama, una bellísima persona, como también un verdadero caballero. Muchísimas gracias..
Siento, las mismas sensaciones que Jose, es verdaderamente un caleidoscopio de emociones, interpretación llena de pasión, fuego, creo que Vincenzo Bellini, desde el cielo, lo declaró el intérprete ideal de su NORMA, Bravo MIKLOS, por muchos años de carrera, éxitos y seguramente haz de llevar la corona de laureles de NORMA con orgullo. Yo te vi en Viena reemplazando a Cecilia Gasdia, que se encontraba indispuesta en el rol de Corinna, en el Viaggio a Reims, fue realmente un milagro, escucharte, sentir cada nota, el fraseo perfecto, la coloratura maravillosamente marcada, y el estilo Rossini ejemplar, antes te había visto cantado a la Condessa en Le Nozze Di Figaro, con un estilo completamente distinto, la voz se escuchaba perlada, aterciopelada, y comprendí que tu cantaras lo que cantaras, siempre ibas a saber diferenciar, el estilo, la época y ante todo respetar todo lo deseado por el compositor.
BRAVO !!! Mr. Leonidas Miklos is one of the greatest man in the history of the Music, because he is a male soprano and singing NORMA, he show the most talented male soprano in the world, The other only sings castrato roles, Leonidas Miklos, male soprano is amazing, awesome
Yes -I agree that Maestro Bonynge must have helped to make this so SUPERB! What a wonderful Norma! And the rage and PATHOS in the voice! Mr. Miklos did a superb job! And the High E flat was thrilling! What an EXCELLENT voice!
LEÓNIDAS MIKLOS, además de un bello y particular timbre de voz, posee una bagaje técnico completo, domina a voluntad toda clase de adornos como trémolos, escalas y ligados perfectos....
NORMA, cantanda con expresión y pasión, sin caer en exageraciones vulgares, respetando el estilo belliniano a la perfección, la línea de canto, los crescendo, los forte, los pianissimos, de acuerdo como están marcados en partitura. Y corona este dúo con un brillante Mi b sobreagudo. Como argentino me duele que haya encontrado fama en otros países y en nuestro país no. Por siempre serás un grande Leonidas Miklos, nunca te voy a olvidar, cada presentación tuya que ví en Europa está en mi corazón.
NORMA, es mi Ópera preferida, nunca me la imaginé cantanda en la voz de un hombre soprano, pero adoro la interpretación, como articula las palabras, cada palabra tiene sentido y le da un sentido especial... Obviamente no se le puede comparar con ninguna mujer soprano, lo que lo hace único, lo admiro y siento sus interpretaciones a flor de piel. Es un grande...
Un dúo, que comienza en una tesitura bastante baja para la protagonista, si se utiliza el registro de pecho hay que tratar de no caer en excesos del uso del mismo ya que queda simplemente vulgar. Fue bastante electrizante esta interpretación, ya que no tenía previsto interpolar un MI B sobreagudo (E Flat) al final del dúo, pero tenía que terminarlo de una manera sorprendente y así fue.
MALE SOPRANO Let me start by saying that a male soprano is a true rarity. Why is it so? Generally speaking, during the male puberty the child treble voice goes away as the larynx grows to its adult size. The result is a new voice with a darker pitch. Tenors, baritones and basses cover the common male vocal range, from the highest to the lowest. When a man wants to imitate a woman’s voice he has to speak or sing with a falsetto (from Italian “falsetto”, false sound). A vocal musical training based on the falsetto is nowadays used by countertenors, whose natural voice is commonly that of a baritone. By learning how to sing with a falsetto technique, countertenors have recovered the old repertory of the so-called “castrati”. Castrato singing had a rather cruel origin: about four centuries ago, when a boy’s voice had a promising future he was castrated before puberty so that he would keep his treble voice for life. The castrated adult male had the chance of pursuing a brilliant singing career, based on his personal physical disgrace. However, this is another story. A male soprano voice is something else, it has nothing to do with a falsetto. From time to time, there is a special boy whose larynx chooses to develop differently: the result is that the boy keeps his treble vocal range beyond puberty. The rest of his body experiments growing changes like any other male body, but his larynx and vocal cords seem to have plans of their own. Our particular boy has been studying music and singing since early childhood. When he became a teenager and made plans to have a singing career, his natural voice was that of a genuine soprano. This was, in a nutshell, the beginning of our male soprano, Leonidas Miklos. What was Mr. Miklos to do with such a voice? There was no contemporary reference and historical evidence was practically nonexistent. As an adolescent, Mr. Miklos had already learnt near one hundred opera scores, his early life had been devoted to study opera at large (later on, as a professional singer, he rediscovered many operas which had remained forgotten for decades or centuries, and he was instrumental in bringing them back to the stage). The moment arrived when Mr. Miklos had to make what was perhaps his most important decision in life. His privileged voice was able to encompass various singing styles, from baroque to romanticism, from coloratura to verismo; he truly mastered all operatic styles. Mr. Miklos was reluctant to devote his career solely to baroque, which was a common choice for contemporary countertenors (their falsetto technique opened them the door to male characters written for treble voices, i.e. 17th and 18th century castrati). Therefore, why not putting his true soprano voice to the service of true soprano roles? At last he would be able to sing the vast repertory he had acquired during his childhood and early youth: Norma, Juliette, Fiordiligi, Norina, Amina, Adina, Die Koenigin den Nacht, the Verdi and Puccini heroines… The only problem was that all those roles were women. If he was to perform on stage, Mr Miklos was expected, not only to sing the part, but also to look the part, make it real “to the eye of the beholder”. Mr. Miklos accepted the challenge. Off the record Mr. Miklos has often said that the easiest part for him was the music. An enthusiastic musician and avid music reader, he was able to learn a complete opera almost in one reading. In order to look the part, he studied his roles very carefully. To move on stage he found his inspiration in many of the all-time big movie-stars. Greta Garbo was his Muse for “Traviata”, Bette Davis for Queen Elizabeth in “Robert Devereux”, and so on. Not to mention the many hours devoted to his make-up in order to have his male features properly “feminized”, the unending dressing sessions… The end result was like a miracle on stage! During his almost twenty years of active career, Mr. Miklos had a life of lights and shadows. The lights: playing roles normally inaccessible to male singers and excelling in those roles. His particular voice type, color and wide range, his stamina and amazing adaptability to his characters’ psychology allowed him to undertake roles as diverse as Amina in “La Sonnambula”, Ximene in “Le Cid” or both Turandot and Liù in Puccini’s last opera. He was in great demand for his tremendous working capacity. He was well-known for being able to replace an ailing soprano on short notice. Important opera theatres often have more that one cast ready to perform an opera, some may have four or more. Mr Miklos was normally the first cast leading soprano. Occasionally he would appear in second cast performances which were scheduled later in the season. When a rarely staged opera or an exhumed score was performed, it was normally due to Mr. Miklos’ initiative and research. It is obvious that in those special productions there was only one cast led by him. The shadows: Hatred, envy and discrimination. Mr. Miklos has often said that he used to go on stage knowing that 50% of the house was for him and 50% was against. His personal challenge was to end up with the full audience on his side. He was always rewarded with long curtain calls. In spite of the public favor, some conductors and production managers were reluctant to work with a male soprano. Mr. Miklos was once acclaimed as “the one and only”, but many powerful people in opera business resented the fact that for near twenty years he had the balls (pun intended) to go on stage dressed and made-up like a woman, sing with a true soprano voice and move people to tears with his Mimi or Cio-Cio-San, or have a standing ovation for his Lucia, Amina, Norma, Lucrezia Borgia, Abigaille, and a long list of other roles that had been written for women… Leonidas Miklos made his operatic debut in 1986, at age 20. He had a major European career, and occasionally performed in Mexico, South Africa and Australia. On the verge of his 20th anniversary on stage, Mr. Miklos had to travel back home (he was born in Argentina) due to a personal family situation. He never left Argentina again. A few months after his arrival to Buenos Aires his mother died of a terminal disease. For some time she had been his only living relative. Mr. Miklos, a very sensitive human being, couldn’t cope with this terrible situation. He had a nervous break down which took him to hospital. Before leaving Europe Mr Miklos had professional engagements for as far as 2018. All those contracts had to be cancelled at a high financial cost. Worst of all, there was an intangible cost: grudging and resented impresarios had his name removed from their records. “The one and only” had been finally erased from earth! The sancta-sanctorum of the opera world was now protected from odd specimens. Can you read the irony? Currently Mr. Miklos is an anonymous citizen in the megacity of Buenos Aires. His name has been removed from the books of glory, but no one can take away from him his memories of a happy past, full of lights and shadows. His savings are all gone. Now he works as a hotel receptionist. The former divo is going through a lot of hardship currently. Even in his misery, he is still a kind, compassionate and humble man, a loving and lovable human being as he has always been. He can even smile from time to time. He is only 49 and has gained some weight; it is obvious that he doesn’t have any longer the handsome looks he used to. When asked whether he would go back to singing, he says it would be gross to do it, he simply refuses to appear on stage now. His voice is still there, untouched, however he is realistic that he doesn’t look the part of a sweet and young heroine any longer. He has too much respect for opera to do so. On the other hand, Argentina, his native country, which has been in crisis for a long period, has never accepted him professionally, has never given him a chance. This is the reason why he had to emigrate to Mexico and Europe when he was still a teenager. Mr. Miklos is planning to start a blog of his own, if only to prove that he really existed and that his 20-year opera career is not a fiction. Depending on this blog acceptance by readers and fans he might upload some printed material and videos, once they are upgraded from the original tapes. Mostrar menos
Love the ornaments in Bello..very Malibran. Last scene of Norma very very good - have you ever listened to Eugenia Burzio? Please do the Mitridate Sifare arias - with big big cadenzas...
Oustanding!... Awesome!... Simply the best singer ever. A Male Soprano singing Soprano roles. Heavenly Angel of Music.
Bravo, LEONIDAS MIKLOS, vive nel mio cuore, come i ricordi più belli della mia vita teatrale. Grande, un uomo soprano, incredibile, un angelo col angeli e demoni nella voce, magnifica Violeta, Lucia, Amina, Medea...
Bravissimo! Molto convincente nella parte di Norma, arriva alle note senza fatica e senza spingere. Colore bellissimo. Può cantare Norma appieno. Anche il tenore particolarmente bravo, un grande Pollione.
Y pensar que fue el gran RICHARD BONYNGE, que enseño a LEONIDAS MIKLOS el estilo del BEL CANTO, tuve la ocasión de escucharle en Melbourne, Australia. Literalmente, el teatro en ovación de pie, puso a LEONIDAS en un altar, entre el público se encontraba la gran Joan Sutherland, a quien en un emotivo gesto cuando le entregaron a LEONIDAS, después del gran final, un magnífico ramo flores, se lo entregó a la famosa DIVA australiana. Que mi comentario y la interpretación sirvan de homenaje tanto para LEONIDAS MIKLOS, como para mi amada JOAN SUTHERLAND, que se encuentra en el cielo. Bravi!!!
Angelo della Musica! La NORMA, cantata con la giusta passione e utliliza registro di petto, ma senza cadere nella volgarità. Grande. Sig. Leonidas Miklos, un vero miracolo della musica, dal giorno che sei arrivato, ha iniziato un nuovo rinascere, di capolavori che sono stati dimenticati e che sono vere opere d'arte.
Bravo !!!! \o/
Fantastico Leonidas Miklos! Ho i brividi sentendo la sua voce.
Awesome, truly amazing.
Definidamente conquistado por tu esplendida voz Señor Leonidas Miklos. Escuchar tu voz, sublime el alma y provoca un caleidoscopio de emociones. BRAVO.
En nombre del Sr. Leonidas Miklos, muy agradecido por sus palabras y conmovido por profundidad. Tan pronto sea posible, vamos a subir un video especialmente dedicado a Usted. Será una muestra cariñosa del Sr. Miklos de decirle, gracias, muchas gracias de todo corazón por sus sinceras palabras.
Los comentarios para el Canal dependen de aprobación, porque el Equipo de Leonidas Miklos, no permitirá insultos ni cualquier tipo de agravio, para quien durante 19 años se dedico y entregó en cuerpo y alma a la música.
Equipo Leonidas Miklos
Leonidas Miklos Jamás hubiese yo pensado, que mi escueto comentario, se mereciese un tal honor.
Señor Miklos, es usted lo que se llama, una bellísima persona, como también un verdadero caballero.
Muchísimas gracias..
Siento, las mismas sensaciones que Jose, es verdaderamente un caleidoscopio de emociones, interpretación llena de pasión, fuego, creo que Vincenzo Bellini, desde el cielo, lo declaró el intérprete ideal de su NORMA, Bravo MIKLOS, por muchos años de carrera, éxitos y seguramente haz de llevar la corona de laureles de NORMA con orgullo. Yo te vi en Viena reemplazando a Cecilia Gasdia, que se encontraba indispuesta en el rol de Corinna, en el Viaggio a Reims, fue realmente un milagro, escucharte, sentir cada nota, el fraseo perfecto, la coloratura maravillosamente marcada, y el estilo Rossini ejemplar, antes te había visto cantado a la Condessa en Le Nozze Di Figaro, con un estilo completamente distinto, la voz se escuchaba perlada, aterciopelada, y comprendí que tu cantaras lo que cantaras, siempre ibas a saber diferenciar, el estilo, la época y ante todo respetar todo lo deseado por el compositor.
That was absolutely THRILLING!
I didn't expect a High E flat!
And such PATHOS and expressive singing! That was a TREMENDOUSLY well sung duet!
BRAVO !!! Mr. Leonidas Miklos is one of the greatest man in the history of the Music, because he is a male soprano and singing NORMA, he show the most talented male soprano in the world, The other only sings castrato roles, Leonidas Miklos, male soprano is amazing, awesome
Grandioso...
Simply Breathtaking...
Yes -I agree that Maestro Bonynge must have helped to make this so SUPERB!
What a wonderful Norma! And the rage and PATHOS in the voice!
Mr. Miklos did a superb job! And the High E flat was thrilling! What an EXCELLENT voice!
LEÓNIDAS MIKLOS, además de un bello y particular timbre de voz, posee una bagaje técnico completo, domina a voluntad toda clase de adornos como trémolos, escalas y ligados perfectos....
NORMA, cantanda con expresión y pasión, sin caer en exageraciones vulgares, respetando el estilo belliniano a la perfección, la línea de canto, los crescendo, los forte, los pianissimos, de acuerdo como están marcados en partitura. Y corona este dúo con un brillante Mi b sobreagudo. Como argentino me duele que haya encontrado fama en otros países y en nuestro país no. Por siempre serás un grande Leonidas Miklos, nunca te voy a olvidar, cada presentación tuya que ví en Europa está en mi corazón.
Great Singer. Awesome...
Que gran finale !!!!
NORMA, es mi Ópera preferida, nunca me la imaginé cantanda en la voz de un hombre soprano, pero adoro la interpretación, como articula las palabras, cada palabra tiene sentido y le da un sentido especial... Obviamente no se le puede comparar con ninguna mujer soprano, lo que lo hace único, lo admiro y siento sus interpretaciones a flor de piel. Es un grande...
Speriamo che torni a cantare 👍😎
Wow! Bravo!
Great...
Un dúo, que comienza en una tesitura bastante baja para la protagonista, si se utiliza el registro de pecho hay que tratar de no caer en excesos del uso del mismo ya que queda simplemente vulgar.
Fue bastante electrizante esta interpretación, ya que no tenía previsto interpolar un MI B sobreagudo (E Flat) al final del dúo, pero tenía que terminarlo de una manera sorprendente y así fue.
MALE SOPRANO
Let me start by saying that a male soprano is a true rarity. Why is it so? Generally speaking, during the male puberty the child treble voice goes away as the larynx grows to its adult size. The result is a new voice with a darker pitch. Tenors, baritones and basses cover the common male vocal range, from the highest to the lowest. When a man wants to imitate a woman’s voice he has to speak or sing with a falsetto (from Italian “falsetto”, false sound).
A vocal musical training based on the falsetto is nowadays used by countertenors, whose natural voice is commonly that of a baritone. By learning how to sing with a falsetto technique, countertenors have recovered the old repertory of the so-called “castrati”. Castrato singing had a rather cruel origin: about four centuries ago, when a boy’s voice had a promising future he was castrated before puberty so that he would keep his treble voice for life. The castrated adult male had the chance of pursuing a brilliant singing career, based on his personal physical disgrace. However, this is another story.
A male soprano voice is something else, it has nothing to do with a falsetto. From time to time, there is a special boy whose larynx chooses to develop differently: the result is that the boy keeps his treble vocal range beyond puberty. The rest of his body experiments growing changes like any other male body, but his larynx and vocal cords seem to have plans of their own. Our particular boy has been studying music and singing since early childhood. When he became a teenager and made plans to have a singing career, his natural voice was that of a genuine soprano. This was, in a nutshell, the beginning of our male soprano, Leonidas Miklos.
What was Mr. Miklos to do with such a voice? There was no contemporary reference and historical evidence was practically nonexistent. As an adolescent, Mr. Miklos had already learnt near one hundred opera scores, his early life had been devoted to study opera at large (later on, as a professional singer, he rediscovered many operas which had remained forgotten for decades or centuries, and he was instrumental in bringing them back to the stage).
The moment arrived when Mr. Miklos had to make what was perhaps his most important decision in life. His privileged voice was able to encompass various singing styles, from baroque to romanticism, from coloratura to verismo; he truly mastered all operatic styles. Mr. Miklos was reluctant to devote his career solely to baroque, which was a common choice for contemporary countertenors (their falsetto technique opened them the door to male characters written for treble voices, i.e. 17th and 18th century castrati). Therefore, why not putting his true soprano voice to the service of true soprano roles? At last he would be able to sing the vast repertory he had acquired during his childhood and early youth: Norma, Juliette, Fiordiligi, Norina, Amina, Adina, Die Koenigin den Nacht, the Verdi and Puccini heroines… The only problem was that all those roles were women. If he was to perform on stage, Mr Miklos was expected, not only to sing the part, but also to look the part, make it real “to the eye of the beholder”. Mr. Miklos accepted the challenge.
Off the record Mr. Miklos has often said that the easiest part for him was the music. An enthusiastic musician and avid music reader, he was able to learn a complete opera almost in one reading. In order to look the part, he studied his roles very carefully. To move on stage he found his inspiration in many of the all-time big movie-stars. Greta Garbo was his Muse for “Traviata”, Bette Davis for Queen Elizabeth in “Robert Devereux”, and so on. Not to mention the many hours devoted to his make-up in order to have his male features properly “feminized”, the unending dressing sessions… The end result was like a miracle on stage!
During his almost twenty years of active career, Mr. Miklos had a life of lights and shadows. The lights: playing roles normally inaccessible to male singers and excelling in those roles. His particular voice type, color and wide range, his stamina and amazing adaptability to his characters’ psychology allowed him to undertake roles as diverse as Amina in “La Sonnambula”, Ximene in “Le Cid” or both Turandot and Liù in Puccini’s last opera. He was in great demand for his tremendous working capacity. He was well-known for being able to replace an ailing soprano on short notice. Important opera theatres often have more that one cast ready to perform an opera, some may have four or more. Mr Miklos was normally the first cast leading soprano. Occasionally he would appear in second cast performances which were scheduled later in the season. When a rarely staged opera or an exhumed score was performed, it was normally due to Mr. Miklos’ initiative and research. It is obvious that in those special productions there was only one cast led by him.
The shadows: Hatred, envy and discrimination. Mr. Miklos has often said that he used to go on stage knowing that 50% of the house was for him and 50% was against. His personal challenge was to end up with the full audience on his side. He was always rewarded with long curtain calls.
In spite of the public favor, some conductors and production managers were reluctant to work with a male soprano. Mr. Miklos was once acclaimed as “the one and only”, but many powerful people in opera business resented the fact that for near twenty years he had the balls (pun intended) to go on stage dressed and made-up like a woman, sing with a true soprano voice and move people to tears with his Mimi or Cio-Cio-San, or have a standing ovation for his Lucia, Amina, Norma, Lucrezia Borgia, Abigaille, and a long list of other roles that had been written for women…
Leonidas Miklos made his operatic debut in 1986, at age 20. He had a major European career, and occasionally performed in Mexico, South Africa and Australia. On the verge of his 20th anniversary on stage, Mr. Miklos had to travel back home (he was born in Argentina) due to a personal family situation. He never left Argentina again.
A few months after his arrival to Buenos Aires his mother died of a terminal disease. For some time she had been his only living relative. Mr. Miklos, a very sensitive human being, couldn’t cope with this terrible situation. He had a nervous break down which took him to hospital. Before leaving Europe Mr Miklos had professional engagements for as far as 2018. All those contracts had to be cancelled at a high financial cost. Worst of all, there was an intangible cost: grudging and resented impresarios had his name removed from their records. “The one and only” had been finally erased from earth! The sancta-sanctorum of the opera world was now protected from odd specimens. Can you read the irony?
Currently Mr. Miklos is an anonymous citizen in the megacity of Buenos Aires. His name has been removed from the books of glory, but no one can take away from him his memories of a happy past, full of lights and shadows. His savings are all gone. Now he works as a hotel receptionist. The former divo is going through a lot of hardship currently. Even in his misery, he is still a kind, compassionate and humble man, a loving and lovable human being as he has always been. He can even smile from time to time.
He is only 49 and has gained some weight; it is obvious that he doesn’t have any longer the handsome looks he used to. When asked whether he would go back to singing, he says it would be gross to do it, he simply refuses to appear on stage now. His voice is still there, untouched, however he is realistic that he doesn’t look the part of a sweet and young heroine any longer. He has too much respect for opera to do so. On the other hand, Argentina, his native country, which has been in crisis for a long period, has never accepted him professionally, has never given him a chance. This is the reason why he had to emigrate to Mexico and Europe when he was still a teenager.
Mr. Miklos is planning to start a blog of his own, if only to prove that he really existed and that his 20-year opera career is not a fiction. Depending on this blog acceptance by readers and fans he might upload some printed material and videos, once they are upgraded from the original tapes.
Mostrar menos
Love the ornaments in Bello..very Malibran. Last scene of Norma very very good - have you ever listened to Eugenia Burzio? Please do the Mitridate Sifare arias - with big big cadenzas...
Como. Anda mi amigo Leonidas..? *