Simone Kermes is a German coloratura soprano, especially known for her virt… Read Full Bio ↴Simone Kermes is a German coloratura soprano, especially known for her virtuoso voice, suited to the opera seria genre, of the Baroque and early Classical repertoires.
Born in Leipzig, Kermes studied with Helga Forner at the Felix Mendelssohn College of Music and Theatre in her home city. She also attended master classes of Elisabeth Schwarzkopf and Dietrich Fischer Dieskau. In 1993 she won first prize in the Felix Mendelssohn Bartholdy Competition in Berlin, and in 1996 she was awarded second prize in the International Johann Sebastian Bach Competition in Leipzig.
Kermes has performed at many important theatres, festivals and concert halls internationally, including the Brooklyn Academy of Music in New York, the Théâtre des Champs-Élysées in Paris, the Staatsoper Stuttgart, the Bonn Opera House, the Festspielhaus Baden-Baden, the Schwetzingen Festival, the Schleswig-Holstein Musik Festival, the Rheingau Musik Festival, Festa de musica Lisbona, the Ruhr Triennale arts festival, Triennale di Colonia, Dresda MDR, Figures sacrées Paris, Autumn of Praga, Bach festival Leipzig , and Bonn e Resonanzen Vienna. She has also performed with many notable orchestras, including Gewandhaus Lipsia, Symphonic Orchestra of Prague, Venice Baroque Orchestra, Classical Orchestra of Madrid, Staatskapelle of Dresden, Orchestra of the Comunale of Bologna, Orchestra regionale Toscana, Complesso Barocco, Orchestra of the Fiandre.
On the opera stage she has performed many roles, including Konstanze in Die Entführung aus dem Serail, Rosalinde in Die Fledermaus, Fiordiligi in Così fan tutte, Donna Anna in Don Giovanni, and the title role in Euridice. She has also portrayed numerous Händel heroines, including Adelaide in Lotario, Asteria in Tamerlano, Laodice in Mitridate Eupatore, Merab in Saul, and the title roles in Alcina, Deidamia, and Rodelinda.
Born in Leipzig, Kermes studied with Helga Forner at the Felix Mendelssohn College of Music and Theatre in her home city. She also attended master classes of Elisabeth Schwarzkopf and Dietrich Fischer Dieskau. In 1993 she won first prize in the Felix Mendelssohn Bartholdy Competition in Berlin, and in 1996 she was awarded second prize in the International Johann Sebastian Bach Competition in Leipzig.
Kermes has performed at many important theatres, festivals and concert halls internationally, including the Brooklyn Academy of Music in New York, the Théâtre des Champs-Élysées in Paris, the Staatsoper Stuttgart, the Bonn Opera House, the Festspielhaus Baden-Baden, the Schwetzingen Festival, the Schleswig-Holstein Musik Festival, the Rheingau Musik Festival, Festa de musica Lisbona, the Ruhr Triennale arts festival, Triennale di Colonia, Dresda MDR, Figures sacrées Paris, Autumn of Praga, Bach festival Leipzig , and Bonn e Resonanzen Vienna. She has also performed with many notable orchestras, including Gewandhaus Lipsia, Symphonic Orchestra of Prague, Venice Baroque Orchestra, Classical Orchestra of Madrid, Staatskapelle of Dresden, Orchestra of the Comunale of Bologna, Orchestra regionale Toscana, Complesso Barocco, Orchestra of the Fiandre.
On the opera stage she has performed many roles, including Konstanze in Die Entführung aus dem Serail, Rosalinde in Die Fledermaus, Fiordiligi in Così fan tutte, Donna Anna in Don Giovanni, and the title role in Euridice. She has also portrayed numerous Händel heroines, including Adelaide in Lotario, Asteria in Tamerlano, Laodice in Mitridate Eupatore, Merab in Saul, and the title roles in Alcina, Deidamia, and Rodelinda.
Dido & Aeneas Act III: Dido's Lament
Simone Kermes Lyrics
We have lyrics for these tracks by Simone Kermes:
Alto Giove Alto Giove È tua grazia e tuo vanto Il gran dono di…
An die Einsamkeit Einsamkeit Einsamkeit Du Qual der Hertzen Du Qual Du Qual de…
Polifemo: Alto giove Alto Giove È tua grazia e tuo vanto Il gran dono di…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Deus Carmo
When I am laid, am laid in earth, may my wrongs create
No trouble, no trouble in, in thy breast.
When I am laid, am laid in earth, may my wrongs create
No trouble, no trouble in, in thy breast.
Remember me, remember me, but ah!
Forget my fate.
Remember me, but ah!
Forget my fate.
Remember me, remember me, but ah!
Forget my fate.
Remember me, but ah!
Forget my fate.
Est Kat
Thy hand, Belinda, darkness shades me,
On thy bosom let me rest,
More I would, but Death invades me;
Death is now a welcome guest.
When I am laid, am laid in earth, May my wrongs create
No trouble, no trouble in thy breast;
When I am laid, am laid in earth, May my wrongs create
No trouble, no trouble in thy breast;
Remember me, but ah! forget my fate,
Remember me, remember me, but ah! forget my fate.
Remember me, but ah! forget my fate,
Remember me, remember me, but ah! forget my fate.
Karel Dvoracek
The best version I heard. No heroic vibrato, no hysteric ff, all is simple and very natural, tempo is also very pleasant. The choir part is also perfect, good balanced accents and dynamics.
Michael Kingsbury
Pure to the period, and more powerful for it.
Michael Boucher
Have you heard the Jeff Buckley version? I can't find a really good recording but the bad recordings fit the song so well!
Stephen Butterfield
I totally agree, especially the ff
Gabriel Lopes
I'm quite fond of Andreas Scholl's version, as all.
Alexia Karousou
Incomparably delicate version, a real lament that goes deep in the heart. By far the best version I have ever heard.
IAKOVOS ARVANITIS
Επιτέλους και μία Ελληνίς !!!
Ted Guarino
When I heard this rendition, I started to cry like a baby remembering my late mother who was a great Coloratura Soprano and performed this very piece at several funerals when I was young. It brought instant memories of her to me. This is by far the most tender and lamenting version I have ever heard.
jcsv12345
This is the first version that really gave me chills, in the good way. Wonderful rendition!
Lydia Schildwacht
To me as well.