As he gradually moved from leading assignments, Michel Sénéchal has generated himself being a superstar among comprimario singers. His vignettes, nevertheless brief, are of the order that immediately raises the creative level in virtually any creation he selects to accept. His sophisticated feeling of make-up, stage motion, comic timing, and seizing each part of irony and making it unforgettable each is constructed upon the underpinnings of the attractive light tenor tone of voice, well-trained and constantly pleasant to listen to. So dominant offers this supporting designer become, the catalog shows multiple recordings of his primary repertory. His just predecessor to possess accomplished such prominence with this market was Swiss tenor Hughes Cuenod, an indelible designer himself, but one having a actually lighter instrument. Pursuing studies in the Paris Conservatory, Sénéchal produced his debut in 1950 at La Monnaie in Brussels. Under agreement there for three months, he sang the lyric tenor repertory, as he continuing to do later on at both Paris Opéra as well as the Opéra-Comique and in additional theaters through France. His tasks grew to add Rossini’s Almaviva and Comte Ory, Hylas in Berlioz’s Les Troyens, Paolino in Cimarosa’s Il matrimonio segreto, Georges Dark brown in Boieldieu’s La dame blanche, and three of Mozart’s leading tenor parts: Tamino, Ferrando, and Don Ottavio. At Aix-en-Provence in 1956, Sénéchal sang the travesty part of Rameau’s Platée, a inquisitive creature of heart-stopping homeliness who thinks herself to become beautiful. The part is both a respected one and a personality study. His achievement in the part was so excellent, he was asked to execute the component in Amsterdam, in the Monnaie, and later on, the Opéra-Comique. Gradually, Sénéchal founded his supremacy in personality tasks, commencing Monsieur Triquet in Tchaikovsky’s Yevgeny Onegin (documented with Solti); Schmidt in Werther; Trabuco in Verdi’s La forza del destino; Scaramuccio in Ariadne auf Naxos; Erice in Cavalli’s L’Ormindo; Valzacchi, Teapot, and Arithmetic in Ravel’s enchanted L’enfant et les Sortileges; Gonzalve in Ravel’s L’heure Espagnole (triumphantly sung in the 1966 Glyndebourne Event with a solid including Hughes Cuenod as Torquemada); Rodriguez in Don Quichotte; the Brahmin in Roussel’s unique Padmâvatî; aswell as Le Dancaire and Don Basilio, which he sang yearly in the Salzburg Event from 1972. Sénéchal was selected for the part of Don Jerome when Prokofiev’s hardly ever performed Betrothal inside a Monastery was created at Strasbourg in 1973. For Sénéchal’s Metropolitan Opera debut on March 8, 1982, he was involved for Les Contes d’Hoffmann, carrying out the four comic tenor tasks, a switch that at that time had basically become a personal assignment. Other assignments following on the Metropolitan had been Guillot in Massenet’s Manon and Mozart’s Don Basilio. Sénéchal provides, furthermore to set up repertory stage functions, undertaken modern operas. At Toulouse, he sang Fabien in the premiere of Marcel Landowski’s Montségur in 1985. The same calendar year, he made an appearance as Pope Leo X in Boehmer’s Docktor Faustus on the Paris Opéra. Sénéchal’s mastery from the tenor personality repertory has frequently brought him in to the documenting studio room. His four comic individuals in Hoffmann have already been preserved on disk 3 x, while in Adam Levine’s documenting of Andrea Chénier, Sénéchal shows up regarding his significantly reputed Italian counterpart, Piero di Palma, and helping principals Scotto, Domingo, and Milnes. Furthermore to Offenbach’s Hoffmann and a near-definitive Orphée aux enfers documented under Plasson in 1978, Sénéchal shows up with Dame Felicity Lott within a documenting of La belle Hélène released in 2000.