Émile Nelligan is one of the greatest poets in Quebec, the ultimate poète maudit. Of all the members of the Montreal School, he is the most translated into Spanish. Originally published in Mexico in the 1980s, the first versions were reissued, revised and expanded in the late 1990s. In addition, two Mexican and one Spanish anthologies containing a selection of his work were published between 1996 and 2002. Set to music and included in many textbooks, Soir d’hiver remains one of the greatest Nelligan “classics.” To date, four Spanish versions have come out: one by Marco Antonio Campos (first published in 1989, then in 1999), one by Lorenza Fernández del Valle and Juan Carvajal (1996), one by Benjamín Valdivia (2002) and one by Miguel Frontán (undated, online). Curiously, none of them reproduces at first sight the metrical or rhyme scheme of the original poem. However, one of the translators claims to have paid special attention to the “music” of the lines, even if it meant sacrificing their meaning. This study will determine how the translators approached the poem’s sonority by comparing the poem’s original “soundtrack” with the phonic characteristics of the re-translations and their effects.