_{Artist of the Week} 18 Qs for Catherine Daniel

Who inspired you to sing?
I am very lucky to have had many mentors in my life. I always blame my mother for forcing me to join a youth choir when I was 15. My first voice teacher was Ardelle Ries – she worked on the idea of a bachelor’s in music. The great Tracy Dahl not only helped me find my top notes, she also was the first to plant the seed of a life on stage. I thought I knew better at 19, but Tracy turned out to be completely right!

Heels or flats?
FLATS! Sadly, I still do end up wearing heels for auditions and performances. I try to make sure they’re not too high. Heels… can’t live with ‘em, can’t live without ‘em!

Top 3 favourite composers?
Bizet – I know it sounds cliché, but I absolutely love Carmen. Something about all the hits in that opera with the dancing and movement get me every time.

Verdi – His music is literally rock ‘n’ roll. I want to sing all his mezzo ladies: Amneris, Azucena and Ulrica just to name a few. 

Wagner – I feel like I’m a part of the Wagner club. Three productions of Das Rheingold and Die Walküre coming up this spring. I am very thankful to sing this music. 

What’s your favourite opera house?
Wiener Staatsoper! It would be a dream come true to sing there. I’ve done the tour twice and I went to see Il Trittico by Puccini last spring. 

Which opera role do you want to be singing right now?
Amneris: an evil noble woman with gorgeous high notes? Sign me up!

Who is a singer you admired from the past?
Shirley Verrett – to have my name mentioned in the same sentence as hers would be an honour. She was graceful and had incredible high notes. She had an enviable career and a far-reaching positive influence on the opera world. 

Tent or hotel?
HOTEL! I have gone on a surprising amount of camping trips for someone who despises sleeping outside. Give me a hotel with a steam room and pool every day of the week. 

Coffee or tea?
100% Tea. I only like coffee with a lot of milk and sugar and chocolate so nowhere near a purist. The coffee afficionados look down on me. 

What’s the best thing about being an opera artist?
All of the wonderful people you get to meet and stay in contact with. Theatre people are more open – they live alternative lifestyles. We are always trying to seek understanding and understand others. The music/project unifies us – we come from such different backgrounds to bring stories to life. I feel blessed to have an opera family across two continents. 

Are you happiest in the country or in the city?
Give me the city. I love discovering museums and great architecture in a new place. I was recently in Prague, and that city took my breath away!

What’s your guilty pleasure?
I am a huge fan of Love is Blind! I not only watch the show, I consume commentary and articles. I find watching the couples’ journeys so entertaining. I’m here for the highs and lows and all the drama!

What is the best advice you have ever been given?
When I first moved to Toronto in 2014, Marcia Whitehead told me to “keep my blinders on.” I think about that conversation from time to time and I realize that she was completely right. It can be extremely difficult not to compare yourself to others. That advice was a great reminder that your development and career journey is unique. 

What’s the biggest risk you’ve taken for a production?
In October 2023, I was at home in Edmonton subbing in a junior high gym class. I got a message from Joel Ivany (artistic director of Edmonton Opera) near the end of the school day to jump in for Carmen! I drove from the school to the Jubilee Auditorium to sing the title role with four hours notice. I am thankful for my colleagues who guided me around the stage and prompted me from the wings. It was certainly a night to remember! 

The music industry is tough, and filled with rejection. How do you cope? Does it get easier?
Dark humour. I have to be honest and say that the feeling of rejection does become more familiar but it doesn’t truly get easier, especially if it’s a role you really wanted. Fortunately, we don’t measure our success on the gigs we didn’t get. Focusing on the great contracts and upcoming projects is the best way to cope. 

Does singing help keep you young?
I do have another life of teaching/working with elementary aged children and I have to say that rehearsals can bring out the child in me. Depending on the atmosphere I will play pranks and give myself goals such as adding a lunge to every scene. A huge part of surviving rehearsals is creating your own fun. Directors need to be conscious of an environment where singers/actors can experiment. 

When was the first time you cried at the opera?
I remember seeing a production of Don Chisciotte in Sierra Morena at the Stadsschouwburg in Amsterdam. The piece was delightful and featured the Don on a series of adventures. The director shocked the audience by ending the piece in an insane asylum. I remember crying at the contrast of this with the reality presented in the opera. I was heartbroken for the protagonist. 

What does it mean to be brave with music?
The most thrilling thing for me, besides singing with the orchestra, is when the audience is with you every step of the way. When the audience is engaged – when they laugh at the right moments, when you can hear a pin drop in a sad or poignant moment, you know you’ve done your job well. This cannot happen without vulnerability. Vulnerability takes courage. To be on the verge of tears so the audience can cry. To invite them into your heart as you tell the story takes courage. I am 100% biased but singers are so brave – we expose ourselves and our instrument to thousands. It’s thrilling but it can also be overwhelming.

How long do you spend preparing to get into a character?
How much time do I have? LOL! Ideally, I would like a year to research and prepare. For the historical characters I read biographies and try to understand how the opera represents their story. I will contact the director ahead of time depending on the size of the role.