The Artist of the Week is Canadian soprano Elena Howard-Scott. She will be making her Canadian Opera Company mainstage debut as the Page in Verdi‘s Rigoletto from January 24th to February 14th (tickets and info here).
Elena is a versatile singer and actress. Last season, she made her Mirvish debut in Natasha, Pierre, and the Great Comet of 1812 and performed the title role in the Canadian premiere of Sophia’s Forest with City Opera Vancouver. This season, she returned to Victoria Playhouse Petrolia for Starbright Christmas and joins Opera on the Avalon for their emerging artist program.
This week, Elena chats with us about her very musical family, what she is reading and watching and how she is carving her own unique career path. Read on to find out more.
When was your first singing lesson (and with whom)?
Age 12 or so, with my grandmother Dorothy Howard, who was an opera singer and teacher herself.
Favourite city that you’ve worked in?
I loved working in Vancouver last year – a prairie girl like myself always gets a kick out of seeing the mountains! But since so much of the performer life is spent living out of a suitcase, working at home always feels special, which right now is Toronto. 🙂
Do your on stage experiences also feed into your personal life?
Absolutely. Performing provides a constant invitation for true presence. I try to bring this into my day-to-day as much as I can.
What is one surprising thing that you have learned in becoming an opera singer?
That my career is actually up to me. So many people tried to tell me what I could or couldn’t be as an artist, that I had to go down the traditional path or it wouldn’t happen for me. This advice was never out of malice, but I would lovingly say to them now what my young self always believed but didn’t yet have proof of – it’s not true. So much of this career is waiting for a “yes” or a “no” from others, but we ultimately get to decide what kind of artist we are and strive to be.
What’s your favourite movie?
The Iron Giant. (“Souls Don’t Die”)
The music industry is tough, and filled with rejection. How do you cope? Does it get easier?
Sounds obvious, but you gotta believe in yourself!! Trust yourself and your gift, work hard, and get a team behind you that you trust and love. Tenacity builds with time. Certain rejections will still sting, but I bounce back from them much quicker than I used to.
What was your childhood dream job?
Everything Hilary Duff was doing.
Are there more musicians in your family? If yes, who and what do they play/sing?
Bales of ’em!! Music has been integral on both sides of my family for generations – lots of (very good) hobby musicians. Professionally speaking, my grandmother was a mezzo-soprano and taught voice at the University of Saskatchewan for 25 years. My mum is a violist, and a violin and viola teacher – my entire life has been underscored by her students in the living room. My dad is a composer, and I’ve been proud to perform his pieces throughout the years. My brother is an accomplished cellist, and one of those people who can play any instrument you hand him – a musical genius and amazing collaborator.
Which TV show did you binge-watch last?
Heated Rivalry, obviously!
What’s the strangest/funniest thing that has happened to you on stage?
In long runs of shows, I have had some pretty epic lyric mishaps. It’s amazing (and scary) what rewrites can come out of you when your mind goes completely blank.
What’s your favourite thing about singing with an orchestra?
The same can be said for singing with a great pianist, but the simultaneous grandness and delicacies of the orchestra always invite new colours into the voice.
What’s the best thing about being a performer?
The fast friendships and unique memories that you carry forever. Even if your paths never cross again, for this special moment you are creating something together that otherwise wouldn’t exist.
What book are you reading at the moment?
At the time of writing this, I have JUST finished Hamnet and have yet to pick my next read. If you (yes, you!) have a recommendation, DM me!
When was the first time you cried at the opera?
When I was 16, I saw Tracy Dahl in Rigoletto at home at the Manitoba Opera. I was spellbound by her performance – I am now proud to call Tracy a lifelong teacher, mentor and friend of mine.
What does it mean to be brave with music?
Performing music (and singing specifically) is an ultimate surrender. I’m interested in and hope to be an artist whose vulnerability reaches and moves people; it takes courage to be vulnerable with your joy, imperfections and choices.
Do you approach singing and/or upcoming projects differently today than you did at the beginning of your career?
I am a procrastinator in recovery. High-level singing requires true athleticism of the littlest muscles – I now understand what cannot be achieved overnight. The same goes for mental preparation. The stronger the preparation, the more enjoyable and free the performance. 🙂
Are you superstitious? If yes, can you share what it’s about?
I like to take the old school theatre superstitions seriously – mentioning The Scottish Play, the whistling one (scary!), “break a leg” vs “good luck.” At best, they are charming, and at worst, they are terrifying and must be obeyed!!!
Do you believe in ghosts?
Absolutely – what authority do any of us have to say that ghosts don’t exist?
LEARN MORE ABOUT ELENA HOWARD-SCOTT
VISIT HER WEBSITE
© Michelle Diamond
In Sophia’s Forest at City Opera Vancouver
© Dahlia Katz
In Dialogues des Carmélites at the Glenn Gould School
© Ann Baggley
At Stratford
Rigoletto
Canadian Opera Company
RIGOLETTO: Quinn Kelsey
GILDA: Sarah Dufresne/Andriana Chuchman
DUKE OF MANTUA: Ben Bliss
SPARAFUCILE: Peixin Chen
MADDALENA: Zoie Reams
COUNT CEPRANO: Duncan Stenhouse
COUNTESS CEPRANO: Emily Rocha
GIOVANNA: Simona Genga
MONTERONE: Gregory Dahl
BORSA: Julius Ahn
MARULLO: Nathan Keoughan
USHER: Nick Murphy
PAGE: Elena Howard-Scott
One of the most adored works in the operatic canon, Rigoletto features a high-stakes game of power and control and some of opera’s most recognizable melodies.
This riveting musical drama by master composer Giuseppe Verdi tells the tale of the tragic jester Rigoletto, who embarks on a fateful quest for revenge. Director Christopher Alden’s widely praised production evokes a Victorian men’s club in this masterpiece of Italian grand opera.
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