The Artist of the Week is Canadian tenor Matthew Cairns. He will be singing the role of Froh in Wagner's Das Rheingold at Opéra national de Paris from November 6th to 15th (tickets and info here).
Matthew is gaining recognition on operatic stages across Canada, the United States and Europe. This season, you can find him at Lyric Opera of Chicago, Opéra de Québec, Opéra Dijon, Festival International de Lanaudière, the Canadian Opera Company, Pacific Symphony, Victoria Symphony and at the Harris Theatre for their "Beyond the Aria" series.
This week, Matthew chats with us about his favourite roles, his love of cooking and important advice that has guided him though his career. Read on to find out more.
Drink of choice?
Champagne.
Top 3 favourite composers?
Verdi, Puccini and Bizet.
Top 3 favourite operas?
Tosca, Turandot, Carmen.
What’s your favourite opera house?
I have had the privilege of singing in many amazing opera houses, but it is always a pleasure to return home and sing with the Canadian Opera Company!
Which opera role do you want to be singing right now?
Please cast me as Don José and Cavaradossi every season for the rest of my career!
Which opera role do you want to be singing in 10 years?
Radames, Calaf and maybe some Wagner leads…
Who is a singer you admire that is currently working?
Freddie De Tommaso has a killer voice, and he’s a great dude. Great singer to talk shop with and enjoy a Guinness or two.
Who is a singer you admired from the past?
I am a big fan of John Vickers. In an era of "park and bark," he flooded the stage with emotion and captivated audiences with his physical acting.
What’s your favourite thing about singing with an orchestra?
There is no better feeling than the support you have with an orchestra. Over 100 people coming together to make music is a special experience.
Which role do you wish you could sing, but is not in your voice type?
I don’t get to be the villain often as a tenor… so I think I would like to sing Scarpia or Don Giovanni.
What are you afraid of?
Death and taxes.
Coffee or tea?
A flat white, at home, made by my beautiful girlfriend.
What was the first opera you ever saw?
I had the privilege of seeing Ben Heppner sing Peter Grimes in one of his last operatic performances, and it was brilliant!
Where did you go to school?
I attended the University of Toronto for my undergraduate and master's degrees. Shoutout to U of T Opera!
Where’s your favourite coffee shop?
In Paris, I’m a big fan of Café Caractère in the 11th, but in Toronto it’s my house!
What’s the luckiest thing that has ever happened to you?
Winning some competitions felt very lucky, but overall I feel lucky and thankful to have a job in this highly competitive industry.
Are you a cat person or dog person?
Definitely a dog person. I have always wanted a big dog but considering the singer life… a miniature dachshund could be coming in the future.
What was your childhood dream job?
I wanted to be a celebrity chef! I had a little chef's uniform, and I even competed in my regional Kiwanis speech competition where I professed my love for the culinary arts!
Are you happiest in the country or in the city?
I find joy in both places. I love being able to live in such a vibrant city, but when Toronto life gets too busy it’s nice to head to a lake, relax and reset.
What’s your guilty pleasure?
A great bottle of champagne, with some stellar cheese and charcuterie.
Which TV show did you binge-watch last?
I recently watched the series Mindhunter for the first time on Netflix. I’m behind the curve here as it came out nearly a decade ago… but I highly recommend it!
Do you sing in the shower?
Yes, it’s the best place to warm up.
What’s a big investment for an opera artist, but totally worth it?
For me, travelling as a tall human is always a struggle. Extra leg room seats are a must and worth the investment.
Do you enjoy cooking? If yes, what is your best dish?
Cooking is essential to my wellbeing. One of my biggest flexes is being able to cook a perfect steak in any city with any kitchen or lack thereof.
What is the best advice you have ever been given?
Your best work and growth will happen once you stop comparing yourself to others. Everyone has their own journey, and this career is a marathon not a sprint.
What’s the most important lesson you learned from childhood?
“Treat others as you would like to be treated.” This career is so difficult as it is. We are all travelling, tired and missing our loved ones. I don’t think there is any excuse to be difficult or rude to your colleagues. Unfortunately there are artists, directors and conductors that need to hear this and remember to be kind to all!
What does success/happiness look like to you?
Being able to raise a family and give them a life full of love and joy. If singing allows me to do that then I will be successful man.
Original run of Das Rheingold at Paris Opera in 2025
© Elisa Haberer
In Carmen at Seattle Opera in 2026 with Sasha Cooke
© Sunny Martini
In Tosca at the National Arts Centre in 2025 with Ailyn Perez
© Curtis Perry
In Wozzeck at the Canadian Opera Company in 2025 with Ambur Braid
© Michael Cooper
Das Rheingold
Opéra national de Paris
WOTAN: Christopher Maltman
DONNER: Florent Mbia
FROH: Matthew Cairns
LOGE: Simon O'Neill
FAFNER: Mika Kares
ALBERICH: Brian Mulligan
MIME: Gerhard Siegel
FRICKA: Eve-Maud Hubeaux
FREIA: Sinead Campbell Wallace
FASOLT: Kwangchul Youn
ERDA: Marie-Nicole Lemieux
WOGLINDE: Margarita Polonskaya
WELLGUNDE: Isabel Signoret
FLOSSHILDE: Katharina Magiera
GISELA: Juliette Morel
Unique in the history of opera, The Ring of the Nibelung is the colossal tetralogy Richard Wagner worked on for thirty years. First performed in 1869, the Prologue The Rhinegold unveils from its first telluric chord a world riddled with existential questions. Who will obtain the power of the ring forged from the gold of the Rhine? The gods, the giants or the Nibelungen?
Borrowing from Norse and Germanic mythology, Wagner conceived an extraordinary cycle that reflected his innovative ambition: to create a total work of art inspired by ancient tragedy. As well as revolutionising the art of opera, he also devised theatrical material open to multiple interpretations.
Director Calixto Bieito places The Rhinegold in a context dominated by digital virtuality and questions the impact of technology and science on human beings.
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