Since its inception in 2011, the Canadian Opera Company Ensemble Studio Competition has been a terrific opportunity for young Canadian singers who want to pursue a career in opera. Winners are awarded cash prizes and the chance to join the Ensemble. They also receive invaluable public exposure, vital in a very competitive profession. In its first two years, Centre Stage was simply known as the Ensemble Studio Competition, and it was a modest affair. It took place in the Richard Bradshaw Amphitheatre at the Four Seasons Centre, where audiences sat on glorified stairs without back support. It was not exactly the most comfortable venue, but hearing the beautiful voices made it all worth it.
In 2013, the Competition was rebranded as “Centre Stage,” and with that rebranding came all the bells and whistles. It now takes place in the main auditorium, with the full COC orchestra, hosted by a well-known figure in the entertainment world. This year, it was Canadian actor and media personality Emma Hunter. For those audience members with deep pockets, there was a reception and dinner afterwards.
The selection process begins months earlier, with auditions held across the country. The successful candidates are invited to come to Toronto for the finals. This year’s seven finalists were selected from 120 online applicants and 78 live auditions that took place in Vancouver, Calgary, Montreal and Toronto.
On the day of Centre Stage, there was a closed session that took place earlier in the day, where each finalist performed one aria to the panel of judges. In the evening session, a second aria was performed in the presence of both the jury panel and a live audience. This year’s jury was comprised of Dorian Cox, director of the COC Ensemble Studio; Roberto Mauro, COC artistic administrator; Elaine Overholt, Broadway and Hollywood vocal coach; Liz Upchurch, Head of Music of the Ensemble Studio; and Edith Wiens, Canadian soprano and voice teacher.
The crowd this year was, typically, less than full but very enthusiastic. After a few lively opening remarks by Emma Hunter, the competition got down to business.
Photo Credit: Michael Cooper
Mezzo-soprano Ariana Maubach performing “Cruda sorte” from L’Italiana in Algeri
Kicking off was mezzo-soprano Ilanna Starr (Montreal and Washington, DC) singing “Sta nell’ircana pietrosa tana” from Handel’s Alcina. Her lyric mezzo was heard to advantage in Ruggiero’s aria – a fine start! She was followed by soprano Chelsea Kolić (Hamilton), whose “Depuis le jour” from the rarely performed Louise was beautifully sung, with lovely mezza voce, a requisite in this aria.
Baritone Mikelis Rogers (London, ON) sang Yeletsky’s “Ya vas lyublyu” from The Queen of Spades with nice, sturdy tone, although maybe just a bit short on gravitas. Next came soprano Emma Pennell (South River, ON / Corner Brook Indian Band, Mi’kmaq), the only voice I was familiar with prior to the evening, having heard them as Mother Marie at a Glenn Gould School production of Dialogues des Carmélites. They chose Mimì’s third act aria “Donde lieta uscì,” offering lovely tone throughout. I couldn’t help but feeling, however, that this aria didn’t really show off what their excellent voice is capable of.
Bass-baritone Nicholas Murphy (Charlottetown) ventured into Rossini territory with Don Magnifico’s comic “Sia qualunque delle figlie” from La Cenerentola. This piece requires animated delivery and comic timing. Murphy sang well, but possibly needed a bit more theatricality. Soprano Olivia LaPointe (Fredericton) sang a lovely “Obéissons, quand leur voix appelle,” Manon’s aria. Kudos to her for not getting flustered by the inappropriate applause right in the middle of her aria!
The last on the program was mezzo Ariana Maubach (Toronto) singing “Cruda sorte” from L’Italiana in Algeri, a tough aria that requires a solid low mezzo capable of brilliance and flexibility for the coloratura. Maubach acquitted herself very well.
A few observations: The field this year was quite even, unlike two years ago when there was a clear winner – I am referring to soprano Karoline Podolak in the 2022 Centre Stage. The voices this year are all beautiful, technically secure, musical, and indeed promising. I would have liked a bigger sound from a few, but that usually comes with time and further development.
As audience members – both in person and at home watching the livestream – we were given the chance to vote for an audience prize. In past years, there was a guest soloist to entertain the crowd when the jury panel went into deliberations, but those days appear gone, perhaps due to budget considerations.
In any case, it didn’t take long. In no time, the jury appeared on stage to announce the winners. First Prize ($7,500) and Audience Prize ($1,000) went to mezzo Ariana Maubach. Soprano Emma Pennell won Second Prize of $5,000 and soprano Olivia Lapointe won Third Prize of $2,500. I can honestly say that they are all deserving of their accolades. To be selected as a finalist in a very competitive field, they are already winners in my book. I look forward to hearing each of them in the future.
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Joseph So is Professor Emeritus at Trent University. He is also a long-time contributor to La Scena Musicale and Opera (London, UK). His interest in music journalism focuses on voice, opera as well as symphonic and piano repertoires. He appears regularly as a panel member of the Big Canadian Opera Company Podcast. He has co-edited a book, Opera in a Multicultural World: Coloniality, Culture, Performance, published by Routledge (Taylor & Francis Group).
