Patricia Yates tells us why it’s time to ditch the voice classification system used heavily in the opera industry to cast roles. This text was originally published in the Spring 2023 print version of Opera Canada magazine.

Patricia Yates tells us why it’s time to ditch the voice classification system used heavily in the opera industry to cast roles. This text was originally published in the Spring 2023 print version of Opera Canada magazine.
On July 13 and 14, Brott Opera presented La traviata in the 470 seat Peller Hall at Ancaster...
An international career now spanning 30 years, John Relyea is one of today’s finest bass-baritones. This text was originally published in the Spring 2023 print version of Opera Canada magazine.
Few operas can have enjoyed a splashier premiere than Francesca Caccini’s Alcina. In the Florence...
The Little Opera Company closed its 2022/23 season with a bite-sized version of Mozart’s great singspiel, Die Zauberflöte, featuring Canadian composer John Greer’s compact, 90-minute adaptation titled The Magic Flute: The Trials of Tamino and Pamina performed in English.
Frédérique Vézina speaks to César Ulloa, Chair of Voice and Opera Studies at San Francisco Conservatory of Music, exploring common misconceptions among young singers, technical exercises to train the body for improved breath and support, and more. This text was originally published in the Spring 2023 print version of Opera Canada magazine.
Canadian-Ukrainian maestro Keri-Lynn Wilson is creating an experience that strengthens a nation and touches the world. This text was originally published in the Spring 2023 print version of Opera Canada magazine.
Mark Williams is the new CEO of the Toronto Symphony Orchestra. He has served in leadership roles with The Cleveland Orchestra and the San Francisco Symphony.
“Wort oder Ton?”: which has the upper hand, the words or the music? That centuries-old debate, as...
It was a banner month of June for Canadian singers in the UK. First, mezzo Simone McIntosh proudly...
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