MARJORIE MALTAIS

Mezzo-Soprano

BIOGRAPHY

Mezzo-soprano Marjorie Maltais completed her Master of Music in Literature and Performance at University of Western Ontario in 2015, singing leading roles in Cosi fan Tutte, L’Heure Espagnole and La Cenerentola. She gained attention as a Finalist at the Canadian Opera Company’s 2015 Centre Stage Competition for her dynamic stage presence and the “fireworks of her remarkable coloratura”.

 

A native of Clermont, Quebec, Marjorie was invited to  acclaimed mezzo-soprano Marilyn Horne's Music Academy of The West Summer Music Festival in Santa Barbara, California, performing in excerpts from Handel’s Rinaldo under Maestro Nicholas McGegan.

 

Highlights for Marjorie’s 2015/16 concert season featured guest performances in Mozart’s Requiem (Boise Philharmonic, Guelph Symphony), Messiah with Windsor Symphony, Chausson’s Poeme de l’amour et de la mer with London Community Orchestra, and Bach’s B Minor Mass with Orpheus Choir/Chorus Niagara.

 

Marjorie also starred in Travelogue, premiering new operas with Toronto’s innovative Bicycle Opera Project and was a featured guest soloist with Chamberfest Cleveland, performing works by Korngold, Wagner and Britten.

 

This season, Marjorie looks forward to several soloist debuts, in Elijah with Toronto’s Pax Christi Chorale, Messiah with McGill Chamber Orchestra and St. Matthew Passion with Ottawa’s Thirteen Strings Chamber Orchestra.

 

In 2017, Marjorie debuts with Voicebox: Opera in Concert as Costanza in Haydn’s L’isola disabitata with Kevin Mallon and Aradia Ensemble.

 

Marjorie Maltais received the Ruby Mercer Scholarship to attend IRCPA’s “Sondra Radvanovsky Encounter”, and won the “Career Blueprint” for a three-day session at the National Opera Center in New York.

2016 IRCPA “SONDRA RADVANOVSKY ENCOUNTER” –
RUBY MERCER SCHOLARSHIP WINNER

2016 OTTAWA CHORAL SOCIETY NEW DISCOVERIES – FIRST PRIZE WINNER

As a Finalist in the 2015 COC Centre Stage Competition –

"...mezzo-Soprano Marjorie Maltais wowed us with a stunning La Cenerentola. Fiery eyes and a flashy dress had me enthralled. Add the fireworks of her remarkable coloratura, each triplet was solidly in tempo and had wonderful direction. I was sold. Brava.“

Greg Finney, Schmopera.com

SELECTED ROLES

Carmen  | Carmen

Angelina  | La Cenerentola

Hermia  | Midsummer Night's Dream

SELECTED REPERTOIRE

Bach | B Minor Mass

Durufle | Requiem

Beethoven | Symphony No. 9

Marjorie Maltais, Mezzo-Soprano

PRESS KIT

HEADSHOTS

 

DOCUMENTS

Updated Sep 2016

 

 

AUDIO

Korngold

Songs


Schulhoff

v244-16


Wagner

Songs

ARTIST CONNECTIONS

RESUME

Opera

2017

Costanza (L’Isola disabitata)

2016

Various (“Travelogue”)

2015

Angelina (La Cenerentola) *

2014

Concepcion (L’heure Espagnole)

Hermia (Midsummer Night’s Dream)

Carmen (Carmen)

Angelina (La Cenerentola)

2013

Dorabella (Così fan tutte)

2012

Rosina (Il Barbiere di Siviglia)

Prince Orlofsky (Die Fledermaus)

 

Haydn

 

Various

 

Rossini

 

Ravel

Britten

Bizet

Rossini

 

Mozart

 

Rossini

Rossini

 

Voicebox:Opera in Concert

 

Bicycle Opera Project/Toy Piano Composers

 

Music Academy of the West

 

Western University Opera

Opera on the Avalon

Windsor Symphony Orchestra

Western University Opera

 

Western University Opera

 

Montefeltro Festival

Western University Opera

* Cover

VIDEO

Strauss

Chacun a son gout

Die Fledermaus

Mendelssohn

Woe unto him

Elijah

Pax Christi Chorale & Orchestra

Handel

Or la tromba

Rinaldo

Mendelssohn

O Rest in the Lord

Elijah

Pax Christi Chorale & Orchestra

Rossini

Non piu mesta

La Cenerentola

Offenbach

Vois sur l'archet fremissant

Les contes d'Hoffmann

Oratorio & Concert

2017

St. Matthew Passion

2016

Messiah

Messiah/Gloria

Elijah

B Minor Mass

Poeme de l’amour et de la mer

Requiem

Requiem

2015

Messiah

Requiem

2014

Messiah

 “Gala Mozart”

2013

Symphony No. 9

Requiem

2011

Les Sept Paroles du Christ

Requiem

Gloria

2009

Messe à huit voix et huit instruments

2008

Messe de Minuit

 

Bach

 

Handel

Handel/Vivaldi

Mendelssohn

Bach

Chausson

Mozart

Mozart

 

Handel

Duruflé

 

Handel

Mozart

 

Beethoven

Mozart

 

Dubois

Duruflé

Vivaldi

 

Charpentier

 

Charpentier

 

Thirteen Strings Chamber Orchestra

 

McGill Chamber Orchestra

Windsor Symphony Orchestra

Pax Christi Chorale

Orpheus Choir

London Community Orchestra

Boise Philharmonic

Guelph Symphony

 

Windsor Symphony Orchestra

Fanshawe Chorus London

 

Fanshawe Chorus London

Orchestra in London

 

Guelph Symphony Orchestra

Fanshawe Chorus London

 

Choeur Polyphonique de Charlevoix

Choeur Polyphonique de Charlevoix

King’s University College Chamber Choir

 

Tafelmusik Baroque Summer Institut

 

Choeur Polyphonique de Charlevoix

Accomplishments

EDUCATION

2015 | Music Academy of the West, Santa Barbara, California

2015 | Master of Music in Performance & Literature –  Western University, London, Canada

2013 | Bachelor of Music, Honors in Voice Performance – Western University, London, Canada

 

SUMMER PROGRAMS

2014 | Highlands Opera Studio – Haliburton, Ontario (Valerie Kuinka & Richard Margison, Directors)

2014 | Opera on the Avalon – St. Johns, Newfoundland (Cheryl Hickman, Director)

2011-12 | La Musica Lirica – Novafeltria, Italy (Kathryn Hartgrove, Director)

2010 | Canadian Operatic Arts Academy – London, Camada  (Sophie Roland, Director)

2009 | Tafelmusik Baroque Summer Institute – Toronto (Ivars Taurins, Director)

 

AWARDS

2016 | IRCPA “Sondra Radvanovsky Encounter” – Ruby Mercer Scholarship Winner

2016 | Ottawa Choral Society New Discoveries – First Prize Winner

2010 | NATS – London, Canada – First Place

2010 | NATS – London, Canada – Most Promising Singer Scholarship

2007-08 | Concours de musique du Canada  – Finalist

 

TEACHERS

PRINCIPALS | Theodore Baerg, Richard Margison, Tim Noble, Sylvain Landry, Sophie Louise Roland

COACHES | Trevor Chartrand, Blair Salter, Mark Payne, Michael Shannon, John Hess, Jérémie Pelletier

CONDUCTORS | Alain Trudel, Robert Franz, Judith Yan, Joseph Rescigno, Simone Luti, Vlad Iftinca

REVIEWS

In St. Matthew Passion with Thirteen Strings Chamber Orchestra  –

"Mezzo Marjorie Maltais has a warm, consoling, voice with a richly elegant low register."

Natasha Gauthier, Artsfile

 

As Costanza in L'isola disabitata with Voicebox: Opera in Concert –

“Appearing as Costanza, singer actor Marjorie Maltais, confidently anchored this mid-winter Voicebox production with a deeply resonant performance, her rich, warm mezzo brimming with all the courage and desperation of a woman stretched to the ends of her wits. Her lustrous rendition of Haydn’s moving ‘Ah che in van per me pietso’ (‘All in vain time is flying’) instilled her solo with great dignity and grace.”

Ian Ritchie, Opera Going Toronto

 

As a Finalist in the COC Centre Stage Competition, 2015 –

"...mezzo-Soprano Marjorie Maltais wowed us with a stunning La Cenerentola. Fiery eyes and a flashy dress had me enthralled. Add the fireworks of her remarkable coloratura, each triplet was solidly in tempo and had wonderful direction. I was sold. Brava.“

Greg Finney, Schmopera.com

 

"Speaking of fire, Marjorie Maltais started with La cenerentola, and sang Gounod's ‘Que fais-tu, blanche tourterelle’ for the public round. Hers was some of the night's most polished, smart singing, with a gorgeous natural affinity for the Rossini.“

Jenna Douglas, Schmopera.com

 

"To my ears, in addition to the lovely singing of Ms. D’Angelo, kudos to Marjorie Maltais’s for her fine ‘Non piu mesta.’ She also looked terrific onstage. Given the venerable BBC Cardiff Singer of the World has a ‘Frock Watch,’ why not the COC? For me, the gown of Ms. Maltais was stunning, the best of the evening."

Joseph So, Musical Toronto

 

"Mezzo Marjorie Maltais also kept the fireworks for the private audition: ‘Non piu mesta’, the final aria of Cenerentola. On stage, she sang ‘Que fais-tu, blanche tourterelle’ from Gounod’s R&J. It’s a sweet aria that has some dramatic variety and allows the singer to show off her French. What was most appealing about Maltais’ performance is that she was visibly free and playful with it. She was also showing nascent signs of that all-important thing in a singer, a style."

Definitely the Opera

 

"Of the also sangs, my favourite was, you’ve guessed it, another mezzo. Marjorie Maltais sang two really difficult arias; ‘Non più mesta’ from La Cenerentola, which wasn’t perfect but was exciting, and a really idiomatic ‘Que fais-tu, blanche tourterelle?’ from Roméo et Juliette.  She would have been in my top three and I have to wonder if the judges just couldn’t see their way to a mezzo grand slam."

Opera Ramblings

 

As Angelina in La Cenerentola, Western University Opera –

“Marjorie Maltais (Angelina), innocent and beguiling, proved a fine actress who could soar through her high notes while also demonstrating darker and subtler tones during contemplative moments.”

Dawn Martens, Opera Canada

 

Angelina, played by Marjorie Maltais, moves the room with her voice and wins the crowd over with her simplicity, kind heart and good intentions.”

Adriana Covic, The Western Gazette

 

 

As Carmen, Windsor Symphony –

Carmen is the beautiful Marjorie Maltais, whose clear and commanding voice accompanied her theatrical performance well. Maltais’ rendition of ‘L’amour est un oiseau rebelle (Love is a rebel bird)’ was flawless. Her voice resonated throughout The Capitol, giving the impression of being seated in a first-class Parisian Opera House.”

Loren Mastracci, The Urbanite

 

 

As Hermia in Midsummer Night’s Dream, Opera on the Avalon –

“The opening-night Hermia and Helena (Marjorie Maltais and Clarissa Lyons) are strong interpretively and vocally, with the former having a gorgeous voice and the latter characterized by nice comic flair.”

Gordon Jones, The Telegram

 

 

As Dorabella in Così fan tutte, Western University Opera –

“The other sister, Dorabella, played by Marjorie Maltais was another musical confection. Vocal lines were clearly defined with appropriate dynamics and when singing with Fiordiligi the balance and blend of these two voices was at times quite magical.”

The Beat Magazine