Laura Albino, SopranoLAURA ALBINO

As Pamina in The Magic Flute with Opera Atelier  –

“Laura Albino sang Pamina with real emotion, with a richly textured soprano. Her Ach, ich fuhl's, one of the world's saddest pieces of music, was heartbreaking.”

Robert Harris, The Globe and Mail





Valérie Bélanger, SopranoVALÉRIE BÉLANGER

As Sylvia in Haydn’s L’Isola Disabitata with Thirteen Strings, Ottawa –

“As the optimistic younger sister Sylvia, soprano Valérie Bélanger is a star soubrette in the making, with a clear, sunny tone and lively stage presence. She has ringing top notes…”

Natasha Gauthier, Ottawa Citizen




Virginia Hatfield, SopranoVIRGINIA HATFIELD

As Leila in The Pearl Fishers with Opera Hamilton –

"She sang with a clear, bell-like tone all night long, beguiling Nadir and audience alike in her ‘Dans le ciel sans voile’"

Leonard Turnevicius, Opera Canada



Ellen Wieser, SopranoCAITLIN WOOD

As Giulietta in Bellini's Capuletti e Montecchi with Voicebox: Opera in Concert –

"Caitlin Wood as Giulietta was a wonderful surprise... her beautiful legato line in a soaring voice that was never shrill... her ornamentation appears effortless"

Paula Citron





Michèle Bogdanowicz, Mezzo-SopranoMICHELE BOGDANOWICZ

As Mistress Slender in Salieri’s Falstaff with Voicebox:Opera in Concert –

"Smooth-toned and fluid [she] enchanted. Charging her revenge aria, ‘Vendetta, sì, vendetta’, with crackling energy, Bogdanowicz lit up the stage."

Ian Ritchie,




Maude Brunet, Mezzo-SopranoMAUDE BRUNET

Mozart Requiem, Orford Festival –

"Maude Brunet, mezzo soprano, was particularly successful. Her smooth voice possessed a beautiful resonance in both the high and low registers."

Justin Bernard,
L’Opera Revue quebecoise d’art lyrique




Marjorie Maltais, Mezzo-SopranoMARJORIE MALTAIS

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

"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,



Marion Newman, Mezzo-SopranoMARION NEWMAN

As Rosina in The Barber of Seville with Opera Lyra Ottawa –

"...charming, playful, and quite believable as a young starlet hemmed in by her keepers. Her sumptuous mezzo tone and impressive vocal agility takes the spotlight..."

 Chrissy Steinbock, Apt. 613

Maria Soulis, Mezzo-SopranoMARIA SOULIS

As Cornelia in Handel's Giulio Cesare with Thirteen Strings –

"One of the pleasures of this production was high quality of the singing all around. Even at that, there were some outstanding voices. Maria Soulis portrayed Cornelia... with elegance and tragic grace, and possibly the evening's finest singing."

Richard Todd, Ottawa Citizen

Scott Belluz, CountertenorSCOTT BELLUZ

Soloist in Dublin Messiah with Aradia Ensemble –

"His voice has a rich texture and his sense of dramatic shading is impeccable. He captured the joyous exultation of 'O Thou That Tellest Good Tidings to Zion' with an ease that appeared effortless."

Brian Hay,





Scott Belluz, CountertenorDANIEL CABENA

As Tolomeo in Handel’s Giulio Cesare with Thirteen Strings –

“Countertenor Cabena portrayed the black-hearted Tolomeo as an effeminate masochist, delightfully in certain scenes, and with strong, articulate singing to boot.”

Richard Todd, Ottawa Citizen




Jacques Arsenault, TenorJACQUES ARSENAULT

As Archie in Cowtown Opera’s Archibaldo

“Jacques Arsenault plays Archie with a resonant tenor and genial good humour. "

Kenneth deLong, Calgary Herald







Jacques-Olivier Chartier, TenorJACQUES-OLIVIER CHARTIER

Bach’s St. John Passion with Portland Baroque Orchestra –

“Tenor Jacques Olivier Chartier sang an impassioned, soft aria whose overall meaning became clear through his realization of the music.”

Oregon News





Adam Fisher, TenorADAM FISHER

In City Opera Vancouver’s Pauline

"Adam Fisher deftly juggled the three roles of Pauline's doctor, manager and Charles Drayton, the real-life Johnson's fiancé, with utter conviction... Fisher has a bright, flexible tenor, which he deploys with intelligence and sensitivity."

Robert Jordan, Opera Canada




Ernesto Ramirez, TenorERNESTO RAMIREZ

As Stefano in Filumena with Calgary Opera –

“Tenor Ernesto Ramirez was Stefano, Emilio’s son, and as the love interest he gets a good share of the big tunes – and he made the most of them. Ramirez’s warm-toned voice and lyricism were everywhere to be heard, especially in the picnic scene where the lovers fall in love.”

Kenneth Delong, Calgary Herald



Asitha Tennekoon, TenorASITHA TENNEKOON

In Rocking Horse Winner with Tapestry Opera –

"The surprise of the night was Asitha Tennekoon....his silky, emotional presence on stage – both vocally and dramatically – gave the show a powerful focus."

Robert Harris, The Globe & Mail




Benjamin Covey, BaritoneDION MAZEROLLE

In Louise with Opera in Concert –

“...vocally resonant and assertive, dramatically commanding... supreme concentration and nimble artistic instincts. Mazerolle astonished, setting Act IV ablaze with fury, then quickly extinguishing the flames... Time froze. Mazerolle mesmerized.”



Giles Tomkins, Bass-BaritoneGILES TOMKINS

As Colline in La Bohème

“Giles Tomkins' Colline received prolonged applause after his beautifully sung ‘Vecchia Zimarra’.”

Dawn Martens, Opera Canada






Leslie Dala, ConductorLESLIE DALA

Conducting Albert Herring with Pacific Opera Victoria ­–

"Conductor Leslie Dala (in his POV debut) expertly led the 13-person orchestra through Britten’s picky and plucky score – creating a space for the music itself to really shine even in a sea of exaggerated characters, big voices and attention-grabbing set design."

Melanie Tromp Hoover, CW Magazine



Matthias Maute, ConductorMATTHIAS MAUTE

Conducting Ensemble Caprice –

"The ensemble has established itself as an immensely thoughtful and progressive force on the musical scene. A group that encourages the world to rehear the world..."

New York Times




Francois Racine, Stage DirectorFRANÇOIS RACINE

Directing Dido and Aeneas with Theatre Bleue, Switzerland –

"From an aesthetic point of view, François Racine’s staging is a gem. The subtle lighting effects, using a colour palette that seems to reflect the characters’ very soul, the coherent style and the use of a refined body language (choreography by Etienne Frey) make this a mesmerizing show.”

Denise de Ceuninck, L’Express