Canadian soprano Catherine Zanon, featured performer with the Halifax Summer Opera Festival

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L’Aurora, Semele, Ora 1 in Cavalli’s L’Egisto

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“Knowing I could be a completely different person onstage and not care what everyone else thought of me made me want to be on stage all the time.”

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Where are you from? How did you first get interested in opera or musical theatre? 

I am from Maple, Ontario, also know as “where Canada’s Wonderland is”. In elementary school I was always the shyest child so my parents started sending me to musical theatre camp during the summer. Knowing I could be a completely different person onstage and not care what everyone else thought of me made me want to be on stage all the time. I’m still that shy person but not when I’m on stage.

When did you start studying voice? Where are you studying now?

This is a long story, I started around 11 years old and had 3 different teachers in a year. It was very difficult to want to continue with voice when my teachers kept changing. So I stopped lessons and continued singing in choir and summer camp until I graduated elementary school. It wasn’t until I turned 16 that I realized I missed singing. So I started voice again at what is now called Kollari Institute of Music, but again I went through 3 teachers in a year. Each teacher taught me about myself and what I needed though. That is when I met my teacher Annalisa Ovcharenko who really helped my voice grow. She also assisted me with my successful audition into the Western University voice program. While there, I had the opportunity to study with Bethany Horst. I graduated UWO this past June and am attending Randolph Academy for the Arts for musical theatre in Toronto this upcoming year. As well as continuing lessons with Annalisa Ovcharenko. I am so excited!!!

What came first for you, theatre or music?

Both seemed to come at the same time. At the musical theatre camp I attended, we would perform a play, create our own commercials for made up products, and then choreograph a musical dance number for the whole company. Also, my dad was teaching me piano at the same time, before I started lessons at Kollari Institute of Music. I also attended St. Elizabeth CHS for music where I joined the dance and drama classes, several choirs and played French horn in band.

What are your dream roles?

I have so many dream roles… I do love baroque operas and performing old music, it sits very nicely in voice, so really any of those roles! I would love to perform as Suor Angelica, it’s just such a heart breaking, moving opera. And the first time I heard Rusalka’s aria I wanted to sing it! I would also love to be any female that goes crazy in an opera haha! I just find it amazing to watch performers sing a mad aria and it looks like fun.

 What arias, songs or entire roles belonging to other voice types would you like to perform?

If I could be a high mezzo for a day I would love to sing the aria Non Piu Mesta from Cenerentola by Rossini! It has honestly been my dream since the first day I heard that aria! I would also love to sing the fairy godmothers aria from Cendrillon by Massenet (I know, both are Cinderella but I can’t help it).

Who are your favourite performing artists?

I have so many, opera and not opera performers that I love. Laura Osnes is my broadway soulmate, I love listening to her sing musical theatre. I also know every Ed Sheeran and Sam Hunt song, they’re my favourite pop artists. As for opera, I listen to Diana Damrau, she almost always has sung a work I am learning, and it’s great using such an amazing singer as a learning tool.

What’s the most embarrassing song on your phone/tablet/streaming playlist?

Oooo, I have a very long playlist of every Disney song ever made and I know the lyrics to every single one of them.

How should we as interpretive artists deal with works that are racist and/or sexist? What can be done to make opera relevant to the next generation?:

Well, approaching these with caution always is necessary. Understanding the reality in which these works were created is also vital. Also, challenging views in the opera is a great way to battle these issues.

What are you most enjoying about this summer?

Getting to work with such amazing people!! Every person who has worked with our cast to put on l’Egisto has been amazing. And I especially liked the stage fighting days because it’s great getting to be mean as a soprano.


Thanks, Catherine! You can see Catherine perform in the final performance of L’Egisto, tonight (Saturday the 12th) at 7:30 pm at the Studio Theatre in the basement of the Dalhousie Arts Centre in Halifax!

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Canadian mezzo-soprano Katherine Flynn, featured performer of the 13th Annual Halifax Summer Opera Festival

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Nancy in Britten’s Albert Herring

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“My family is very supportive … I think they understand that performing is in my veins and it has been ever since I walked shakily onto the stage with my ruby red slippers and sang Somewhere Over The Rainbow when I was 11 years old.”

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Where are you from? How did you first get interested in opera or musical theatre? 

I am from Chatham Ontario originally. The very first time I saw my first musical was when I was in the 6th grade. We went as a field trip to see the CKSS production of Les Misérables and I fell in love with it immediately and could not wait to be in high school so that I could perform in a CK musical one day. I first became interested in opera when I started university. I enjoyed learning about the history of opera in music history. And then in voice lessons, I enjoyed performing classic mezzo arias such as Carmen’s Habanera and Cherubino’s Non so piu. I remember how excited I was just a few years ago to perform Habanera for the first time in front of an audience. The feeling that so many famous mezzo soprano singers had sung this role and this piece, it was an exciting thought.

I feel like I really brought my passion of musicals and opera to my family. When I started to listen to musicals and perform songs from shows in the Kiwanis Music Festival I believe my mom started to fall in love with more and more musicals. Wicked is probably her favourite. I can think of many times of us driving somewhere and belting out For Good together. And the first time I finally brought her to go and see it, it was a magical evening. As for opera, as my dad would put it, other than watching The Bugs Bunny and Tweety Show as kids, neither of us were that familiar with opera. My family is very supportive. I can’t say they wouldn’t prefer me to go into a field with more of a steady career position but I think they understand that performing is in my veins and it has been ever since I walked shakily onto the stage with my ruby red slippers and sang Somewhere Over The Rainbow when I was 11 years old. I know they believe in me and are excited for me to pursue my passion which is performing opera.

When did you start studying voice? Where are you studying now?

I began studying voice when I was about 11 years old. One day I sang White Christmas to my dad and my grandpa out in the garage and after I opened my eyes and turned around they were crying. I thought I was so awful that I had made them cry. Haha. After that it was out of tap class and into voice lessons, where I wanted to be.

I continued with my voice lessons through my teen years until I graduated and moved away for school. I have been studying with Torin Chiles at Western University for the last 3 years. I am thrilled to say that I have been accepted into the University of British Coumbia for a Master’s in Opera so I will be studying there this year with Patrick Raftery.

What came first for you, theatre or music?

I believe theatre came first for me. My elementary school put on A Mid Summer’s Night Dream when I was in grade 6 and I played Hermia. Thinking back now I am pretty sure I understood about 60% of that show, since it was Shakespeare and I was 12 haha. But it was a terrific experience and I loved every minute of it. Music came not long after with performing every year in the Kiwanis Music Festival and then in Theatre Kent productions of Beauty and The Beast (I was a spoon xD), and a Von Trapp kid in The Sound of Music by Ridge Players. I also performed in many high school musicals. My favourite role probably being Audrey in Little Shop of Horrors.

What are your dream roles?

One of my dream roles in opera would have to be Carmen. Ever since I was told the DEVASTATING news that my voice type was not a soprano but actually a Mezzo-Soprano in my first year at Western, and my teacher Torin and collaborative pianist Marianna Chibotar had to convince me that being a Mezzo is a great thing because YOU GET TO BE CARMEN. After watching that opera and studying her character and arias I knew that that is what I want. To sing Carmen with a professional opera company one day is a dream of mine. I would also love to perform the title role in Rossini’s Cenerentola. I love that opera and Non Piu Mesta is a beast that I would love to conquer in front of a large audience one day.

I would also love to perform as Cherubino. Who wouldn’t with such an adorable pre pubescent sweetheart like him. I love his amazing arias where he sings of how much he loves women and how nervous he feels around them. Definitely a pants role that I would love to try on. I would also love to sing Dorabella. I learned Smanie implacabili this year and absolutely loved it. She’s such a fun character and I would love to learn such a fun and challenging role in such a hilarious show as Cosi fan tutte.

Who are your favourite performing artists?

I really love Joyce DiDonato. Her voice is absolutely gorgeous and she is such a brilliant artist. I love watching her masterclass videos on youtube. They are so informative and helpful as a young artist. It would be such an honor to ever perform and learn from her in a masterclass.

I am also so in love with Janet Baker’s warm toned, gorgeous mezzo voice. I learned the Frauenliebe und leben this year for my graduating recital and I enjoyed so much listening to her recording to hear how she expresses the young woman in the song cycle with such youth, depth and beauty. I also really love her portrayal as Orfeo. She is an incredible artist.

How should we as interpretive artists deal with works that are racist and/or sexist? What can be done to make opera relevant to the next generation?:

Ooh. I love this question. Especially having faced this issue in my undergraduate studies. One song in particular comes to mind which is What a Movie from Bernstein’s Trouble in Tahiti.

I learned the aria and when I would sing it in my voice lessons I felt very uncomfortable with the character I was portraying. My teacher kept asking me to make it bigger and in my opinion, more racist. Eventually I turned to him and said “I don’t know how I feel about singing this piece.” We had a big discussion about how the character in this piece is perhaps uneducated and possibly doesn’t know how racist she is being. For example when she describes the natives in the movie and sings “aaaaaaaah” in a very shrill nasal way, mocking the natives and then shouts OLé at the end, she clearly does not realize that these natives are not Spanish or Latin and therefore wouldn’t shout olé. Hence why the song is funny. Its amusing because she’s a stereotypical 1950’s racist character whether she knows it or not. The audience definitely does. Characters like that are a part of our history and I think it’s important to portray the characters as they are written. If you feel uncomfortable in doing so then try to see it more as though you are the character, and not as though you are you singing a racist song. Don’t be embarrassed, sing it large and loud and be proud of the actor you are.

What are you most enjoying about this summer?

Performing as Nancy in Albert Herring of course!! I have really been enjoying the Halifax Summer Opera Festival program and everything it has to offer. The cast of AH has been working very hard and it’s going to be such a great show. I’m really excited! After HSOF I am looking forward to relaxing at home by the pool for a couple of days and spending time with my family. 🙂

From my answer to the previous question of “what are your dream roles”, one would probably think I am disappointed to not have received the role of Carmen in HSOF however I would say that’s not true at all. I am thrilled to be playing such a sweet, fun and sexy character as Nancy in AH. If anything, she helps me channel my inner Carmen with her seductive lines like “I’ve come for a piece of best English beef”. It’s a terrific and challenging role and I love to sing her emotional aria. I also feel so happy and accomplished to have learned a Benjamin Britten role in such a difficult show as this one, it has not been easy. Just ask the cast. This program has been such a wonderful experience and I have loved every minute of it. Not to mention Nova Scotia is downright beautiful and I have loved visiting the East Coast and meeting some very nice Halifaxians.:D


Thanks, Katherine! Come and see Katie channel her inner Carmen as seductive Nancy in Benjamin Britten’s Albert Herring on Sunday afternoon, at 2 pm at the Dunn Theatre!

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Halifax baritone Andre Gaudet, featured performer at the 2017 Halifax Summer Opera Festival

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Ipparco in Cavalli’s L’Egisto

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“It has been over 2 years since I have performed in an opera. I am truly grateful to Nina and everyone at HOSF for making this a wonderful experience!”

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Where are you from? How did you first get interested in opera or musical theatre? 

Born and raised in Beaver Bank, NS (about 30 minutes outside of Downtown Halifax). I found my love for opera/musical theatre in High school. I always sang in choirs and it wasn’t until that point that I realized that voice lessons where things one could take part in. About 6 weeks into voice lessons, I was bit by the opera bug. I am very fortunate to have a family that supports me in this wild journey of creating this phenomenal art. They have rarely missed a performance and I am so grateful for their support.

When did you start studying voice? Where are you studying now?

I started studying voice privately in grade 11. I started my undergrad in 2010 at Dalhousie, where I studied with Lucy Hayes-Davis and Dr. Gregory Servant. After graduating in 2015 I have been working full-time and continue to study privately.

What came first for you, theatre or music?

Music. 100% I sang in choirs from the time I was in grade 3. I suffered from crippling stage fright throughout grade school, which hindered my ability to even think about walking on the stage.

What are your dream roles?

Oh… that is a loaded question… I will give you the short list: 1) Any Mozart! Guglielmo, Love his music and Character; Don Giovanni, because he is a beast; Papageno, (even though I might not be the most suited vocally)because I think he is a fascinating character with many layers and would love the chance work into them. 2) Marcello and/or Shaunard – La Boheme. I would love to sing either of these roles, I just want to have the excuse to be in this opera. It is one of my all time favourites. Beautiful music paired with a Beautiful story… win win. 3) Rodrigo – Don Carlo. Now… this is a role that, if I am ever able to sing it, it won’t be for many years. It require perfect technique and a vocal maturity that I, a 26 year old baritone, don’t have….. yet.

 What arias, songs or entire roles belonging to other voice types would you like to perform?

Another Loaded question! The top 3 roles that belong to another voice time would be:
1) Lady MacBeth from Verdi’s MacBeth
2) Dalila from Saint-Saens’s Samson and Dalila
3) Dido from Purcell’s Dido and Aeneas ….. can you tell I like dramatic voices?

Who are your favourite performing artists?

1) Jessye Norman
2) Dmitri Hvorostovsky
3) Kristin Flagstad
4) Jamie Barton
5) Christine Goerke
6) Dietrich Fischer-Dieskau
7) DAME. Joan. SUTHERLAND!

What’s the most embarrassing song on your phone/tablet/streaming playlist?

Jessye Norman’s “Christmastides” Album…. in full. hahahaha

How should we as interpretive artists deal with works that are racist and/or sexist? What can be done to make opera relevant to the next generation?:

Well – the first thing that comes to mind is Gender bending productions.. Like – I would really love to see a Gender bent “Don Giovanni” (with myself as Donna Elvira, naturally). However, I think that taking the concepts of the stories in opera and placing them in a society that is more relevant to today is an interesting way to make it more relatable. If we keep Don Giovanni as an example, you can find shocking parallels between how Don G treats women and how even in todays society there is still the objectification of women through the “male gaze.” I think, going in the direction of providing a critical view on today society would make opera more relevant today and for future generations.

What are you most enjoying about this summer?

Singing!Singing!Singing!Singing!Singing!Singing!Singing!Singing!Singing!


Thanks, Andre! You can see him perform Ipparco in L’Egisto on Wednesday August 9 or Saturday August 12, both shows at 7:30 pm at the Studio Theatre in the basement of the Dal Arts Centre!

Are you a participant or staff member this year? Why not submit your own answers to our questionnaire!

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American soprano Brittany Infranco, featured performer at the 13th Annual Halifax Summer Opera Festival

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Frasquita in Bizet’s Carmen

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“Some of the other roles I am interested in doing include, Olympia in Tales of Hoffmann, Lakmé in Lakmé and Cunégonde in Candide”

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Where are you from? How did you first get interested in opera or musical theatre? 

I am from Long Island, NY but currently reside in Greensboro, North Carolina. My mom has had a great influence on me and in my musical persuits. She has a private voice and piano studio, so I have been exposed to classical repertoire for as long as I can remember.

When did you start studying voice? Where are you studying now?

I started taking lessons from my mother around age 9. I recently finished my Master’s degree from The University of North Carolina Greensboro under the tutelage of Professor Clara O’Brien. I plan to continue studying with her upon my return to Greensboro this fall.

What came first for you, theatre or music?

Music!

What are your dream roles?

Like every high soprano, I have always dreamed of singing The Queen of the Night in the Magic Flute. I was fortunate to make my Queen debut earlier this summer with the Toronto Summer Opera Workshop. That is a role I hope to be singing for many years to come. Some of the other roles I am interested in doing include, Olympia in Tales of Hoffmann, Lakmé in Lakmé and Cunégonde in Candide.

 What arias, songs or entire roles belonging to other voice types would you like to perform?

I sometimes wish I was a mezzo. I particularly love Rossini and the roles of Rosina in Barber of Seville and Cenerentola in La Cenerentola.

Who are your favourite performing artists?

I am a huge fan of Natalie Dessay, Diana Damrau and the late Beverly Sills.

What are you most enjoying about this summer?

It is always a joy to work with other young artists. What we do is so unique and rewarding; it is great to share these types of experiences with other singers.


Thanks, Brittany! You can see Brittany in her principal role as Frasquita this coming Saturday afternoon, August 12th, at 2 pm at the Dunn Theatre at the Dalhousie Arts Centre!

Are you a participant or staff member this year? Why not submit your own answers to our questionnaire!

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American soprano Taylor Kendig, featured performer at the Halifax Summer Opera Festival

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Venere and Ora 4 in Cavalli’s L’Egisto

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“I feel so grateful and blessed to be here! This is my first Baroque opera production and I am so proud of what we are putting together as a cast and I hope everyone enjoys the show!”

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Where are you from? How did you first get interested in opera or musical theatre? 

I have been singing ever since I was two years old and would put on Disney music concerts for anyone who came to visit my families home. I have always been performing, but really fell in love with being in fully staged productions when I was a high school student, I fell in love with opera as a freshman in college and have never looked back. I love doing both, I am an opera buff now, but I will never stop being a Broadway baby as well ❤️

When did you start studying voice? Where are you studying now?

I did not start formal training until I was eighteen and started undergrad at the University of Portland in Oregon. I studied voice with Dr. Nicole Leupp Hanig during studies toward my BA, and I am continuing my training with her during my time off before hopefully going to graduate school.

What came first for you, theatre or music?

Totally music! I have always been singing. Theatre came when my parents encouraged me to be a part of a summer camp given by a local community theater. My first fully staged production was a children’s straight play of Midsummer Nights Dream where I got to play Titania!

What are your dream roles?

I am a soprano that loves coloratura, but I also love more romantic roles that show off my vocal color. My dream opera roles are Gilda in Rigoletto and Musetta in La Boheme, but I also love the Baroque I am doing this year and would love to keep doing early music. One of my dream musical theater roles is anything in the light in the piazza, I love that musical so much.

 What arias, songs or entire roles belonging to other voice types would you like to perform?

Oh my gosh if I were a tenor I would be Pagliacci in a heart beat! If I were a mezzo I feel like Carmen would be so much fun.

Who are your favourite performing artists?

I love listening to recordings of Kiri Ti Kanawa and Anna Moffo. For musical theater I am a huge fan of Sierra Boggess, Kristin Chenowith, and Kelly O Hara.

What’s the most embarrassing song on your phone/tablet/streaming playlist?

Every time we touch… That old pop song by Cascadia. I have no shame though, it’s got a great beat!

How should we as interpretive artists deal with works that are racist and/or sexist? What can be done to make opera relevant to the next generation?:

I think it’s really important that we make evident a more modern interpretation of the characters. There are angles you can put on some traditional female characters for example that can make them stronger then perhaps the original interpretation was. I think one of the main keys to making opera relevant to the next generation is to be sensitive, strong, and imaginative actors when we are on stage.

What are you most enjoying about this summer?

Getting to debut as Venere this past weekend! I have also made some great vocal gains this summer and I am so excited to take it home and show my teacher and bring these new insights into future auditions!


Thanks, Taylor!  You can hear Taylor in her principal role as Venus on Saturday August 12 at 7:30 pm at the Studio Theatre at the Dal Arts Centre!

Are you a participant or staff member this year? Why not submit your own answers to our questionnaire!

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