Tell us a little about where you’re from.
I was born in North York, Canada, raised in Oakville and later, also in Cobalt and Haileybury Ontario. During my undergraduate studies I returned to Toronto. In 2011 I moved to Europe and currently live in Germany.
Have you always wanted to be an opera singer or did it develop over time?
I actually wanted to be a musical theatre singer When I was little, but I was never much of a dancer. Later I wrote my own songs and thought I might like to become the next Joni Mitchell or Sarah McLaughlin. I also enjoyed designing costumes and sets for theatre and thought about doing that professionally. While I was studying voice and theatre production at York University, it was through the support of my teachers, Catherine Robbin and Norma Burrowes that I considered singing opera as a career and began thinking seriously about doing a Masters in vocal performance.
What are you favourite operas or roles?
I love portraying characters that have a bit of a darker backstory to them (good souls but tough lives). I feel I can relate to many of these people somehow. Sieglinde is my favourite role at the moment. Other roles I enjoy performing include Agathe (Der Freischütz), Marie (Wozzeck), Rusalka, Elisabeth (Tannhäuser), Magda Sorel (the Consul) and Leonora (Fidelio). Many of these woman are also strong, which I greatly admire.
How do you prepare for a Wagner role or opera?
Learning it in small chunks over a long period of time works best for me. Looking at the story, the music, a scene, how to sing it technically and then the character... a different angle each time I work on it.
Since it takes a long time to say things in a Wagner opera, what are some tools opera singers use to keep the action and character development moving forward?
Have your story ready to share with your audience. The music is all there for a reason; none of it is wasted space of time.
What are some things your character does/says that the audience can watch/listen for?
For Sieglinde, watch for how I keep trying to show Siegmund the sword that the wanderer left for a hero to find. For Gutrune: the love potion she gives Siegfried and how she gets dragged into Hagen’s plan of snaring Siegfried for her husband. For Freia: her constant cries for help.
Do you have a memorable opera moment that keeps you motivated?
Yes, when I sang with Bill at the Egre competition in Brandon Manitoba back in 2011 which started the idea that I might sing Wagner one day. Later, at the Bayreuth Festival I felt very inspired to sing both as a chorus member and last summer, as a young artist at their annual masterclass. Last summer was especially incredible, as I got to sing Wagner at Haus Wahnfried, Wagner’s home, in front of members and sponsors of the festival. It was a wonderful experience. This is the music I want to continue singing.
Do you have roles outside of your fach you’d love to sing if you had the chance?
Maybe one day Brünnhilde, Minnie or Salome.
Do you have other passions you pursue alongside singing opera?
I enjoy writing my own songs, working on my singer songwriter project with my partner and our friend Aaron Deschler: we call ourselves Zettelwirtschaft (“pile of papers” in English), cooking and being in nature.
What’s your perspective on the opera industry today? Positive/negative? Is it still a viable career choice?
It’s a very tough career to pursue. You need to have true grit and belief in yourself. I think in some parts of the world it’s a viable career, especially if you want to be a chorus/ensemble singer- certainly that is the more stable route to go. If you are willing to take more risks and go out on a limb and don’t mind travelling lots, then you can try for a solo career. It’s not an easy road, but it’s a rewarding journey of discovery. I also think it’s important to have a second career you can fall back on while pursuing a career. It’ll take away the financial pressure of having to win an audition. When the pressure is off, your chances of working are higher because you’ll be more relaxed in your approach.
What would you say is special about a semi-staged opera in concert performance that Opera by Requestdoes that perhaps can be missed in a large, fully staged production?
It’s intimate. I think that’s what makes it so special. Another thing is that the artists involved in Bill’s projects are not paid to be there. They do it because they love the music and enjoy being a part of the music community that Bill started. You get to be up close and personal with the artists here.
Finally, do you have any other upcoming performances you’d like to tell everyone about?
Not yet, but I will soon!