Alexandre Sylvestre



Alexandre Sylvestre


Canadian Citizenship

A native of Québec, Alexandre Sylvestre studied at the Conservatoire de musique de Montréal where he was awarede the “Premier Prix avec Grande Distinction.” In the 2017-2018 season, he looks forward to the roles of John Connally in JFK and Capulet in ROMEO ET JULIETTE, both for his home company, Opéra de Montréal. He debuted for Seattle Symphony last season as L’arbe and Fauteuil in L’ENFANT ET LES SORTILEGES and has been recently heard in SILENT NIGHT for Michigan Opera Theatre, as Colline in LA BOHEME and the premiere of LES FELUETTES for Opéra de Montréal, Bartolo in IL BARBIERE DI SIVIGLIA for Saskatoon Opera, Timur in TURANDOT for Calgary Opera and Mozart’s REQUIEM for Orchestre symphonique de Québec. Of special interest is Opera Lafayette’s LEONORE project, performances of Beethoven’s original version of FIDELIO and the version by Gaveaux on the same subject, in Washington and New York.

One of the most in demand artists of his generation, he has been heard in Opéra de Québec’s L’ENFANT ET LES SORTILEGES, as Bartolo in Edmonton Opera’s IL BARBIERE DI SIVIGLIA, Brahms’ REQUIEM with Symphony Nova Scotia, Beethoven’s Symphony No. 9 with Orchestre symphonique de Sherbrooke, Mozart’s REQUIEM for Orchestre symphonique de Lac St. Jean, Kevin Puts’ SILENT NIGHT for Opéra de Montréal, Brander in DAMNATION DE FAUST for Orchestre symphonique de Montréal, Haly in ITALIANA IN ALGERI for Calgary Opera, and Colline in LA BOHEME for Manitoba Opera.

Active on the concert stage, engagements include Beethoven’s CHORAL FANTASIA at Festival Lanaudière, DIE SCHÖPFUNG for Symphony Nova Scotia, L’ENFANCE DU CHIRST and JEANNE D’ARC AU BUCHER for Nagano and Orchestre symphonique de Montréal, Fauré’s REQUIEM for l’Orchestre symphonique de Trois-Rivières, Charpentier’s MESSE DE MINUIT and Haydn’s STABAT MATER with Les Violons du Roy and Rossini’s PETITE MESSE SOLONNELLE for the Taiwan National Choir in Taipei.

A favourite at Opéra de Montréal, roles there include Dr. Grenville in LA TRAVIATA, Frank in LA CHAUVE SOURIS, de Bretigny in MANON, Sacristan in TOSCA, Pietro in SIMON BOCCANEGRAQ, Bartolo in LE NOZZE DI FIGARO, Jack Wallace in LA FANCIULLA DEL WEST, Nourabad in LES PECHEURS DE PERLES, and Monterone in RIGOLETTO. He has sung Colline in LA BOHEME for Calgary Opera, Schaunard in LA BOHEME and Angelotti in TOSCA for Pacific Opera Victoria, Sacristan in TOSCA for Edmonton Opera and Donner in DAS RHEINGOLD with Nagano in Montreal. He has appeared with Nézet-Séguin and Orchestre Metropolitain du Grand Montréal and also took part in the premiere of a work based on the writings of Jacques Cartier for Quebec City’s 400th Anniversary. An Alumnus of Atelier Lyrique de l’Opéra de Montréal, Mr. Sylvestre made his official debut with Opéra de Montréal in 2005 in the roles of Zalzal and the Chief of Police in L’ÉTOILE by Chabrier.

He has been awarded bursaries from ARAM, the Wilfrid-Pelletier Foundation, Jeunesses Musicales, was a winner at the Ottawa New Discoveries Auditions and received the Silver Medal (Voice) at the Orchestre symphonique de Montréal Competition.    

September 2017



ZalZal/Chef de la Police
Gounod Duke of Verona ROMÉO ET JULIETTE
Massenet Bretigny MANON
Mozart Count Almaviva/Figaro LE NOZZE DI FIGARO
Puccini Schaunard/Colline LA BOHÈME
  Gianni Schicchi
Prince Yamadore
  Angelotti/Sacristan TOSCA
Rossini Don Magnifico LA CENERENTOLA
Strauss, J. Frank LA CHAUVE SOURIS
Verdi Baron Douphol LA TRAVIATTA




Bach Johannes Passion
B minor Mass
Beethoven Mass in C major
Berlioz L’enfance du Christ
Brahms Requiem
Duruflé Requiem
Fauré Requiem
Handel Messiah
Haydn Nelson Messe
Pauken Messe
Honneger Jeanne d’Arc au Boucher
Mozart Requiem in D minor
Rossini Petite Messe Solennelle
Verdi Requiem


“Sylvestre’s Ponchel is definitely a bright spot to remind us that even in the midst of war, we should not forget who we are nor give up that which makes us human.” [Michigan Opera Theatre, Silent Night] Encore Michigan, Graham Mitchell

“Sylvestre displayed real comic talent and timing, which, aided and abetted by Ramirez and Segal, made for one of the funniest music lessons I’ve seen in a while.”  [Opera Hamilton, Barber of Seville] Opera Canada, Wayne Gooding

 Alexandre Sylvestre, another bass-baritone, nailed the role of the Sacristan, combining the kind of rich sound and comic timing we equate with a great house on a good day. Why did he not get the bravos he deserved?”
The Gazette, Arthur Kaptainis

« Brillant et divertissant Don Pasquale…Chacun possédait son personnage à fond.   Chez Alexandre Sylvestre, tous les tics du vrai basso buffo d’opéra…À ce niveau absolument professionnel du jeu correspondait en tous points celui du chant: grand timbre de basse, jusqu’au très grave, de Sylvestre. »    
La Presse, Claude Gingras

“Alexandre Sylvestre, one of many Atelier participants, was strong both vocally and histrionically as the Duke [of Verona].”
The Gazette, Arthur Kaptainis Translation

“…la courte apparition d’Alexandre Sylvestre est significative…”
La Presse, Claude Gingras

“…the short appearance of Alexandre Sylvestre is significant…”
La Presse, Claude Gingras Translation

“Voix chaude, voix qui vient du coeur, voix bien timbre…authentique comique.”
La Presse, Claude Gingras

“Warm voice, a voice which comes from the heart with a good tone…genuinely funny.”
La Presse, Claude Gingras Translation

“Il dominera d’ailleurs, par sa stature, sa voix et son aisance, la distribution de Gianni Schicchi, de Puccini.”
La Presse, Claude Gingras

“He dominated, furthermore, by his stature, his voice and his ease, the role of Gianni Schicchi by Puccini.”
La Presse, Claude Gingras Translation

“Parmi le members de l’Atelier lyrique, retenons Alexandre Sylvestre et la surprise cause dans ‘O du mein holder Abendstern’ in Wagner’s Tannhäuser.”
Res, Jacques Hétu

“Among the members of the Atelier lyrique, let us recall Alexandre Sylvestre and the surprise caused in ‘O du mein holder Abendstern’ in Wagner’s Tannhäuser.”
Res, Jacques Hétu Translation

“Alexandre Sylvestre, l’une de nos nouvelles voix les plus solides.”
La Presse, Claude Gingras


“Qui tollis” from Missa in Tempore Belli by Haydn

Alexandre Sylvestre sings the role of Dom Fernand in Opera Lafayette’s production of Gaveaux’s Léonore ou L’amour conjugal. If you are interested in seeing some of the finest quality 18th-century opéra comique, this production is not to be missed. With limited performances, the first occurs in Washington, DC on February 19 and the second in New York City on February 23.

Before Fidelio, Ludwig van Beethoven wrote Léonore, ou l’amour conjugal, a version he modeled on an opera by Pierre Gaveaux and Jean-Nicolas Bouilly. Both the Beethoven and Gaveaux works are grounded in the tradition of 18th-century opéra comique. A long-time champion of this French genre, Opera Lafayette aims to recapture the origins of Fidelio, a touchstone of the operatic canon. 

Revolution is in the air. A political prisoner awaits death in his cell. A woman puts herself in mortal danger to seek justice. Bouilly’s French libretto, rich with themes that are relevant today, may be familiar to many. Some will recognize music in Gaveaux’s version which foreshadows the Beethoven. From the loneliness of Florestan’s dungeon to the triumphal reunion of husband and wife, everyone will be captivated by this setting of a timeless and inspiring story. 




Alexandre Sylvestre sings the role of Timur in Puccini’s Turandot with Calgary Opera. The notable cast includes Michele Capalbo as Turandot and David Pomeroy as Calaf.  Performances are on April 1, 5, 7.