The award-winning Saskatchewan baritone Peter McGillivray has been gaining accolades on both the concert and operatic stage. He won the Deuxième Grand Prix and prize for Best Canadian Performance at the Montreal International Musical Competition, a success followed by another top prize at the Queen Sonja Competition in Oslo, Norway. He previously received national recognition at the CBC Radio-Canada Young Performers Competition in Calgary when he took home the First Prize as well as the Audience Award.
A formidable presence on the opera stage, McGillivray looks forward to his role debut as Starek in Pacific Opera Victoria’s production of JENUFA followed by one of his signature roles, Don Bartolo in IL BARBIERE DI SIVIGLIA, for Calgary Opera. Of special interest is the role of Petrovich in the World Premiere of THE OVERCOAT presented by Vancouver Opera, Tapestry New Opera Works and Canadian Stage. Last season, he was featured in Tapestry New Opera Works Dora Award-winning ROCKING HORSE WINNER and later in 2016-2017, sang Stubb in MOBY DICK for the Dallas Opera, MESSIAH with the Elmer Iseler Singers of Toronto, Don Magnifico in LA CENERENTOLA for the Edmonton Opera and Bartolo in IL BARBIERE DI SIVIGLIA for Opéra de Québec. Mr. McGillivray had a busy season in 2015-2016 with engagements as Bartolo in IL BARBIERE DI SIVIGLIA for Pacific Opera Victoria, Bartolo in LE NOZZE DI FIGARO for Manitoba Opera, CARMINA BURANA for the Amadeus Choir of Toronto and Beethoven’s Symphony No. 9 in Regina on his schedule. He sang Mahler’s LIEDER EINES FAHRENDEN GESELLEN for Toronto Summer Music and his 2014/2015 season included the role of Father Palmer in SILENT NIGHT for Calgary Opera, Handel’s MESSIAH for the McGill Chamber Orchestra and Bartolo in LE NOZZE DI FIGARO for Opera Lyra Ottawa.
In 2013-2014 he was heard with Opéra de Québec and Saskatoon Opera as Sharpless in MADAMA BUTTERFLY, the Vicar in ALBERT HERRING for Vancouver Opera, Dr. Falke in DIE FLEDERMAUS for Edmonton Opera, Schaunard in LA BOHEME for Manitoba Opera and on the concert platform, he was in Saskatoon for Ralph Vaughan Williams SEA SYMPHONY and Montreal for Bach’s JOHANNES PASSION.
His 2012/2013 included Schaunard in LA BOHEME for Opera Lyra Ottawa, the world premiere of SHELTER for Edmonton Opera and the Vicar in ALBERT HERRING for Pacific Opera Victoria. On the concert stage, he sang Haydn’s DIE SCHÖPFUNG for the Georgian Bay Concert Choir, Bach’s Mass in B Minor for Kitchener’s Grand Philharmonic Choir and the Peterborough Singers and also appeared with the Talisker Players of Toronto. His 2013 summer festival season included ACIS AND GALATEA for both the Festival of the Sound and the Elora Festival and he was also heard for the latter in CARMINA BURANA.
Past seasons have been dominated by works including PAGLIACCI (Silvio), GIANNI SCHICCHI (Betto) and MOBY DICK (Stubb) for Calgary Opera, and GIANNI SCHICCHI (Marco) for the Canadian Opera Company. As a concert artist, he was heard with the Windsor Symphony, the Grand Philharmonic Choir, the Festival of the Sound, FestiVoix in Trois RIvieres, the Elora Festival of Ontario and for the Luminato Festival. He was in New York at the Metropolitan Opera as cover artist for Schaunard in LA BOHEME and Olivier in CAPRICCIO.
Other highlights include performances as Schaunard in LA BOHEME and Dolokhov and General Belliard in WAR & PEACE for the Canadian Opera Company, the World Premiere of Omar Daniel’s THE SHADOW for Tapestry, de Bretigny in Calgary Opera’s MANON, and CARMINA BURANA for the Brott Festival in Hamilton, Ontario.
He has sung the Duruflé REQUIEM for the Vancouver Chamber Choir, MESSIAH with the National Arts Centre Orchestra and the Winnipeg Symphony, Bach’s Mass in B Minor and Haydn’s DIE SCHÖPFUNG with the Toronto Mendelssohn Choir and Estacio’s THE HOUSES STAND NOT FAR APART with the Richard Eaton Singers in Edmonton.
A former member of the Ensemble Studio of the Canadian Opera Company, he made his professional debut as Aeneas in Purcell’s DIDO AND AENEAS and sang Schlendrian in a staged production of Bach’s COFFEE CANTATA. Further Canadian Opera Company credits have included Sid and the Vicar in Britten’s ALBERT HERRING, and Wagner in FAUST. He was seen as Demetrius in Britten’s A MIDSUMMER NIGHT’S DREAM at Tanglewood and highlights of past seasons have included a Debut Atlantic tour of the Maritime provinces; recitals in Toronto, Montreal, Calgary, Saskatoon and Ottawa; and engagements with the Calgary Philharmonic, the Regina Symphony and l’Orchestre Symphonique de Québec.
Mr. McGillivray is a graduate of the University of Toronto’s Opera Division and he also holds an honours degree in Canadian History and Literature from the U of T’s University College. Having previously performed at the Ravinia, Aldeburgh and Aspen Music Festivals, he has been awarded grants from both the Jacqueline Desmarais Foundation and the Canada Council for the Arts. He has been a finalist and prize-winner at the Eckhart-Gramatté Competition, at the Lotte Lenya Singing Competition and at the Robert Schumann International Competition for Piano and Lied, held in the composer’s birthplace of Zwickau, Germany.
A MIDSUMMER NIGHT’S DREAM
LUCIA DI LAMMERMOOR
|Gilbert & Sullivan||The Pirate King Giuseppe||PIRATES OF PENZANCE
|Mozart||Don Giovanni /Leporello Figaro/Almaviva
LE NOZZE DI FIGARO
|Offenbach||Hermann/Schlémil||LES CONTES D’HOFFMANN|
|Prokofiev||Dolokhov/Belliard||WAR AND PEACE|
|Puccini||Betto/Marco/Gianni Schicchi||GIANNI SCHICCHI|
|Purcell||Aeneas||DIDO AND AENEAS|
|Puts||Father Palmer||SILENT NIGHT|
|Rossini||Figaro/Bartolo||IL BARBIERE DI SIVIGLIA|
|Strauss, J.||Dr. Falke||DIE FLEDERMAUS|
|Sullivan||Pirate King||PIRATES OF PENZANCE|
|Baron Duphol||LA TRAVIATA|
Mass in B minor
|Beethoven||Mass in C major
Symphony No. 9
|Brahms||Ein Deutsches Requiem
Liebeslieder – Book 1
|Estasio||The Houses Stand Not Far Apart|
|Finzi||In Terra Pax Let Us Garlands Bring|
|Jenkins||The Armed Man: A Mass for Peace|
|Ruth Watson Henderson||From Darkness to Light|
|Mahler||Lieder eines fahrenden Gesellen
Des Knaben Wunderhorn
|Mendelssohn||Elijah St. Paul
|Mozart||Mass in C minor Requiem
Requiem in D minor
|Ravel||Don Quichotte à Dulcinée|
|Rossini||Petite Messe Solennelle
|Schubert||Die schöne Müllerin|
|Staniland||Dark Star Requiem|
|Vaughan Williams||Dona Nobis Pacem|
“Baritone Peter McGillivray is also to be celebrated in his role as the buffoonish Doctor Bartolo. McGillivray’s resonant singing filled the auditorium with a vibrant sonority that helped translate the comedic vision for his character to the audience. McGillivray’s Bartolo was an audience favourite for good reason: he embodies the essence of his character, and backs it up with rich, round singing”
Barber of Seville, Calgary Opera
Schmopera.com, Oliver Munar
“One of the best elements of this production is Peter McGillivary as Dr. Bartoto, one of the most famous of the buffo basso roles in Italian comic opera, but also one that needs fine singing and dramatic flair. McGillivray doesn’t miss a trick, drawing from the role every ounce of comedy, and handling the vocal side with aplomb. The solo opening of the second act was exceptionally good, and I have never seen an actor get so much out of a wig.”
Barber of Seville, Calgary Opera
Calgary Herald, Kenneth Delong
“There’s some strong singing, particularly from baritone Peter McGillivray as Dr. Bartolo… McGillivray received the most vocal applause at curtain. He’s a fine singer, particularly impressive during A un dottor della mia sorte, when a jealous Bartolo interrogates and lectures Rosina. McGillivray is also a gifted comic actor, one of those performers able to project humour and whimsy with a gesture or a look. His turns were among the most enjoyable of the evening.”
Pacific Opera Victoria, Barber of Seville
Victoria Times Colonist, Adrian Chamberlain
“…with really singing from Peter McGillivray as Bartolo…”
Opera Lyra, Barber of Seville
Opera Canada, Jean-Jacques Van Vlasselaer
“High praise is owed to baritone Peter McGillivray for his virtuoso performance as Bartolo. McGillivray channeled Daffy Duck’s spluttering rages, but for all of his physical comedy and over-the-top bluster the role never got away from him vocally.”
Opera Lyra, Barber of Seville
Ottawa Citizen, Natasha Gauthier
“Among a very fine ensemble of singers, pride of place must go to baritone Peter McGillivray as Raoul/Hernando. His central role bears the biggest burden, and he negotiated the difficult and taxing score with great musical skill and all the dramatic chops to create a strong, pivotal character.”
Tapestry Opera, The Shadow
Opera Canada, Wayne Gooding
“The various Gypsy roles were nicely cast too…The two gypsy men, Peter McGillivray as Dancairo and James McLennan as Remendado, provided comic relief and together with the ladies sang an excellent version of the famous quintet in the second act.”
Calgary Herald, Kenneth DeLong
“Baritone Peter McGillivray sang with force and conviction.”
Ottawa Citizen, Richard Todd
Une très jolie voix…McGillivray a heureusement eu l’occasion do montrer sa réelle qualité d’acteur dès l’air suivant, celui où Leporello décline la list des maîtresses de Don Juan. Très a l’aise, l’interprète a bien fait rire quand il a sorti de sa poche un agenda électronique…L’extrait du Thaïs de Massenet, servie vers la fin de la première partie, est sans doute celui où le baryton a le mieux montré la qualité de son étoffe, à la fois ronde, brillante et riche…Un autre bon moment que celui où McGillivray a chanté l’air d’Onéguine, tendrement, en russe et, comme l’ensemble de son programme, de mémoire.”
Le Soleil, Richard Boisvert
“Tenor Michael Colvin and baritone Peter McGillivray were quite thrilling in the Pearl Fishers duet.”
The Globe and Mail, Ken Winters
“Deuxième prix au Concours international de Montréal l’an dernier, le baryton Peter McGillivray fut magnifique dans les deux oeuvres: timbre riche, conduite vocale impeccable, intelligence du texte, présence imposante. Il montra ces mêmes qualités-dignes du premier prix-cans un lied tiré d’un recueil de Korngold qui annonçait le Quintette pour piano et cordes du célèbre compositeur de musique de film.”
La Presse (Montreal), Claude Gingras
“A uniformly strong cast was led by baritone Peter McGillivray in the title role. Making a welcome return to Canada from His current program of studies in Germany, McGillivray is clearly still on track for the important career that his success in competitions over the past couple of years has promised. The voice is full and strong, and he uses it with a great feel for cadence and line. He’s frankly a bit young to carry this role [Mazeppa] off convincingly, but that’s picky in the face of such musicality and commitment. His performance was extraordinarily rewarding to the audience.”
Opera Canada, Wayne Gooding
“Things perked up enormously with the arrival of the excellent trio of singers cast as Sid (Peter McGillivray), Nancy (Cerys Jones) and Albert (Allan Clayton): when all three were together, the stage crackled with sexual energy, fuelled both by the expressions of evidently love of butcher boy and baker’s girl, and unwillingly virginal Albert’s mounting frustration.”
Albert Herring, Britten Festival with the Britten-Pears Young Artist
Opera Magazine, Graeme Kay
Peter McGillivray, héros de la soirée – “La prestation de Vendredi placerait nettement McGillivray à place de la Coréenne qui, entrant après lui, a paru complètement écrasée. La voix large et sonore du baryton, grand et bien droit, s’est superbement déployée dans une Romance à l’étoile (de Tannhäuser)…Mais le difficile air de Ford, de Falstaff, allait ensuite révéler un mécanisme vocal d’une rare clarté.”
Montreal International Musical Competition
La Presse, Claude Gingras
“The second half was devoted to three groups of songs sung by baritone Peter McGillivray. Also a CBC competition winner…McGillivray is a first –class recitalist. Blessed with a voice of considerable amplitude with a ringing top and a strong lower register, McGillivray showed his interpretive flexibility in exquisite performances of sons by the Canadian composer Derek
Holman, Francis Poulenc, and Jean Sibelius. While all three sets were excellent sung, the Poulenc and Sibelius groups were especially fine, the character of the modern French songs beautifully interpreted, and the intense romanticism of the early Sibelius songs warmly presented.”
In Recital, Rosza Centre Calgary
The Calgary Herald, Kenneth DeLong
“Two other Ensemble members, baritone Peter McGillivray as Schaunard, the musician, and bass-baritone Robert Gleadow as Colline, the philosopher, did themselves more than proud. Both san outstandingly well, both took their lion’s share of the comedy with panache and (in the absence of girlfriends for them in the libretto) with a legitimate touch of camp.”
La Boheme, Canadian Opera Company
The Globe and Mail, Ken Winters
“The finest singing of the evening came from baritone Peter McGillivray, as Albert’s friend Sid. He caught the colour and nuance of every word in his lines and delivered them with a round, cultivated tone that perfectly reflected his character’s self-satisfied suavity.”
Albert Herring, Canadian Opera Company
Opera News, Christopher Hoile
Baritone Peter McGillivray, sings the role of Bartolo in Calgary Opera’s latest production of Rossini’s classic The Barber of Seville. Performances November 18 – 24, 2017 at Southern Alberta Jubilee Auditorium.
The Barber of Seville, Courtesy of Calgary Opera. Photo by Trudie Lee.
(l-r) John Tessier, Russell Braun and Andrea Hill.
Peter McGillivray sings the role of Stárek in Jenufa with Pacific Opera Victoria. Performances run October 12 – 22, 2017 http://www.pov.bc.ca
CINDERELLA AT EDMONTON OPERA
Peter McGillivray sings Don Magnifico in Rossini’s La Cenerentola alongside Stephen Hegedus, as Alidoro, and Michael Nyby, as Dandini. Performances with the Edmonton Opera are on February 4, 7, and 9.
Enter the vain world of 1950’s haute couture, where appearances are everything and kindness is never in fashion. Mistreated by her wicked stepfather and stepsisters, Cinderella seems destined for a life of misery. But when she meets Prince Ramiro, Cinderella starts to find her own ‘happily ever after’— with a few obstacles along the way, of course.
Catalogue Aria from Don Giovanni by Mozart. Recorded at Festivoix 2010.
“Voila donc la terrible cité” from Thais by Massenet