Owen McCausland

 

Tenor

 

 

Owen McCausland

Tenor

Canadian Citizenship

 

From St. John, New Brunswick, tenor Owen McCausland is increasingly in demand for engagements with important opera companies and symphonies across Canada. This coming season, he will be heard In FIDELIO as Jaquino for Pacific Opera Victoria, as Ottavio in DON GIOVANNI for Manitoba Opera, Rodrigo in OTELLO for the Canadian Opera Company and MESSIAHs in Victoria and New Brunswick. Of particular note is the World Premiere of THE TRICKSTER’S JOURNEY with Orchestre symphonique de Montréal conducted by Nagano in Montreal and on tour to the Indigenous communities of northern Quebec. An alumnus of the Canadian Opera Company’s Ensemble Studio, McCausland’s current season includes Pedrillo in DIE ENTFÜHRUNG AUS DEM SERAIL and the Fisherman in LE ROSSIGNOL both for the Canadian Opera, Weill’s SIEBEN TODSÜNDEN for the Toronto Symphony, Mahler’s DAS LIED VON DER ERDE for the Ottawa Symphony, Vivier’s MUSIK FÜR DAS ENDE for Soundstreams and MESSIAH for Symphony Nova Scotia and the London Symphonia. Other recent credits include Tamino in DIE ZAUBERFLÖTE and Lurcanio in ARIODANTE for the Canadian Opera Company, MESSIAH with the Regina Symphony and Beethoven’s SYMPHONY No. 9 for Kitchener-Waterloo’s Grand Philharmonic Choir, and Rodolfo in LA BOHÈME for Against the Grain Theatre.

He has appeared in COC mainstage productions as Don Juan in DON QUICHOTTE, Lord Cecil in ROBERTO DEVEREUX, Ferrando in COSÌ FAN TUTTE (Ensemble Studio performance) and Reverend Horace Adams in PETER GRIMES. In 2013 Mr. McCausland replaced an indisposed Michael Schade in the title role of LA CLEMENZA DI TITO for four performances at the COC while also performing in the Ensemble Studio Production. Other COC credits include Junger Seeman in TRISTAN UND ISOLDE and un messagero in IL TROVATORE.

During the 2015/2016 season, Mr. McCausland performed as Alfredo in LA TRAVIATA with the UBC Ensemble and Vancouver Symphony Orchestra, Testo in the Canadian Opera Company production of Monteverdi’s IL COMBATTIMENTO DI TANCREDI E CLORINDA, Beethoven’s SYMPHONY No. 9 for the Regina Symphony and MESSIAH for the Sudbury Symphony.

Further credits for McCausland include Arturo in LUCIA DI LAMMERMOOR (Pacific Opera Victoria), the title role in WERTHER (Chautauqua Institution), Camille in THE MERRY WIDOW (Newfoundland Symphony); Alfred in DIE FLEDERMAUS (Guelph Symphony); Rinuccio in GIANNI SCHICCHI (Opera on the Avalon); Don Ottavio in DON GIOVANNI (Centre for Opera Studies in Italy), Aeneas in DIDO AND AENEAS, Orpheus in ORPHEUS IN THE UNDERWORLD (Dalhousie Opera) and Spoletta in TOSCA (Maritime Concert Opera).

 

In the fall of 2014 Mr. McCausland debuted with the Montreal Symphony Orchestra singing Bach CANTATAS and with the Toronto Symphony Orchestra singing Howard Blake’s THE BEAR. Other concert work as a soloist includes Rossini’s STABAT MATER with the Scarborough Philharmonic, Handel’s MESSIAH with the Fredericton Chamber Orchestra and the Saint John Chorale Society, Handel’s Utrecht TE DEUM and Mendelssohn’s ELIJAH with the Dalhousie Symphony.

Mr. McCausland was a finalist and winner of the Canadian Encouragement Award at the 2015 George London Singing Competition and also a semi-finalist in the 2015 Montreal International Music Competition.      

May 2018

 

 

OPERA

Britten Rev. Horace Adams PETER GRIMES
Donizetti Arturo
Lord Cecil
LUCIA DI LAMMERMOOR
ROBERTO DEVEREUX
Handel Hyllus HERCULES
Lehár Camille DIE LUSTIGE WITWE
Massenet Don Juan
Werther
DON QUICHOTTE
WERTHER
Monteverdi Testo COMBATTIMENTO DI TANCREDI E CLORINDA
Mozart Tito
Ferrando
Don Ottavio
LA CLEMENZA DI TITO
COSÌ FAN TUTTE
DON GIOVANNI
Offenbach Spalanzani LES CONTES D’HOFFMANN
Poulenc Chevalier de la Force DIALOGUES DES CARMÉLITES
Puccini Rinuccio GIANNI SCHICCHI
Strauss, J. Alfred/Dr. Blind DIE FLEDERMAUS
Strauss, R. Naraboth SALOME
Verdi Dr. Caius
Alfredo
FALSTAFF
LA TRAVIATA

ORATORIO

Blake THE BEAR
Handel MESSIAH
UTRECHT TE DEUM
Mendelssohn ELIJAH
Rossini STABAT MATER

 

REVIEWS

“Owen McCausland impresses with strong vocalism: Owen McCausland’s secure, full tenor was very distinct in Part 1 and returned in Part 2 as the Fisherman. He was comfortable in Russian, and vocally even throughout the range.”The Nightingale and Other Short Fables, Canadian Opera Company
Opera Canada, Lydia Perović

“McCausland is able to colour his bright tenor to suit this new interpretation, but there is no doubt he shone in the two arias where he was allowed some humour – “Frisch zum Kampfe!” and “Vivat Bacchus!” Die Entführung aus dem Serail, Canadian Opera Company
StageDoor.com, Christopher Hoile

“Kudos to Owen McCausland (Pedrillo) for singing with almost heroic tone, in a role that’s often under-sung…. he offered very impressive German diction in his huge amount of dialogue”
Die Entführung aus dem Serail, Canadian Opera Company
Ludwig Van Toronto, Joseph So

“Owen McCausland makes a terrific impression as the Narrator” Pyramus and Thisbe, Canadian Opera Company
Globe and Mail, Robert Harris

“The second man, tenor Owen McCausland, expressively declaims the narration…” Pyramus and Thisbe, Canadian Opera Company
Concerto.net

Owen McCausland as Arturo was excellent, with ringing tenor tones, making a notable job of a minor role.”
Lucia di Lammermoor, Pacific Opera Victoria
Vancouver Classical Music, Harvey De Roo

“His tone is wonderfully broad for a tenor and he shaped the phrasing with clever restraint.”
Bach Cantatas, Orchestre Symphony de Montréal
Montreal Gazette, Lev Brotishenko

“McCausland was in good form with fine ensemble work, good acting and a touching Ah, lo veggio.”
Così Fan Tutte, Ensemble Studio at Canadian Opera Company
Operaramblings.com, John Gilks

“Ensemble Studio’s Owen McCausland created a memorable Reverend Adams with his pure tenor and clean projection (attributes that also benefited his Parpignol (in La Bohème) the next night).” Peter Grimes, Canadian Opera Company
Operatoday.com, James Sohre

“Tenor Owen McCausland brought exceptional depth to the part of the Reverend Horace Adams. His depiction of the man’s compassion coupled with his moments of fall from grace illustrated the frailty of the human condition perfectly.”
Peter Grimes, Canadian Opera Company
Norules-nolights.com, Brian Hay

“Owen McCausland sang Quanto è bella and seemed to be experimenting, not unsuccessfully, with a bigger, more Italianate, sound.”
Noon Time Series, Ensemble Studio at Canadian Opera Company
Operaramblings.com, John Gilks

“First Nazarene Craig Irvin and Second Nazarene Owen McCausland were remarkably fine, making the most of their brief scene and capturing our attention with their beautifully judged singing.” Salome, Canadian Opera Company
Operatoday.com, James Sohre

“The vocal contributions from Owen McCausland, Adam Luther and Robert Gleadow ring out from the nethermost reaches of the house like inspired solo brass instruments.” Tristan und Isolde, Canadian Opera Company
Toronto Star, Richard Ouzounian

“Tenors Owen McCausland and Adam Luther gave a strong presence to the roles of the young sailor and the shepherd.”
Tristan und Isolde, Canadian Opera Company
Norule-nolights.com, Brian Hay

“The tenor who stepped in for Schade was Owen McCausland, currently a member of the COC Ensemble Studio program. Like a great many people in the theatre, I was disappointed to hear that Schade was indisposed – but my disappointment turned to delight when I realized I was witnessing the debut of a very promising young artist. McCausland’s clear, bright tenor seemed made for Mozart – with just a touch of vibrato, and smooth phrasing that brought his role to life. Moreover, he threw himself wholly into his leading role with confidence, portraying a complex character – uncertain of those around him, and burdened by the decisions he must make – in a very human way. McCausland is one to watch!” La Clemenza di Tito, Canadian Opera Company
Colin Eatock

“It’s hard to imagine what went through Owen McCausland’s mind when he got the call to fill in for an ailing Michael Schade. It’s the opportunity of a lifetime but nobody wants to step in that way. Overcoming the reaction of a disappointed audience is another hurdle. The young tenor seemed nervous initially, then spread his wings and gave a rich performance showing a man capable of acting in anger but wishing desperately not to do so. His voice resonated with openness that sounded absolutely free of guile, perfect for the role of ‘Tito’. His performance had plenty of high points but his rendition of ‘Tito’s’ final aria, ‘Se all impero amici Dei’, stands as a defining one.”
Tito in La Clemenza di Tito, Canadian Opera Company
Norules-nolights.com, Brian Hay

“Seasonal flu prevented Michael Schade from performing the title role on February 9, 2013. The opportunity presented itself for a young tenor Owen McCausland. Hopefully for Mr. McCausland this will turn out to be one of those career milestones after which everything changes because we the audience had a chance to see that he is a tenor to keep an eye on. At the incredible age of 22 he assumes the role of a Roman emperor with a maturity, confidence and conviction extraordinary for a singer at such an early stage in his career and at that age. A native of Saint John, New Brunswick he emerges as a talented young singer, a multiple year winner of the New Brunswick Competitive Festival of Music. We will see him again this spring in Salome. He appeared in the previous season in Puccini’s Gianni Schicchi, understudied a role of Spalanzani in the Tales of Hoffman, and just this season in a small role of a young sailor this month in Tristan and Isolde. In 2011 he was one of the winners of the COC Ensemble Studio competition.”
La Clemenza di Tito, Canadian Opera Company
Opera Toronto’s Blog

“In this case, the second-act Tito has the richer role, and McCausland did well at exploring the character’s several moods. Happily, he also had a chance to sing the full role several other times, when he replaced tenor Michael Schade in the mainstage production. I caught one of those performances a week later and McCausland had become an impressive Tito, building a full character by the work’s end and handling the opera’s important and difficult recitatives with real feeling.” La Clemenza di Tito, Canadian Opera Company
NOW Magazine, Jon Kaplan

“Had I not found out that McCausland was not the scheduled lead, I would have thought he was certainly born for the role. For most, it is likely that you will only see a show once and that will be the experience you have and you remember. And what an experience McCausland gave this audience; I have always enjoyed seeing the COC ensemble grow and garner more stage presence and hope to see his career continue to blossom.” La Clemenza di Tito, Canadian Opera Company
Thesceneinto.com

“The title role was divided between two tenors, … (Owen McCausland) glowing and Italianate. McCausland was on Act 2 duty…. there is some real gold in that throat. He is also a natural actor.” La Clemenza di Tito, Canadian Opera Company
National Post, Arthur Kaptainis

“Tenor Owen McAusland sang Ah vile!… Or degli affanni from Salieri’s Falstaff.  He’s got quite a powerful voice for a young tenor and is very musical” Noon Time Series, Ensemble Studio at Canadian Opera Company
Operaramblings.com, John Gilks

“On this occasion, McCausland sang Tom Rakewell’s “Here I stand” with impressively ringing tone.”
Noon Time Series, Ensemble Studio at Canadian Opera Company
La Scena Musicale, Joseph So

NEWS

 
‘THE NIGHTINGALE’ AT THE CANADIAN OPERA COMPANY
OWEN McCAUSLAND is with the COC again and performing in Robert Lepage’s sensational The Nightingale and Other Fables. Stravinsky’s music comes to life again in this theatrical masterpiece April 13 to May 19, 2018 at the Four Seasons Centre, Toronto. coc.ca

 
‘THE ABDUCTION FROM THE SERAGLIO’ AT THE CANADIAN OPERA COMPANY
Tenor OWEN McCAUSLAND sings the role of Pedrillo in the Canadian Opera Company’s latest production of Mozart’s The Abduction from the Seraglio. Performances run February 7-24, 2018 at the Four Season Centre, Toronto. coc.ca

‘MESSIAH’ WITH LONDON SYMPHONIA

Tenor OWEN McCAUSLAND joins the London Symphonia for Handel’s Messiah on November 29, 2017 londonsymphonia.ca


MAHLER’S ‘DAS LIED VON DER ERDE’ WITH THE OTTAWA SYMPHONY
Tenor OWEN McCAUSLAND joins the Ottawa Symphony in Mahler’s Das Lied Von Der Erde on November 20, 2017 


‘MUSIK FUR DAS ENDE’ WITH SOUNDSTREAMS
Tenor OWEN McCAUSLAND, appears in the first fully staged production of Musik für das Ende by legendary Québécois composer Claude Vivier.  Rave reviews in The New York Times call the production “dramatically potent”. Performances run October 27 – November 4, 2017, at Crow’s Theatre. nytimes.com

Listen

Tarquinius’ Ride from Rape of Lucretia by Benjamin Britten