Alexandre Sylvestre



Alexandre Sylvestre


Canadian Citizenship

A native of Québec, Alexandre Sylvestre studied at the Conservatoire de musique de Montréal where he was awarded the “Premier Prix avec Grande Distinction.” This season he looks forward to the role of Capulet in Roméo et Juliette for Calgary Opera, as well as Baron Douphol in La traviata for Pacific Opera Victoria and Morales in Carmen for Opéra de Montréal. In Thunder Bay, he will be heard in Handel’s Messiah. During the 2017/2018 season, Alexandre performed the roles of John Connally in JFK and Capulet in Roméo et Juliette, both for his home company in Montreal. He also debuted with the Seattle Symphony as l’Arbe and Fauteuil in L’enfant et les sortilèges and has been recently heard in Silent Night for Michigan Opera Theatre, as Colline in La bohème 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.

In past seasons, Alexandre has been heard in Opéra de Québec’s L’enfant et les sortilèges, as Bartolo in Edmonton Opera’s Il barbiere di Siviglia, Brahms’s 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’s Silent Night for Opéra de Montréal, Brander in La damnation de Faust for Orchestre symphonique de Montréal, Haly in L’italiana in Algeri for Calgary Opera, and Colline in La bohème 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 Christ and Jeanne d’Arc au bûcher 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 solennelle for the Taiwan National Choir in Taipei.

Additional role for Opéra de Montréal include Dr. Grenville in La traviata, Frank in La chauve-souris, de Bretigny in MANON, Sacristan in Tosca, Pietro in Simon Boccanegra, Bartolo in Le nozze di Figaro, Jack Wallace in La fanciulla del West, Nourabad in Les pêcheurs de perles, and Monterone in Rigoletto. He has sung Colline in La bohème for Calgary Opera, Schaunard in La bohème 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 Métropolitain 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 2018


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

“Bass-baritone Alexandre Sylvestre as Baron Douphol was the perfect foil to Ainsworth’s Alfredo. Cruel and thoughtless in his casual possession of Violetta, he was vocally strong and clear, egging on Alfredo’s rage into the inevitable confrontation.”
[La traviata, Pacific Opera Victoria] Melissa Ratcliff, Schmopera

“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.”
[Silent Night, Michigan Opera Theatre] Graham Mitchell, Encore Michigan

“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.”
[Barber of Seville, Opera Hamilton] Wayne Gooding, Opera Canada

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?”
Arthur Kaptainis, The Gazette

« 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. »
Claude Gingras, La Presse

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

“…la courte apparition d’Alexandre Sylvestre est significative…”
Claude Gingras, La Presse
Translation: “…the short appearance of Alexandre Sylvestre is significant…”

“Voix chaude, voix qui vient du coeur, voix bien timbre…authentique comique.”
Claude Gingras, La Presse
Translation: “Warm voice, a voice which comes from the heart with a good tone…genuinely funny.”

“Il dominera d’ailleurs, par sa stature, sa voix et son aisance, la distribution de Gianni Schicchi, de Puccini.”
Claude Gingras, La Presse
Translation: “He dominated, furthermore, by his stature, his voice and his ease, the role of Gianni Schicchi by Puccini.”

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

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



Soprano Nathalie Paulin (as Leonore) and bass-baritones Alexandre Sylvestre (Don Fernando) and Stephen Hegedus (Rocco) join Opera Lafayette for Beethoven’s Leonore. Performance on February 26 in Washington, D.C. and on March 2 in New York, NY.


With l’Orchestre symphonique de Laval, bass-baritone Alexandre Sylvestre sings Beethoven’s 9th Symphony in the concert “Hymne à la joie” as part of the first Festival Classique Hivernal. Concert is on February 2, with other festival performances from January 31 through February 2, 2020. ||


With Pacific Opera Victoria, conductor Timothy Vernon, soprano Lucia Cesaroni, mezzo-soprano Megan Latham, tenor Jamie McLennan, baritone James Westman and bass-baritone Alexandre Sylvestre bring La traviata to life from February 14 through 24, 2019.


“Qui tollis” from Missa in Tempore Belli by Haydn