Lara Ciekiewicz



Lara Ciekiewicz


Canadian Citizen

Whether being hailed as “mesmerizing” (Classical Voice of North Carolina), “thrilling” (The New Classical 96.3 FM), or “a clear standout” (San Francisco Classical Voice), versatile soprano Lara Ciekiewicz makes her mark as a compelling, intelligent, and accomplished singing-actress. As an indication of her increasing stature in the arts world, Ms. Ciekiewicz recently received the Winnipeg Arts Council’s RBC ‘On the Rise Award.’ An alumna of l’Atelier lyrique de l’Opéra de Montréal, she has distinguished herself at San Francisco’s Merola Opera Program, the Janiec Opera Company at the Brevard Music Center, Opera NUOVA and the Banff Centre.

Ms. Ciekiewicz’s 2019-2020 season begins with Puccini’s Il trittico, featured as Lauretta in Gianni Schicchi and Sister Genovieffa in Suor Angelica.  This is followed by the title role in Susannah for Manitoba Opera, Messiah for the Victoria Symphony, Contessa in Le nozze di Figaro for Edmonton Opera and Ours at the National Arts Centre in Ottawa and Three Decembers for the Little Opera Company.

Her schedule for the 2018-2019 season featured performances of Beethoven’s Symphony No. 9 for the Oklahoma Symphony, Ours for Opera on the Avalon, Micaëla in Carmen for Fargo Moorhead Opera and Opera Kelowna, a Pops evening with the Victoria Symphony and the role or Rosalinda in Die Fledermaus for Toronto Operetta Theatre.

Recent seasons have been highlighted by the title role in Jenufa for Pacific Opera Victoria, Tatyana in Eugene Onegin for Calgary Opera, Into the Woods for Opera on the Avalon, Forsythe’s Metis Songs with the Winnipeg Symphony, Berlioz’s Les nuits d’ete for the Winnipeg Chamber Music series and ‘Salute to Vienna’ in Montréal and Québec. Further credits include Contessa in Le nozze di Figaro for Vancouver Opera, Amelia in Simon Boccanegra for Pacific Opera Victoria, Beethoven’s Symphony No. 9 for the Boise Philharmonic and Nellie in South Pacific for Opera on the Avalon.

A favourite with Winnipeg audiences, Ms. Ciekiewicz was heard as Contessa in Mozart’s Le nozze di Figaro for Manitoba Opera and as soprano soloist in Mahler’s Symphony No. 2 with the Winnipeg Symphony. Gala New Year’s concerts – ‘Salute to Vienna’ – were on her schedule in Miami, West Palm Beach and Coral Springs, Florida. As well, Lara was featured in the world premiere of Estacio’s Ours at Opera on the Avalon in July of 2016.

Messiah, Penderecki’s Seven Gates of Jerusalem, Mozart’s Requiem and Carmina Burana, Beethoven’s Symphony No. 9 and Handel’s Israel in Egypt are among the vocal – orchestral works she has sung with the Winnipeg Symphony, McGill Chamber Orchestra, Orchestre symphonique de Laval, Sinfonia de Lanaudiere, and Orchestre Sherbrooke. She has appeared for l’Opéra de Montréal as Musetta in La bohème and in Toronto starred for VOICEBOX: Opera in Concert in the title role of Anna Bolena. Her roles in the world of Viennese operetta include title roles in Countess Maritza and Gypsy Princess as well as Yum Yum in Mikado and the title role in Princess Ida. Ms. Ciekiewicz holds a Master’s in Music (Opera) from McGill University and a Bachelor of Arts (Honours, Voice) from the University of Winnipeg. She is a laureate of Montreal’s Jeunes Ambassadeurs Lyriques.

September 2019


Bernstein Paquette CANDIDE
Bizet Micaëla CARMEN
Donizetti Anna
Estacio Anna FROBISHER
Floyd Mrs. Hayes SUSANNAH
Handel Alcina ALCINA
Kálmán Gräfin Maritza COUNTESS MARITZA
Lehár Countess Lisa THE LAND OF SMILES
Mozart Fiordiligi
Pasatieri Clara SIGNOR DELUSO
  Mother THE WOMEN
Puccini Musetta
Rodgers Nellie SOUTH PACIFIC
Sondheim Young Heidi FOLLIES
Sullivan Yum-Yum THE MIKADO
  Princess Ida PRINCESS IDA
VerdI Sacerdotessa AIDA
Weill Anna Maurrant  STREET SCENE


Bach Mass in B minor
Handel Israel in Egypt
Haydn Missa Brevis St. Joannis de Deo
Vincent Ho Postlude: Song of Hope (world premiere)
Mozart Requiem in D minor
Orff Carmina Burana
Penderecki Symphony No. 7 “Seven Gates of Jerusalem”
Previn Four Songs for Soprano, Cello and Piano
Rutter Magnificat
Vivaldi Gloria

“Lara Ciekiewicz had the difficult task, in a production that so delighted in comic theatricality, of providing the most serious and introverted musical moments, and succeeded.” [Le nozze di Figaro, Edmonton Opera] Edmonton Journal, Mark Morris

“There is the famous O mio babbino caro, sung by soprano Lara Ciekiewicz with lightness and beautiful phrasing.” [Il trittico, Pacific Opera Victoria] Times Colonist, Adrian Chamberlain

“Ciekiewicz sang a very nice ‘Csárdás,’ and she’s adept with the tambourine! Wood’s ‘Laughing Song’ was a highlight.” [Die Fledermaus, Toronto Operetta Theatre] Opera Canada, Joseph So

“Soprano Lara Ciekiewicz (Rosalinda) has the soaring voice that makes you believe that her character was once an opera diva before her marriage. Hers is an attractive sound that fills the house, and she certainly has the good looks of a leading lady.” [Die Fledermaus, Toronto Operetta Theatre] Ludwig van Toronto, Paula Citron

“Soprano Lara Ciekiewicz was the whole package in the lead role of Rosalinda, a loving wife who has to fight to stay faithful to her hot-tempered husband.” [Die Fledermaus, Toronto Operetta Theatre] Toronto Star, John Terauds

“Foremost among them is soprano Lara Ciekiewicz as Rosalinda who has a lovely full soprano capable of tossing off all the coloratura fireworks that Strauss throws her way. Ciekiewicz can show Rosalinda’s sense of irony with the subtlest of glances. Directors often treat Rosalinda’s big number, the czárdás ‘Klänge der Heimat’ as if it were absolutely serious, but Silva-Marin knows, as does Ciekiewicz, that Rosalinda is not the Hungarian she pretends to be so that she is able to give the sentimentality of the song an uncommon satiric twist.” [Die Fledermaus, Toronto Operetta Theatre], Christopher Hoile

“A particularly striking element everywhere is the acting, which includes a very fine, convincing performance by newcomer Lara Ciekiewicz as Tatyana, not just in the famous letter scene and its aftermath, but in the difficult, but gripping, final duet.” [Eugene Onegin, Calgary Opera] Calgary Herald, Kenneth Delong

“As Jenůfa, clear voiced Canadian Soprano Lara Ciekiewicz hit her notes effortlessly and fluidly, but seemed to ride the surface of the emotions. Nothing, not the murder of her child nor somehow finding the grace to forgive his murderer, quite broke through the barrier of her charm.” [Jenůfa, Pacific Opera Victoria] Opera News Magazine, Robin J. Miller

“Soprano Lara Ciekiewicz is captivating in the title role, a voice of light and strength amid dark subject matter and ravaged emotions. Her performance alone is enough to sustain any casual opera fan through unfamiliar territory.” [Jenůfa, Pacific Opera Victoria] Times Colonist, Sarah Petrescu

“No one sang better than soprano Lara Ciekiewicz as ingenue Amelia. Her clarion voice, boasting an exciting edge, carried effortlessly through the Royal Theatre. Her timbre is attractive and powerful, well-suited for dramatic roles.” [Simon Boccanegra, Pacific Opera Victoria] Victoria Times Colonist, Adrian Chamberlain

“The charismatic local soprano Lara Ciekiewicz continues to prove her gifts as a natural stage chameleon, able to crack viewers up on moment with her razor sharp comic timing before breaking their hearts the next with her soulful performances. Her two solos as the Countess Almaviva – ‘Porgi, Amor’ and her later, mesmerizing, ‘Dove son I bei moment’ – did the latter as she revealed the complex emotional underbelly of her desperately conflicted, all-too-human character.” [Le nozze di Figaro, Manitoba Opera] Opera Canada, Holly Harris

“Then the heavens opened with pealing bells, and thunderous double timpani drum rolls until the massed choir – at last – was given its turn. Its hushed a cappella opening stirred the soul, with Ciekiewicz’s clear soprano soaring on the wings of angels.” [Mahler Symphony No. 2, Winnipeg Symphony] Winnipeg Free Press, Holly Harris

“…soprano Lara Ciekiewicz also shone in her role debut as slave girl — and moral presence — Liu, who is secretly in love with Calaf. She crafted her guileless character with unaffected simplicity…Her crystal clear voice radiated sincerity during Act III’s Tu che di gel sei cinta, performed just before Lui takes her own life in order to spare Calaf’s.” [Turandot, Manitoba Opera] Winnipeg Free Press, Holly Harris

“Lara Ciekiewicz triomphe dans Turandot au Manitoba Opera…[elle] a brûlé les planches lors de sa première interprétation de Liù… Ciekiewicz, qui avait brillé dans le rôle de Musette (La Bohème) en avril 2014, est encore plus impressionnante dans le rôle de Liù. Elle est intense, vraie, émouvante. Son chant est sublime et son jeu convaincant. Encore jeune, elle a toutes les qualités d’une future diva et sera certainement bientôt reconnue comme l’une des meilleures interprètes du répertoire romantique. Elle a une voix exceptionnelle… et un grand talent d’actrice.”
Translation: “Lara Ciekiewicz triumphs in Manitoba Opera’s Turandot…[she] brought the house down in her role debut as Liù…Ciekiewicz, who shone as Musetta in La Bohème last April, is even more stunning in the role of Liù.  She is intense, genuine, and moving.  Her singing is sublime and her acting, compelling.  Still young, she possesses all the qualities of a future diva.  Without a doubt, she will soon be recognized as one of the romantic repertoire’s best interpreters.  She has an exceptional voice…and a great gift as an actress.” [Turandot, Manitoba Opera] La Liberté, Pierre Meunier

“Ciekiewicz sounds better every time we hear her, her lovely vibrato and passionate conviction well suited to the role.” [Penderecki Symphony No. 7] Winnipeg Free Press, Gwenda Nemerofsky

“The vocal find was soprano Lara Ciekiewicz as Anna.  Bel canto is not an easy sing, but Ciekiewicz was able to do everything required in gorgeous fashion.  She could spin out her legato lines with elegance, force out her dramatic low notes to great effect and toss off high ones of crystal beauty.  Her coloratura is formidable, and she is an expressive singer of note.” Opera Canada, Paula Citron

“…un seul sujet se détachait de l’ensemble:  Lara Ciekiewicz, qui a l’allure et la retenue – et les héroïques intervalles – d’une vraie Fiordiligi.”
Translation: “…one single person rose above the ensemble:  Lara Ciekiewicz, possessing the style and control – and the heroic intervals of a tru Fiordiligi.” La Presse, Claude Gingras

“…the two leads in this Toronto Operetta Theatre production are so strong, so charming and so engaged in the topsy-turvy operatic story…we’ll hopefully get to see them onstage again soon.  Soprano Lara Ciekiewicz is the ideal Countess…tenor David Curry is Count Tassilo…and, when the two are onstage alone, their chemistry is magical.” Toronto Star, John Terauds

“Soprano Lara Ciekiewicz (Fiordiligi) was a clear standout.  The sheer beauty of her instrument, the poise with which it is handled, and the intelligence with which she shaped Fiordiligi’s other great aria, ‘Per pieta’, declared that she could build a career as a consummate Mozartian and also branch out into weightier, more dramatic repertoire.” [Così fan Tutte]

“Most consistently mesmerizing and dramatically compelling was Ciekiewicz as Pamina; she brought the house down with her hear-wrenching ‘Ach, ich fül’s’.” [Die Zauberflöte] Classical Voice of North Carolina, John Terauds

“Ciekiewicz has a fine, pure voice – well suited to this work. [Rutter’s Magnificat] With imperceptible breathing and centred high notes as clear as icicles, she sang with intelligence and emotional warmth.” Winnipeg Free Press, Gwenda Nemerofsky

“How nice to see and hear soprano Lara Ciekiewicz again. This talented young singer has the ability to draw an audience, with her pure, penetrating voice and expressive abilities. As the flirtatious maid Paquette, she was priceless – slithery and incorrigible.” Winnipeg Free Press, Gwenda Nemerofsky

“Soprano Lara Ciekiewicz made an impressive Opéra de Montréal debut as the wanton Paquette.  She let her hair down, tossing her fluffy red boa while acting out Pangloss’ ‘ladies’ during ‘The Venice Gavotte,’ her strong, clear voice projecting at all times.” Opera Canada, Holly Harris

“Lara Ciekiewicz est tour à tour comique et séduisante dans les deux ‘incarnations’ de Papagena.” Translation: “Lara Ciekiewicz was first comical and then seductive in Papagena’s two ‘incarnations’.” La Presse, Claude Gingras



Opening their 2020/21 season, Edmonton Opera presents La bohème from October 24 through 30, 2020. Andrew Haji sings as Rodolpho, Miriam Khalil as Mimì, Lara Ciekiewicz as Musetta, Peter Barrett as Marcello, and Stephen Hegedus as Colline.


Joining the Fargo Moorhead Opera, Lara sings as Micaëla in Bizet’s Carmen. Performances are on April 12 and 13, 2019.



Lara is the female lead May in John Estacio’s Canadian opera Ours with Opera on the Avalon. Performances are on November 9 and 11, 2018.



Soprano Lara Ciekiewicz is featured in the February edition of Opera Canada Magazine (Vol. LVIII, No. 3). in an article by Holly Harris entitled ‘Going Back To Her Roots‘, the author looks on the rise of Ms. Ciekiewicz’s career, her roots in Manitoba and her debut in the title role of Leoš Janáček’s ‘Jenůfa’ with Pacific Opera Victoria. Read the article here: Opera Canada Vol. 58.3


Soprano Lara Ciekiewicz sings the role of Tatyana in Tchaikovsky’s Eugene Onegin with the Calgary Opera. Performances run February 03 – 09, 2018, at the Southern Alberta Jubilee Auditorium.



Lara Ciekiewicz singing the title role in Jenufa with Pacific Opera Victoria. Performances run October 12 – 22, 2017 at The Royal