From Saint John, New Brunswick, tenor Owen McCausland is increasingly in demand for engagements with important opera companies and symphonies across Canada. He opened the Orchestre symphonique de Montréal’s 2018-2019 season with the World Premiere of Chaakapesh, The Trickster’s Quest under the baton of Kent Nagano. Written by Tomson Highway and Matthew Ricketts, the chamber opera’s premiere was followed by an extensive tour from the Arctic to the interior of Quebec. McCausland’s season continued with Jaquino in Fidelio for Pacific Opera Victoria, Ottavio in Don Giovanni for Manitoba Opera, Roderigo in Otello for the Canadian Opera Company, Messiahs in Victoria and New Brunswick and Mozart’s Requiem for Ottawa’s Music and Beyond.
McCausland looks forward to an exciting year ahead Lensky in Eugene Onegin for Opéra de Montréal, Rinuccio in Gianni Schicchi for Pacific Opera Victoria, Messiah for the Okanagan Symphony and an extension of Soundstreams’ Musik für das Ende project focusing on the enigmatic work by Claude Vivier.
An alumnus of the Canadian Opera Company’s Ensemble Studio, his 2017-2018 schedule called for Pedrillo in Die Entführung aus dem Serail and the Fisherman in Le Rossignol 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), Reverend Horace Adams in Peter Grimes and stepped in for a colleague in the title role of La clemenza di Tito for four performances.
During the 2015/2016 season, Mr. McCausland performed as Alfredo in La traviata with the University of British Columbia 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 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) and Rinuccio in Gianni Schicchi (Opera on the Avalon).
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.
|Britten||Rev. Horace Adams||PETER GRIMES|
|LUCIA DI LAMMERMOOR
|Lehár||Camille||DIE LUSTIGE WITWE|
|Monteverdi||Testo||COMBATTIMENTO DI TANCREDI E CLORINDA|
|LA CLEMENZA DI TITO
COSÌ FAN TUTTE
|Offenbach||Spalanzani||LES CONTES D’HOFFMANN|
|Poulenc||Chevalier de la Force||DIALOGUES DES CARMÉLITES|
|Strauss, J.||Alfred/Dr. Blind||DIE FLEDERMAUS|
UTRECHT TE DEUM
“From tenor Owen McCausland’s first ‘Comfort ye my people,’ the audience knew [the concert] was in good hands. McCausland sang his role with total involvement, producing fluid, golden tones and effortlessly tossing off 16th-note passages with jaw-dropping ease.” [Messiah, Okanagan Symphony Orchestra] Penticton Western News, Anita Perry“Another standout was tenor Owen McCausland (Young Servant), a former COC Ensemble member and now sounding a young heroic tenor in the making.” [Elektra, Canadian Opera Company] Ludwig van Toronto, Joseph So
“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
OTELLO AT THE CANADIAN OPERA COMPANY
Owen sings the role of Roderigo in Verdi’s Otello with the Canadian Opera Company. At the Four Seasons Centre for Performing Arts, production runs from April 27 through May 21, 2019. coc.ca
ELEKTRA AT THE CANADIAN OPERA COMPANY
Owen is the Young Servant in Strauss’ Elektra with the Canadian Opera Company, from January 26 through February 22, 2019. coc.ca
Tarquinius’ Ride from Rape of Lucretia by Benjamin Britten