Peter McGillivray

Baritone  

Peter McGillivray

Baritone

Canadian Citizenship 

The award-winning Saskatchewan-born baritone Peter McGillivray has been gaining accolades on both the concert and operatic stage. In 2018, he was nominated for the Dora Mavor Moore Award for his outstanding operatic male performance creating the role of Petrovich in The Overcoat, a new co-production by Tapestry Opera, Vancouver Opera, and Canadian Stage. A formidable presence on the opera stage, McGillivray begins his 2018-2019 season as Don Pizarro in Pacific Opera Victoria’s production of Fidelio. Further into the season, he will be featured as Don Manifico in La Cenerentola with the Vancouver Opera, followed by Schaunard in La bohème with the Calgary Opera.

In addition to his original performance in The Overcoat, Starek in Jenufa with Pacific Opera Victoria and his signature role of Bartolo in Il barbiere di Siviglia with l’Opéra de Québec and the Calgary Opera were on his schedule for the 2017-18 season.

Previous engagements include Moby Dick with the Dallas Opera and the Calgary Opera (Stubb), La Cenerentola with the Edmonton Opera (Don Magnifico), Le nozze di Figaro for Manitoba Opera and Opera Lyra Ottawa (Bartolo), and Silent Night with the Calgary Opera. With the Vancouver Opera, he appeared in a production of Albert Herring as the Vicar and in Saskatoon, he was Sharpless in Madama Butterfly, a role he reprised with l’Opéra de Québec. Additional credits incliude Dr. Falke in Edmonton Opera’s Die Fledermaus, Puccini’s Gianni Schichci, as Betto (Calgary Opera) and Marco (Canadian Opera Company and Silvio in Pagliacci with the Calgary Opera. Other highlights were his appearances as Dolokhov and General Belliard in War and Peace for the Canadian Opera Company and de Bretigny in Calgary Opera’s Manon. His iteration of Schaunard in La bohème has taken him to Winnipeg and Ottawa and as a cover artist, to the Metropolitan Opera in New York. Another cover role with the Met was Olivier in Capriccio. Dedicated to original opera productions, he has been with the Tapestry Opera for Omar Daniel’s The Shadow, Juliet Palmer’s Shelter, and Gareth Williams’ Dora Award-winning production Rocking Horse Winner.

Equally active on the concert world, he was with the Elmer Iseler Singers of Toronto and the McGill Chamber Orchestra, sang Carmina Burana for the Amadeus Choir of Toronto and Beethoven’s Symphony No. 9 in Regina, and joined the Toronto Summer Music for Mahler’s Lieder eines fahrenden Gesellen. 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.

In Saskatoon, he has performed Ralph Vaughan Williams’ Sea Symphony, and Bach’s Johannes Passion in Montreal. His Haydn repertoire includes Die Schöpfung, which he sang with the Georgian Bay Concert Choir. Bach’s Mass in B Minor took him to Kitchener’s Grand Philharmonic Choir, the Peterborough Singers and the Talisker Players of Toronto. At summer festivals, he was invited to Acis and Galatea for Festival of the Sound and the Elora Festival and Carmina Burana with the Elora Festival and the Brott Festival. In addition, he has been with the FestiVoix in Trois-Rivières and the Luminato Festival.

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.

As a young artist, 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. 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.

September 2018

OPERA

Britten Vicar/Sid
Demetrius
Noye
Ned Keene
ALBERT HERRING
A MIDSUMMER NIGHT’S DREAM
NOYE’S FLUDDE
PETER GRIMES
Bizet Escamillo/Dancaïro CARMEN
Daniel Raoul/Hernando THE SHADOW
Donizetti Dulcamara/Belcore Enrico
Talbot
L’ELISIR D’AMORE
LUCIA DI LAMMERMOOR
MARIA STUARDA
Gilbert & Sullivan The Pirate King Giuseppe PIRATES OF PENZANCE
THE GONDOLIERS
Heggie Stubb MOBY DICK
Leoncavallo Silvio I PAGLIACCI
Mascagni Alfio CAVALLERIA RUSTICANA
Massenet de Brétigny MANON
Mozart Don Giovanni /Leporello Figaro/Almaviva
Papageno

DON GIOVANNI

LE NOZZE DI FIGARO
DIE ZAUBERFLÖTE

Offenbach Hermann/Schlémil LES CONTES D’HOFFMANN
Prokofiev Dolokhov/Belliard WAR AND PEACE
Puccini Betto/Marco/Gianni Schicchi GIANNI SCHICCHI
  Schaunard/Marcello LA BOHÈME
  Sciarrone/Angelotti TOSCA
  Sharpless MADAMA BUTTERFLY
Purcell Aeneas DIDO AND AENEAS
Puts Father Palmer SILENT NIGHT
Rossini Figaro/Bartolo IL BARBIERE DI SIVIGLIA
  Dandini/Magnifico LA CENERENTOLA
Strauss, J. Dr. Falke DIE FLEDERMAUS
Strauss, R. Olivier CAPRICCIO
Sullivan Pirate King PIRATES OF PENZANCE
Verdi Ford FALSTAFF
  Marullo RIGOLETTO
  Baron Duphol LA TRAVIATA
Wagner Wolfram TANNHÄUSER
Walton Smirnov THE BEAR

    Concert/Oratorio

Bach Weihnachtsoratorium
Kaffee Kantate
Mass in B minor
Matthäus Passion
Johannes Passion
Barber Dover Beach
Beethoven Mass in C major
Missa Solemnis
Symphony No. 9
Brahms Ein Deutsches Requiem
Liebeslieder – Book 1
Duruflé Requiem
Estasio The Houses Stand Not Far Apart
Fauré Requiem
Finzi In Terra Pax Let Us Garlands Bring
Handel Messiah
Haydn Die Schöpfung
  Paukenmesse
Jenkins The Armed Man: A Mass for Peace
Ruth Watson Henderson From Darkness to Light
Mahler Lieder eines fahrenden Gesellen
Rückert-Lieder
Des Knaben Wunderhorn
Mendelssohn Elijah St. Paul
St. Paul
Mozart Mass in C minor Requiem
Requiem in D minor
Orff Carmina Burana
Ravel Don Quichotte à Dulcinée
Rossini Petite Messe Solennelle
Stabat Mater
Schubert Die schöne Müllerin
  Schwanengesang
  Winterreise
Schumann Dichterliebe
  Myrthen
  Spanisches Liederspiel
Staniland Dark Star Requiem
Vaughan Williams Dona Nobis Pacem
  Five Mystical
  Songs Hodie
  Sea Symphony  

“Baritone Peter McGillivray shows incredible versatility, vocal range, and buffoonish slapstick humour multitasking as the drunk tailor Petrovich, the head of Akakiy’s department, and the blowhard Personage at the police.“
– The Overcoat: A Musical Tailoring, Canadian Stage, Tapestry Opera, and Vancouver Opera
The Straight (Vancouver Free Press), Jane Smith

“Worthy of a big nod is Peter McGillivray in his dual roles as the tailor Petrovich and Head of the Department. He mastered [Wendy] Gorling’s aesthetic, physicalizing everything from pomposity to functional addiction with eerie precision… He was an utter riot, and made easy work of introducing new music to the public’s ear.”
– The Overcoat: A Musical Tailoring, Canadian Stage, Tapestry Opera, and Vancouver Opera
The Globe and Mail, Jenna Simeonov

“Head of the Department and the tailor Petrovich (who fashions the eponymous garment) were both played exquisitely (and hilariously) by Tapestry regular Peter McGillivray. Abandoning a portion of the ‘prima la voce’ attitude and delivering in some seriously high-quality character voicework, yet ably letting his full beautiful tone free when artistically necessary… McGillivray was incredible at the marriage of such heightened movement.”
– The Overcoat: A Musical Tailoring, Canadian Stage, Tapestry Opera, and Vancouver Opera
Schmopera, Greg Finney

“As Dr. Bartolo, baritone, Peter McGillivray didn’t miss a trick in the handling of comedy, drawing from the role every ounce of fun and parody. Vocally, his slightly rough hewn voice was perfect for the part. His solo at the top of Act II was exceptionally amusing. I have never seen an actor get so much out of a wig.” Il barbiere de Siviglia, Calgary Opera
Kenneth DeLong, Opera Canada Magazine

“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”
Il barbiere de Siviglia, 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.” – Il barbiere de Siviglia, 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.” Il barbiere de Siviglia, Pacific Opera Victoria
Victoria Times Colonist, Adrian Chamberlain

“…with really singing from Peter McGillivray as Bartolo…” – Il barbiere de Siviglia, Opera Lyra
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.”
Il barbiere de Siviglia, Opera Lyra
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.” The Shadow, Tapestry Opera
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.” Brahms’ Requiem
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

“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 Bohème, 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

NEWS

THE OVERCOAT with Tapestry Opera and Vancouver Opera
Peter McGillivray as Head of Department (Petrovich) in The Overcoat: A Musical Tailoring.
Co-produced by Tapestry Opera, Vancouver Opera, and Canadian Stage.
At Canadian Stage: March 27 – April 14, 2018
At Vancouver Opera: April 28 – May 12, 2018
Photo by Dahlia Katz
McGillivray (3rd from left) as Petrovich. Photo by Dahlia Katz.
canadianstage.com
vancouveropera.ca

Baritone Peter McGillivray, sings the role of Bartolo in Calgary Opera’s latest production of Rossini’s classic The Barber of SevillePerformances 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.
calgaryopera.com

Peter McGillivray sings the role of Stárek in Jenufa with Pacific Opera Victoria. Performances run October 12 – 22, 2017
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.
cenerentola
edmontonopera.com

VIDEO

Catalogue Aria from Don Giovanni by Mozart. Recorded at Festivoix 2010.