Praised for her “full, gleaming sound” (Chicago Tribune), Canadian soprano Tracy Cantin “has it all – agility, power and dazzling coloratura” (Chicago Sun-Times). Recent engagements include the title role in Anna Bolena for the Canadian Opera Company, Chrysothemis in Elektra for the Edmonton Opera and Beethoven’s Symphony No. 9 for the Melbourne Symphony conducted by Sir Andrew Davis. Future plans for this Ryan Opera Center (Lyric Opera of Chicago) alumna call for the final scene in Götterdämmerung for the Vancouver Symphony under Otto Tausk, Verdi’s Requiem with the Okanagan Symphony and Strauss’ Elektra for the Canadian Opera Company. She is the first prizewinner in Canada’s Lois Marshall Memorial Competition, has received top awards from the Licia-Albanese Puccini Voice Competition and was a National Semi-Finalist of the Metropolitan Opera National Council Auditions in New York City. Ms. Cantin holds degrees from McGill University, the University of Western Ontario, and the University of Alberta. Her performances with the BBC Scottish Symphony mark her debut in Scotland and the British Isles.
A recent graduate of the prestigious Ryan Opera Center at Lyric Opera of Chicago, Ms. Cantin has been featured in mainstage productions of Il barbiere di Siviglia, Elektra, Rigoletto, and Parsifal.
The 2016/17 season marked Ms. Cantin’s long anticipated Canadian debut as Chrysothemis in Strauss’ Elektra with Edmonton Opera and during the summer of 2017, covered Elza van der Heever in the title role of Alcina with Santa Fe Opera. She joined the Canadian Opera Company in the spring of 2018 as cover artist in the title role of Anna Bolena and was called upon to step in for Sondra Radvanovsky at the dress rehearsal. Future projects include Beethoven’s Symphony No. 9 for the Thunder Bay Symphony, the Immolation Scene from Götterdämmerung for the Vancouver Symphony and Verdi’s Requiem for the Okanagan Symphony.
Her operatic repertoire includes Donna Anna in Don Giovanni, Governess in Turn of the Screw, Amelia in Simon Boccanegra, Rosalinde in Die Fledermaus, Desdemona in Otello, Eva in Die Meistersinger, the title role in Rusalka, and Alice Ford in Falstaff. An avid concert performer, Ms. Cantin has been heard as a soloist in Bernstein’s Songfest, Handel’s Messiah, Schubert’s Mass in A Flat, and Mozart’s Requiem. Engagements extend to Australia where she performed Beethoven’s Symphony No. 9 with the Melbourne Symphony alongside Bryn Terfel, under the baton of Sir Andrew Davis.
The Prince Edward Island native has shared the stage with internationally renowned artists including Renée Fleming, Stephanie Blythe, Christine Goerke, Joyce DiDonato, Susan Graham, Ferruccio Furlanetto, Eric Owens, Ana Maria Martìnez, and most recently made debuts with the Ravinia Festival, Grant Park Festival, Oregon Symphony, Illinois Philharmonic, and the Civic Orchestra of Chicago.
Ms. Cantin has had the privilege of working with several of today’s most respected conductors and directors, including Sir Andrew Davis (Beethoven 9, La bohème, Le nozze di Figaro), Riccardo Muti (La traviata), Michele Mariotti (Il barbiere di Siviglia), Vlad Iftinca (Turn of the Screw), Bertrand de Billy (Otello), Sir David McVicar (Elektra, Rusalka), John Caird (Parsifal), and Michael Cavanaugh (Elektra).
Winner of many awards and prizes, the busy soprano is a recipient of the Rose Pulman award from the Sullivan Foundation (2014), and the Lieutenant Governor General of Alberta Emerging Artist Award (2014).
|Britten||Governess/Miss Jessel||TURN OF THE SCREW|
|Donizetti||Anna Bolena||ANNA BOLENA|
|Humperdinck||Gertrude||HANSEL AND GRETEL|
LE NOZZE DI FIGARO
|Rossini||Berta||IL BARBIERE DI SIVIGLIA|
|Strauss, J||Rosalinde||DIE FLEDERMAUS|
|Strauss, R||Chrysothemis/5th Maid||ELEKTRA|
UN BALLO IN MASCHERA
|Wagner||Eva||DIE MEISTERSINGER VON NURNBERG|
|Beethoven||Symphony No. 9|
|Brahms||Ein Deutsches Requiem|
|Mozart||Requiem in D minor
Vesperae Solennes de Confessore KV 339
Mass in C minor KV 427
|Strauss||Vier letzte Lieder
Gesänge des Orients
|Verdi||Messa da Requiem|
“Cantin has an exceptionally fine lyric soprano of beauty, volume, and flexibility, and she uses it with discerning taste, sensitivity and musicality. The timbre is sweet, and tone beautifully focused, evenly produced throughout its range, backed by a solid technique…Combine that with a youthful, attractive stage presence and the requisite dramatic acuity, one can understand why she is a singer to watch. Even at the young age of 32, Cantin is already tackling heavy repertoire the likes of the aforementioned Chrysothemis, plus Leonore in Fidelio and Anna Bolena… Cantin certainly has the volume to fill the 2,100 seat Four Seasons Centre. Even at triple forte, her tone is never harsh. Her Act 2 confrontation scene with Giovanna Seymour…was dynamite… The acid test for Anna is her extended Mad Scene, a huge sing, with plenty of high notes and a kaleidoscope of tone colours. Cantin was splendid, holding the stage well, singing with beauty of tone and acting with dramatic intensity. I can only imagine with time and more experience, her characterization will grow. But even at this early stage, it is an estimable achievement.”
Ludwig van Toronto
“No question, Cantin has an uncommonly fine lyric soprano, with a clear and pure timbre, very well focused, even up and down the scale, and secure in technique. It’s also of sufficient volume to fill the typical opera house.”
Ludwig van Toronto
“Tracy Cantin, who played Elektra’s sister, absolutely stole every scene she was in. It was more than just her glistening bright voice—it was the emotive and descriptive passion that simply exuded from every line that she sang. Coupled with her very convincing and engaged physical performance, Tracy Cantin was the absolute highlight of the entire evening.”
“Soprano Tracy Cantin, as Elektra’s younger sister Chrysothemis, was making her Canadian opera debut. What a splendid voice she has, essentially lyrical, but with the power to effortlessly soar over Strauss’ heavy orchestration. She matches that with strong character acting, with such telling touches as the subtle cradling of her arms early on, long before we hear of her obsession of her being a mother.” Edmonton Journal
“Tracy Cantin used her clear, powerful and sumptuous soprano in “Chi il bel sogno di Doretta” from Puccini’s La Rondine. This role suits her voice like a velvet glove! Cantin and Puccini are a perfect fit!”
“Ryan Opera Center alumna Tracy Cantin as Brunnhilde is a powerful-voiced soprano and wonderful comedian.”
“Ok, maybe that didn’t actually bring events to a halt. But this did: soprano Tracy Cantin’s entrance from somewhere at the back of the room, Lyric’s intimate rehearsal hall, singing the Valkyrie Brünhilde’s famous battle-cry aria “Ho jo to ho!” Whoa, the genuine article had just arrived – a huge, ringing, glorious voice. Cantin is an alumna of the Lyric’s Ryan Opera Center, and a stunning credit to the program she is.”
Chicago on the Aisle
“Tracy Cantin, a recent alumna of Lyric Opera’s Ryan Opera Center, who not only possesses a spectacular voice, but has the exuberant comic chops for this work, and sets it on fire.”
“The cast consists of a half dozen flawlessly funny Second City veterans and a pair of operatic singers, soprano Tracy Cantin and bass Jonah D. Winston, so accomplished onstage that until they let loose with the megavoices you can’t distinguish them from the sketch and improve masters.”
“Soprano Tracy Cantin is already a fully formed singer who has it all – agility, power and dazzling coloratura. She infused drama and urgency into the duet, “Soli noi siamo,” from Gaetano Donizetti’s Lucrezia Borgia, providing a fiery conclusion to the first half. And if that were not enough, she returned for a recitative and aria from Charles Gounod’s Romeo et Juliette, nailing them as well.”
“Canadian soprano Tracy Cantin swept audiences with her gentle rendition of ‘Song to the Moon’”
Highland Park Landmark
“I feel especially compelled to praise Tracy Cantin as the maid Berta: so great was her finesse and projection… certainly a name to watch from now on!”
“Bryn Terfel opened the vocal section with stentorian command, finding a worthy challenge in Tracy Cantin’s mobile soprano.”
Sydney Morning Herald
“I Want Magic!” from A Streetcar Named Desire by Previn (December 2017)
“Symphony no. 9” by Beethoven (Melbourne Symphony Orchestra, 2013)
“Frühlingsfeier” by R. Strauss
“On a Sunny Evening” by Srul Irving Glick
“Memories of Prague” from Vedem Songs by Lori Laitman