Tracy Cantin


Tracy Cantin


Praised for her “full, gleaming sound” (Chicago Tribune), Canadian soprano Tracy Cantin “has it all – agility, power and dazzling coloratura” (Chicago Sun-Times). Recent performances include her debut with the BBC Scottish Symphony under Thomas Dausgaard in Bernstein’s Songfest, the title role in Anna Bolena for the Canadian Opera Company and Verdi’s Requiem with the Okanagan Symphony. Her 2018-2019 season was rounded out with the final scene in Götterdämmerung for the Vancouver Symphony under Otto Tausk and Strauss’ Elektra for the Canadian Opera Company. In 2019-2020, she looks forward to Musetta in La boheme for Fort Worth Opera, a repeat of Bernstein’s Songfest with Dausgaard and the Seattle Symphony, Beethoven’s Symphony No. 9 with the Denver Symphony and John Estacio’s Ours at the National Arts Centre in Ottawa. 

In 2016-2017, Chrysothemis in Strauss’ Elektra marked Ms. Cantin’s long anticipated Canadian debut at the Edmonton Opera and during the summer of 2017, she covered Elza van der Heever in the title role of Alcina with Santa Fe Opera. An Alumna 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.

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 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 has been featured by the Ravinia Festival, Grant Park Festival, Oregon Symphony, Illinois Philharmonic, and the Civic Orchestra of Chicago. 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) and John Caird (Parsifal) are among the highly-regarded conductors and stage directors with whom she has collaborated. 

She is the first prizewinner in Canada’s Lois Marshall Memorial Competition and has received top awards from the Licia-Albanese Puccini Voice Competition, the Sullivan Foundation and Alberta’s Emerging Artist fund. The Metropolitan Opera National Semi-Finalist holds degrees from McGill University, the University of Western Ontario, and the University of Alberta.

September 2019


Barber Vanessa VANESSA
Britten Governess/Miss Jessel TURN OF THE SCREW
Donizetti Anna Bolena ANNA BOLENA
Dvořák Rusalka RUSALKA
Händel Alcina ALCINA
Humperdinck Gertrude HANSEL AND GRETEL
Mozart Donna Anna
Puccini Mimì/Nella LA BOHÈME
Strauss, J Rosalinde DIE FLEDERMAUS
Strauss, R Chrysothemis/5th maid ELEKTRA
Verdi Violetta
Alice Ford


Bach Magnificat
Beethoven Symphony No. 9
Bernstein Songfest
Brahms Ein Deutsches Requiem
Britten War Requiem
Fauré Requiem
Händel Messiah
Mendelssohn Elijah
Mozart Requiem in D minor
Vesperae Solemnes de Confessore KV 339
Mass in C minor KV 427
Exultate Jubilate
Rossini Stabat Mater
Strauss, R. Vier letzte Lieder
Gesänge des Orients
Verdi Messa da Requiem

“Tracy Cantin made a commanding impact, her soprano cutting through the texture excitingly.” Bernstein’s Songfest, BBC Scottish Symphony Orchestra. Simon Thompson, Seen and Heard International

“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.”
The Wanderer

“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!”
Brooklyn Discovery

“Ryan Opera Center alumna Tracy Cantin as Brunnhilde is a powerful-voiced soprano and wonderful comedian.”
Chicago Tribune

“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.”
Chicago Sun-Times

“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.”
Chicago Reader

“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.”
Chicago Sun-Times

“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!”
Chicago Critic

“Bryn Terfel opened the vocal section with stentorian command, finding a worthy challenge in Tracy Cantin’s mobile soprano.”
Sydney Morning Herald



Tracy sings Wagner’s Götterdämmerung with the Vancouver Symphony Orchestra in their “Liberation: A Midsummer Night’s Dream” concert on April 5, 2019.



Tracy Cantin sings the Fourth Maid with the COC in Elektra, from January 26 through February 22, 2019.


Tracy Cantin with the BBC Scottish Symphony Orchestra under the baton of Thomas Dausgaard in Bernstein’s Songfest. Performed and broadcast live from Glasgow City Halls on September 20, 2018.

“I Want Magic!” from A Streetcar Named Desire by Previn (December 2017)

“Symphony No. 9” by Beethoven. Melbourne Symphony Orchestra with Sir Andrew Davis, 2013

“Frühlingsfeier” by R. Strauss

“Memories of Prague” from Vedem Songs by Lori Laitman