Your Guide to the Rumbold Vocal Prize Week

The week is almost here, and we’re so excited to welcome these incredible artists to Edmonton for a full week of learning, community, and competition.   

Curious how you can get involved?  

Here’s your guide to everything about the Rumbold Vocal Prize. From the Masterclass to the thrilling Grand Finale.  

 Monday, November 17 | Masterclass 

Start the week with something truly special – and free!  

The Rumbold Vocal Prize Masterclass kicks off the week’s events and offers audiences a rare behind-the-scenes look at how great performers are built. Each finalist will work live with our master clinician, Tracy Dahl, performing, receiving feedback, and then putting it into practice.

It's a wonderful way to get invested early and see how these artists grow before the Grand Finale on Friday.  

Meet the Finalists 

A post-masterclass reception will follow. Open to anyone who attends.  

Masterclass 

Taylor College & Seminary, Stencel Hall • 7:00 PM  

11525 23 Ave NW

Reserve Your Spot here
 

Please note
When searching for Taylor Seminary on Google, the result may appear as Aurora Academic Skyrattler Campus. This is the correct location, as Taylor Seminary and College are part of that campus.

 

Tuesday, November 18 to Thursday, November 20 | Behind the Scenes  

There are no public events during these mid-week sessions, but there is still plenty happening behind the scenes.  

Our finalists will be immersed in coaching and mentorship with: 
 

Beyond the rehearsal rooms, this week also brings opportunities for the finalists to connect with the Rumbold family – the generous supporters who make this competition possible.   

Follow our Rumbold Vocal Prize social accounts for behind-the-scenes footage throughout the week.

Rumbold Instagram
Rumbold Facebook

Friday, November 21 | The Grand Finale 

The big night!  

After a week of study and preparation, our four finalists take the stage at the Horowitz Theatre to compete for prizes.

But what makes this competition truly special is that everyone walks away a winner. Each finalist has the chance to receive more than one award.  

  • First Place - $12,000 

  • Second Place - $8,000 

  • Third Place (tie) - $5,000 each  

  • Yukon Arts Centre Residency Prize - $3,500 +  

  • The Grace Audience Choice Award - $1,000 

The top three prizes are chosen by our esteemed panel of judges.  

The Yukon Arts Centre Residency Prize is awarded by Michele Emslie, Director of Programming from the Yukon Arts Centre.  

And the Grace Rumbold Audience Choice Award is chosen by you – the audience – in honour of the late Grace Rumbold, whose vision and generosity helped make this competition a reality.  This is the first year of the award, and each person attending gets to cast their vote and help crown the very first winner.

During the judges’ deliberations, enjoy a special performance by the University of Alberta student participant, Wiktoria Jurkiewicz.  

Enter to Win

Join us at the Rumbold Vocal Prize on November 21 and enter to win two season subscriptions to our 2026/27 season. Ballots will be available at the venue, so make sure you enter for your chance to enjoy a full season of opera on us.

Parking

  • Parking is available at the Stadium Carpark, which connects directly to the west doors of the Student Union Building (Level 7) via covered pedway

  • The Education Carpark is also located nearby

  • Both carparks are fully wheelchair accessible

drop-off and pick up locations

There are two convenient options for drop-off and pick-up:

ACCESIBILITY

The Horowitz Theatre is fully accessible, with wheelchair seating available in the venue and elevator access to the theatre.

Plan your visit to Horowitz Theatre
CLICK TO DOWNLOAD PARKING & VENUE MAP

 Grand Finale 

Horowitz Theatre • 7:30 PM  

University of Alberta Students Union, 8900 114 St NW

Get Your Tickets - Over 70% Sold

 Celebration and Farewell 

Winners will be announced, celebrations will unfold, and another unforgettable year of the Rumbold Vocal Prize will come to a close.   

Thank you for joining us in supporting Canada’s next generation of vocal stars.  

Rumbold Vocal Prize Alumni Spotlight: Where are they now?

From coast to coast — and far beyond — the artists who have competed in the Rumbold Vocal Prize are lighting up stages, releasing albums, and building extraordinary careers. Discover what our talented alumni have been up to this year.

Lauren Margison
Soprano 

First Place Winner, 2022 

2nd Photo - Rumbold Vocal Prize Grand Finale, 2022
3rd Photo - Puccini’s Le villi, Straatstheatre Mainz, 2024

Since winning the Rumbold Vocal Prize, Lauren Margison has quickly become one of Canada’s most exciting young sopranos. She was recently named the 2025 winner of the Elizabeth Connell Prize International Singing Competition and the 2024 Sullivan Award Winner. 

Recent highlights include her return to the mainstage of Opéra de Montréal as Mimì in La Bohème and her debut in the title role of Alceste with Toronto’s Opera in Concert. She has also revisited the roles of Nedda (Pagliacci) and Anna (Le Villi), and made her debut as Desdemona in Verdi’s Otello. 

Other notable performances include Micaëla (Carmen, Pacific Opera Victoria), Tatyana (Eugene Onegin, Highlands Opera Studio), Sylva Varescu (The Csárdás Princess, Toronto Operetta Theatre), and Vanessa (Barber’s Vanessa, Opera in Concert). 

 

Vartan Gabrielian
Bass-Baritone 

Second Place Winner, 2022 

2nd Picture - Rumbold Vocal Prize Grand Finale, 2022
3rd Picture - Puccini’s Madama Butterfly, Opéra nationale de Paris, 2024

Since competing in the Rumbold Vocal Prize, bass-baritone Vartan Gabrielian has continued to establish himself as one of Canada’s leading young voices. A national semi-finalist in the 2023 Metropolitan Opera Laffont Competition, he has performed across North America and Europe in both emerging and principal roles. 

In the 2025/26 season, Vartan makes both a house and role debut at the Royal Ballet and Opera as Robert in Les Vêpres siciliennes, followed by returns to the Opéra national de Paris as Figaro (Le Nozze di Figaro), Zuniga (Carmen), and Angelotti (Tosca). He will also make his Opéra de Lausanne debut as Sparafucile in Rigoletto. 

A former resident artist with Opera San José, Gabrielian appeared as Basilio (The Barber of Seville), Frère Laurent (Roméo et Juliette), and Capitán (Florencia en el Amazonas). In 2023, he returned to Edmonton Opera as Fasolt in Das Rheingold. 

 

Madison Montambault
Dramatic Soprano 

Third Place Tie, 2022 

2nd Photo: Rumbold Vocal Prize Grand Finale, 2022
3rd Photo: Wagners Das Rheingold, Edmonton Opera, 2024

Praised by Opera Canada for her “enthusiasm and attractive singing,” mezzo-soprano Madison Montambault continues to bring energy and artistry to her growing career on stages across Canada and abroad. 

Last season, she joined Opera on the Avalon’s Emerging Artist Program in St. John’s, Newfoundland, and participated in Newfoundland’s Tapestry Project. She also made her European debut at Malta’s Teatru Manoel, portraying Georgina Stirling. 

We were delighted to welcome her back to Edmonton Opera’s 2023/24 season as Wellgunde in Das Rheingold. Madison was also a finalist in the 2024 International Hans Gabor Belvedere Singing Competition and a semi-finalist in the 2023 George London Foundation Competition. 

 

Spencer Britten
Tenor 

3rd Place Tie, 2022 

2nd Photo: Rumbold Vocal Prize Grand Finale, 2022
3rd Photo: Rossini’s L’Italiana in Algeri, Hungarian State Opera 2023

This season, Spencer appears in Montréal for performances of Carmina Burana and Turandot with the Orchestre Philharmonique et Chœur des Mélomanes, makes his house and role debut as Tonio in La fille du régiment with Boston Lyric Opera, and travels to Hungary to reprise Lindoro in L’Italiana in Algeri with the Hungarian State Opera. 

In the 2023/24 season, Spencer debuted with the Hungarian State Opera in L’Italiana in Algeri, followed by performances of The Messiah with Yannick Nézet-Séguin and the Orchestre Métropolitain, and The Bells by Rachmaninoff with the Helena Symphony. 

Since competing in the Rumbold Vocal Prize, Spencer has also returned to Edmonton Opera for Home for the Holidays (2022) and Opera al Fresco (2024). 

 

Sydney Baedke
Soprano 

First Place Winner, 2023 

2nd Photo: Rumbold Vocal Prize Grand Finale, 2023
3rd Photo: Mozart’s Le Nozze di Figaro, Pacific Opera Victoria, 2024

Noted by Opera Canada as a “rising star to watch,” soprano Sydney Baedke continues to make her mark on stages across North America and Europe as both an emerging and principal artist. 

Recent highlights include Contessa Almaviva in Le Nozze di Figaro with Pacific Opera Victoria, Ma Zenger in Mazzoli’s Proving Up with Ammolite Opera, and her Calgary Philharmonic debut as soprano soloist in Bruckner’s Te Deum. Internationally, she recently appeared as Gertrudis in the German premiere of Reznicek’s Till Eulenspiegel, and this season returns to Montréal’s Maison symphonique for her role debut as Liù in Puccini’s Turandot. 

 

Jamal Al Titi
Baritone 

Second Place Winner, 2023 

2nd Photo: Rumbold Vocal Prize Grand Finale, 2023
3rd Photo: Pergolesi’s La serra padrona, Montreal Opera’s Lyric Workshop, 2024

Currently a member of Opéra de Montréal’s Atelier lyrique, baritone Jamal Al Titi continues to build an impressive career both in Canada and abroad.

This year, he joined the International Meistersinger Academy in Germany and sang the title role in Gianni Schicchi at the Netherlands Lyric Opera Festival. In the 2024/25 season, Jamal performed the title role in the world premiere of Le Phare and appeared as Uberto in La Serva Padrona.

With Opéra de Montréal, he returns this season as Dancaïro in Carmen. His recent accolades include winning the 32nd National Lyric Audition’s Young Lyric Ambassadors Program (2025), the Western Canada District of the Metropolitan Opera Laffont Competition (2023), the Stingray Audience Choice Award at Opéra de Montréal’s Gala Talent (2024), and third place in the 2025 National Capital Opera Competition.

 

Danielle MacMillan
Mezzo-Soprano 

Third Place Tie, 2023 

2nd Photo: Rumbold Vocal Prize Grand Finale, 2023
3rd Photo: Strauss’ Die Fledermaus, Edmonton Opera, 2024

Since competing in the Rumbold Vocal Prize, mezzo-soprano Danielle MacMillan has continued to make her mark as a versatile and expressive performer.

In 2024, Danielle appeared with Opera Atelier in their remounted production of All Is Love at Koerner Hall and returned for Charpentier’s David and Jonathan later that spring. She also performed Beethoven’s Symphony No. 9 with the Cathedral Bluffs Symphony Orchestra and rejoined Edmonton Opera as Prince Orlofsky in Die Fledermaus.

Her debut album, Songs of Hope, was recently released in collaboration with the Scarborough Philharmonic Orchestra and the Odin Quartet. She later appeared with Opera Atelier in The Magic Flute in October 2025 and performed Verdi’s Requiem for the first time with the Kindred Spirits Orchestra in June 2025.

 

Nicholas Burns
Countertenor 

Third Place Tie, 2023 

2nd Photo: Rumbold Vocal Prize Grand Finale, 2023
3rd Photo: Photo borrowed from Nicholas’ Instagram

Since competing in the Rumbold Vocal Prize, countertenor Nicholas Burns has continued to earn acclaim for his artistry and versatility on both Canadian and international stages. 

In 2025, Nicholas won second place in the National Capital Opera Competition and first place at the Mathieu-Duguay Classical Music Competition as part of the 49th annual Laméque International Baroque Music Festival. 

Recent performance highlights include appearances with Les Arts Florissants, the Orchestre symphonique de Montréal, Tafelmusik, and the Carmel Bach Festival. In 2023, alongside his Rumbold recognition, he also won the New York Oratorio Society Competition at Carnegie Hall. Upcoming engagements include performances with Opera San Miguel de Allende, the Arion Baroque Orchestra, Symphony Nova Scotia, and more. 

 

Tessa Fackelmann
Mezzo-Soprano 

First Place Winner, 2024 

2nd Photo: Rumbold Vocal Prize Grand Finale, 2024
3rd: Bravi! Opera’s Greatest Hits, Edmonton Opera, 2025

Since placing first in the 3rd annual Rumbold Vocal Prize last November, mezzo-soprano Tessa Fackelmann has been making remarkable strides on stages across North America and beyond. 

Her recent performances include Cherubino in Le Nozze di Figaro with Sarasota Opera, Angelina in Rossini’s La Cenerentola with Santa Fe Opera, and the world premiere of The Righteous with Santa Fe Opera. She also appeared in Silence – A New Opera with Opera NUOVA here in Edmonton. 

This season, Tessa Fackelmann returned to Edmonton Opera in Bravi! Opera’s Greatest Hits as a featured soloist. At Opéra de Montréal’s 2024 Talent Gala, she was awarded the Jury Prize for her performance of “Enfin, je suis ici” from Massenet’s Cendrillon, and was also a finalist in the 2025 Hans Gabor Belvedere Singing Competition in Bern, Switzerland. 

 

Elizabeth Polese
Soprano 

Second Place Winner, 2024  

2nd Photo: Rumbold Vocal Prize Grand Finale, 2024
3rd: Professional debut of Ember Ensemble at Festival de Lanaudière, 2025

In the year since competing in the Rumbold Vocal Prize, soprano Elizabeth Polese has continued to make her mark as both a performer and creator.

Elizabeth is the founder of the Ember Ensemble, a Montréal-based chamber music group that held its official launch concert for friends and family before making its professional debut at the Festival de Lanaudière.

In 2025, she appeared as a soloist with the Symphonic House, performing works including Pierre Mercure’s Cantata for une joie and Beethoven’s Symphony No. 9. She also performed with Toronto Summer Music in the world premiere of I Will Greet the Sun Again by Pouya Hamidi. Later this season, she returns to Edmonton Opera as Woodbird in Wagner’s Siegfried, opening in May.

 

Alex Halliday
Bass-Baritone 

Third Place Tie, 2024 

2nd Photo: Rumbold Vocal Prize Final, 2024
3rd Photo: Janáček’s Cunning Little Vixen, Canadian Opera Company 2024

Named one of CBC’s 2025 “30 Hot Canadian Classical Musicians Under 30,” bass-baritone Alex Halliday continues to earn recognition for his artistry and commanding presence on stage. The Globe and Mail has praised him for finding “a beautiful balance between strapping and lyric.”

This season marks several exciting milestones for Alex. He makes both his role and company debut as Angelotti in Puccini’s Tosca with Pacific Opera Victoria, followed by his company debut as Colline in Puccini’s La Bohème with Vancouver Opera. He also returns to Edmonton Opera for his role and company debut as Fafner in Wagner’s Siegfried, and rejoins the Canadian Opera Company to perform the Duke in Gounod’s Roméo et Juliette.

 

Angelo Moretti
Tenor 

Third Place Tie, 2024 

2nd Photo: Rumbold Vocal Prize Grand Finale, 2024
3rd Photo: Canadian Opera Company Ensemble Studio, 2025

Since competing in the Rumbold Vocal Prize, tenor Angelo Moretti has continued to make exciting strides in his career.

Shortly after the competition, he performed in Handel’s Messiah, earning praise for “easily scaling up and down its tricky intervallic jumps, demonstrating great breath control and text painting.”

Angelo went on to take on his first title role as the Emperor of Rome in Mozart’s La Clemenza di Tito. In 2025, he made his Canadian Opera Company debut as Benvolio in Gounod’s Roméo et Juliette, and joined the COC Ensemble Studio at the start of the 2025/26 season.

Opera 101: A beginners Guide to the World of Opera

Carmen, Edmonton Opera, 2023

Whether you’re stepping into the theatre to watch opera for the first time or just brushing up on the basics, this guide is your quick tour through the essentials: what opera actually is, the people who bring it to life, and how to make sense of what’s happening on stage!

Opera can feel larger than life — and that’s the point! It combines music, theatre, and design into one big emotional experience. Ready to dive in?

WHAT IS OPERA | BUILDING OPERA | OPERA TERMS | VOICE TYPES | SONG TYPES

TYPES OF OPERA | COMPOSERS | ETIQUETTE | WHERE TO BEGIN

What Is Opera?

The word opera comes from the Italian for “work” — a piece of art made from many moving parts. At its simplest, opera is a story told entirely through live music and singing.

Unlike musicals, opera singers perform without microphones. Their voices are trained to project over a full orchestra, which plays live from the bit beneath the stage.

Opera dates back to the late-16th century Italy, when composers first began setting dramatic stories entirely to music. It spread quickly throughout Europe and has evolved ever since. From grand historical tragedies to modern stories that take place in offices, subways, and even outer space.

Count Ory, Edmonton Opera, 2018/19

The Building Blocks of Opera

Every opera starts with two core pieces.

  • The Libretto - the text or script written by a librettist

  • The Score - the music, written by the composer

The librettist and composer work together much like a playwright and film composer rolled into one. The result becomes a complete work that can be interpreted differently each time it’s performed. Through direction, design, and the unique voices of singers, one story can be transformed.

Common Opera Terms

Aria - A solo song where a character expresses emotion
Recitative - A sung passage that moves the story along (a bit like musical dialogue)
Overture - The instrumental opening played by the orchestra
Ensemble - Multiple singers performing together, often with overlapping lines
Chorus - The full vocal group that adds energy and atmosphere
Bravo / Brava / Bravi - Traditional cheers for a great performance (Male / Female / Group)

Voice Types: The Spectrum of Sound

Don Giovanni, Edmonton Opera, 2023/24

Die Walküre, Edmonton Opera, 2024/25

Opera singers are categorized by their voice type, which depends on range, tone, and character.

Female Voices

  • Soprano - Highest voice, often the heroine or lead

  • Mezzo-soprano - Warm, rich tone frequently playing strong or complex women

  • Contralto - Deep and powerful, rare in opera

Male Voices

  • Tenor - Bright, agile, usually the romantic lead

  • Baritone - Mid-range, often the conflicted or comic character

  • Bass - Deepest voice, lending gravity or authority

Song and Scene types

La Traviata, Edmonton Opera, 2018/19

  • Aria - Solo song and the emotional spotlight moment

  • Duet / Trio / Quartet - Two, three, or four characters singing together

  • Chorus - A group number that builds the world around the story

  • Finale - The climactic closing piece of an act or the entire opera

Types of Opera

Opera isn’t one single style — it’s a spectrum of tone and size.

  • Grand Opera - Epic scale and serious drama (Aida)

  • Comic Opera (Opera Buffa) - Fast-moving, funny, full of mistaken identities (The Barber of Seville)

  • Operetta - Shorter and lighter, sometimes partly spoked (The Merry Widow)

  • Contemporary Opera - Modern stories with new sounds (The Handmaid’s Tale)

Famous Composers (And why they’re icons)

  • Mozart - Balanced beauty and humour with emotional depth (The Marriage of Figaro)

  • Verdi - Passion, power, and unforgettable melodies (La Traviata)

  • Puccini - Real people, real heartbreak (Madama Butterfly)

  • Wagner - Towering myth and music (The Ring Cycle)

  • Bizet - Catchy songs, bold characters (Carmen)

  • Heggie / Adams / Glass - Modern masters bringing today’s stories to the stage

Aquarius: Songs of the Stars, Edmonton Opera, 2024/25

Etiquette & Myths

Opera has a reputation for being formal, but it’s much more relaxed than many imagine!

  • Dress however you feel comfortable. Some dress up, some don’t. It’s your night!

  • Clap freely. After a big aria, applause is part of the fun

  • Don’t worry about the language. Surtitles (translations projected above the stage) make it easy to follow along. Fun fact, surtitles were created in Canada!

  • Arrive early. Grab a drink, find your seat, and have fun with some activities in the lobby we have prepared for you.

Where to begin

Start with something that grabs you — a famous tune, a story you already love, or a title that sparks curiosity. There is no wrong entry point.

Ready to see what the excitement is about? Explore our 2025/26 season!

Voices to Watch: Meet the 2025 Rumbold Vocal Prize Finalists

After a cross-country search for Canada’s brightest young voices, four exceptional artists are preparing to take centre stage at Edmonton Opera for the Rumbold Vocal Prize: soprano Hannah Crawford, mezzo-soprano Queen Hezumuryango, baritone Korin Thomas-Smith, and bass Duncan Stenhouse. 

This dazzling evening marks the culmination of a week of mentorship, masterclasses, and musical discovery. Each finalist brings a distinct voice, personality, and perspective to the stage. Queen draws on her poetic sense of storytelling. Duncan blends the precision of a composer with a performer’s heart. Korin brings wit, warmth, and ease to every performance, while Hannah’s focus and passion give her singing an electric charge. 

Before they compete for the coveted Rumbold Vocal Prize, we asked all four finalists the same ten questions about preparation, nerves, mentors, and what makes a performance truly great. Their answers reveal not just the depth of their artistry, but the vibrant, curious, and creative humans behind the voices. 

Duncan

I’m joining the Rumbold competition from Toronto, which has been my home since I joined the Canadian Opera Company Ensemble in 2024, but I mainly grew up in Calgary. I’m excited to make a return to Alberta for the competition! My musical journey has been quite varied. I began as an aspiring conductor before switching to voice and composition. I’ve sung in choirs, jazz ensembles, even a barbershop chorus, but opera is where my heart has landed. 

Queen

I’m currently based in Toronto, and I’d describe my musical journey as an ever-expanding and deepening forest. I started off in the sun-dappled glades of children’s choir, spent many years hiking the winding trails of musical theatre, and now I’m on a different, yet no less fascinating, operatic path. 

Korin

Hi, my name is Korin Thomas-Smith, a baritone born and raised in Toronto. My musical journey so far has been a blast. This profession has allowed me to travel to places I never imagined, to meet people I’d never otherwise cross paths with. Music lets you grow and constantly expand your personal borders, and it’s been so fun to do. 

Hannah

I’m joining you from Toronto, though I grew up in Bancroft, Ontario—a small northern town with a surprisingly vibrant arts scene and truly wonderful people. I’d describe my musical journey as enriching and evolutionary. This career demands constant adaptation and learning, and every project has been an opportunity to grow and move toward the next goal.

What drew you to apply for the Rumbold Vocal Prize this year?

Hannah: 
I’ve applied before, but this year I approached it differently. I decided to be more intentional with my applications, focusing on opportunities that truly move my career forward while respecting my time and well-being. The Rumbold Vocal Prize fit that perfectly. 

Duncan: 
The Rumbold competition is very respected across the country and an incredible benefit to young Canadian artists. It’s an amazing opportunity, and I’m thrilled to perform again in my home province of Alberta. 

Queen: 
I’ve been drawn to this prize for years, especially after seeing the meaningful impact it’s had on past participants. This year, I finally decided I was ready for the challenge. 

Korin: 
So many of my friends and colleagues have gone through Rumbold, and I’m honoured to join a competition so unlike others in Canada. It also gives me the chance to visit Edmonton Opera, which I haven’t yet experienced. I’m excited! 

Korin an Duncan in Wozzeck at the Canadian Opera Company (2025).
Photo Credit: Michael Cooper

Preparing for a competition like this can be intense. What does your routine look like leading up to the finale?

Korin: 
Arias are often your old friends, but like an old friend, sometimes you don’t see them for a while and forget the details of their lives. Sometimes rehearsing pieces you know is harder than learning something new! 

Queen: 
Leading up to the finals, I make sure to increase the amount of time I spend singing so my stamina can handle everything I have to sing that week. 

Hannah: 
My preparation is about maximizing both performance quality and mental readiness. I’ve been using the same program for many auditions and competitions this season, which helps me “practice out” performance nerves. I also keep my health consistent—good nutrition, rest, and exercise make a huge difference. 

Duncan: 
It’s been busy since I’m part of the Ensemble Studio at the COC and auditioning across Canada, the US, and the UK. Things can get hectic, but I lean on my support systems—teachers, coaches, friends, and family. They help keep me grounded through it all. 

Queen in La reine-garçon at the Canadian Opera Company (2025).
Photo Credit: Michael Cooper

What’s the most important element for you in a great performance: technical precision, emotional honesty, or stage presence?

Queen: 
Emotional honesty, without question. As an audience member, I want to be transported into the story on stage, and that only happens when the performers are completely committed to telling it. 

Duncan: 
That’s tricky because all of them matter. But if I had to pick one, it would be the music. As both a performer and composer, I believe the music contains every nuance of emotion and story. If you perform it to the best of your ability, you honour the story at its best. 

Hannah: 
Technical precision. It’s the foundation. Once your technique is second nature, your emotional integrity and stage presence can flow naturally. 

Korin: 
Por qué no los tres? We always strive for all three, and many would say you can’t have one without the others. But let’s be real—some days, you’re lucky if you get one out of me! 

Hannah Crawford in Die Walküre with Edmonton Opera (2025).
Photo Credit: Nanc Price

Do you have a pre-performance ritual or superstition that helps calm the nerves?

Hannah: 
I’m an extrovert, so I love chatting before I perform. It keeps me calm and prevents me from overthinking. Of course, I’m mindful of colleagues who prefer quiet, but I find conversation keeps my nerves at bay. 

Duncan: 
I actually warm up in a way that’s surprisingly similar to how I used to before wrestling matches when I was younger. I blast pump-up music in the morning, grab a Gatorade, stay hydrated all day, and do my stretches—both physical and vocal. Right before I step on stage, I do the same little hopping warm-up I did before a match. 

Korin: 
Short answer: no. Long answer: I’ve had too many to count. At some point you realize rituals can make you more neurotic than the performance itself, so now I just go out and do it. 

Queen: 
When I have a lot of nervous energy, I put on a disco playlist and dance it out before going on stage. 

Who has been a mentor, coach, or collaborator who’s shaped your artistry the most?

Hannah: 
My voice teacher and career coach, Elizabeth McDonald. When I started working with her after university, I felt lost. She helped me rebuild my confidence and my technique and reminded me what it means to be an artist. 

Queen: 
Catherine Sévigny has been my voice teacher since undergrad. She’s adapted alongside my voice and encouraged me to discover my own artistic voice. 

Korin: 
I’m a pointillist painting—every dot is someone who’s touched my life and inspired me. Picking one person would be like asking a marathon runner which step of the race was most important. 

Duncan: 
There are far too many to name, but my teacher from the Royal Academy of Music, Raymond Connell, stands out. During my time there, I went through multiple surgeries that left me unable to walk for months. Ray helped me every step of the way, musically and personally. 

Duncan in La bohéme at the Longborough Festival Opera (2024).
Photo Credit: Matthew William-Ellis

What does national recognition like the Rumbold Vocal Prize mean to you at this stage of your career?

Duncan: 
My Canadian identity means a great deal to me. Opportunities like the Rumbold Vocal Prize allow young Canadian artists to gain the recognition and support they need to represent our country internationally. 

Korin: 
To quote Miss Congeniality—it’s an honour just to be nominated! Being recognized among my peers, past and present, means so much. Canadian talent deserves a platform like this. 

Queen: 
It truly means the world. I’ve built a strong network in Eastern Canada, but I’m eager to explore the cultural richness of the West. I hope the Rumbold Vocal Prize will open those doors. 

Hannah: 
It’s validating and empowering. I haven’t participated in a formal Young Artist Program, so I’ve built my own network through persistence. Being invited to the Rumbold finals confirms that my path is working and that I belong in these spaces. 


Outside of music, what brings you joy or inspiration?

Queen: 
Food! I love food documentaries, competitions, cookbooks, blogs—everything. I’m fascinated by how food connects us and tells our stories. 

Duncan: 
My friends. Whether we’re playing board games, watching movies, or talking about books, everything I love is better when it’s shared with people I care about. 

Hannah: 
Arts and crafts are my happy place—painting, embroidery, diamond painting, LEGO, even video games (though I’m terrible at them). 

Korin: 
I love my friends and my city. I enjoy bouldering (badly) and weightlifting (vainly). It’s good for both body and soul. 


And finally, if you could describe your voice in one word, what would it be?

Duncan: Rich. 
Queen: Earthy. 
Hannah: Electric. 
Korin: So-good-that-you-should-definitely-come-see-me-scream-at-the-Rumbold-Vocal-Prize-at-Edmonton-Opera. It’s a German word, which is why it’s so long. 

Celebrate the Future of Canadian Opera

Join us for an extraordinary week honouring the next generation of Canadian opera stars with two signature events that highlight the artistry, mentorship, and passion behind the Rumbold Vocal Prize. 

Rumbold Vocal Prize Masterclass 

Be part of an inspiring evening as this year’s finalists work live with Master Clinician Tracy Dahl, one of Canada’s most celebrated coloratura sopranos. Witness the artistry in action as she offers insight, technique, and encouragement to these rising talents. 
This event is free to attend, but reservations are required. 

Rumbold Vocal Prize Grand Finale 

Later that week, experience the excitement as the finalists return to the stage for the Grand Finale, the culmination of a week of mentorship and rigorous preparation. These remarkable young artists will deliver unforgettable performances as they compete for  Canada’s largest vocal prize. 

Established by  Edmonton Opera and supported by Grace and Arnold Rumbold, the Rumbold Vocal Prize provides emerging Canadian artists with financial support, mentorship, and career-launching opportunities—helping them take the next bold step toward the world’s stages. 

One week. Two events. Infinite inspiration. 
Tickets and details available at edmontonopera.com. 

A Year of Connection and Growth: Robin's First Year with Edmonton Opera

After a year of learning, connecting, and leading in a new city, Robin Whiffen shares her reflections on Edmonton’s creative spirit and the evolving role of Edmonton Opera within it.

When Robin Whiffen and her family arrived in Edmonton in January 2024, she didn’t yet know she’d soon be leading one of the city’s most storied arts organizations. Having spent nearly a decade in the opera sector—and trained as a singer herself—Robin already knew the impact Edmonton Opera had across Canada.

“I had watched this organization from afar for many years,” she reflects. “I was drawn to the company because of its long-standing legacy of serving the city of Edmonton. Service is our most important role as a community organization.”

That spirit of service and community has shaped every part of Robin’s first year as Executive Director. Stepping into the role meant not only joining a new organization but also discovering the unique rhythm of Edmonton’s arts scene—a network she describes as deeply collaborative and genuinely supportive.

“The spirit of collaboration has inspired me,” Robin says. “There’s a real sense of community here, and that when one group succeeds, the whole arts community celebrates. This was really evident at this year’s Sterling Awards, which I attended for the first time.”

Having led smaller opera companies across the country, Robin is no stranger to the nuances of regional arts ecosystems. Each, she notes, has its own strengths and challenges—but what sets Edmonton apart is its collective mindset.

“The collaboration between organizations to fulfill artistic and organizational goals has been a joy to experience,” she says. “There’s a willingness to share resources, ideas, and audiences that strengthens everyone involved.”

Within that ecosystem, Robin sees Edmonton Opera as both a cultural anchor and a creative collaborator—a company that honours its history while remaining open to new partnerships and possibilities. Over the past year, those partnerships have become a defining thread of EO’s work.

Bluebeard’s Castle 2025 | Photo by Nanc Price

One collaboration that particularly stands out for Robin is the partnership with the Alzheimer Society of Alberta and Northwest Territories during Bluebeard’s Castle.

“Through this collaboration, we were able to connect audience members with the many essential services provided by the Alzheimer Society,” she recalls. “As I spoke to people who had experienced their loved ones’ struggle with the disease—or who were just beginning to understand that journey—it was clear how critical these services are. Art, as it often imitates life, can serve as an opportunity for learning and understanding.”

This intertwining of art and empathy mirrors Robin’s own leadership philosophy. Having spent eight years in smaller companies, she developed a hands-on understanding of every department—from production to marketing to patron relations. That experience, combined with a deep belief in leading with empathy, informs her approach today.

“For the first time in my career, I’m working with a significantly sized team,” she says. “They are deeply caring about opera, the city of Edmonton, and the organization, and I feel privileged to learn from them every day.”

Robin at Opera al Fresco | Photo by Steven Hope

As she reflects on the past year, Robin returns often to the idea of balance—between past and future, legacy and innovation, tradition and evolution.

“Edmonton Opera’s community has a deep respect for the tradition of opera, and our mission states that we will honour this tradition,” she explains. “However, we are also striving to evolve the art form so that it resonates with today’s audiences. I feel a deep responsibility to steward the organization so that we can serve Edmontonians for generations to come—and that’s why balance is so important.”

Looking forward, Robin envisions EO continuing to serve as a bridge—between artists and audiences, between heritage and progress, between Edmonton and the wider national opera landscape.

“We’ll continue to be a cultural connector, creating opportunities for artists to thrive here, and for audiences to see themselves reflected on our stage,” she says. “We can model what a modern opera company looks like: innovative, inclusive, and deeply rooted in its community.”

Asked to describe her vision for EO’s next chapter in just a few words, Robin pauses before choosing two that feel both aspirational and grounded:

“Expansive in how we imagine what opera can be, and connected in how we build bridges between art and humanity.”

As Edmonton Opera looks ahead to its next season, those words set the tone for what’s to come—an organization ready to grow, collaborate, and continue building on its proud legacy of serving the city through music, storytelling, and community.

From Mosh Pit to Puccini: Jeremy’s 24-Hour Leap Into Tosca

Emerging Artist Jeremy Scinocca was still buzzing from a night of heavy riffs when he got the news: pack your bags, you’re needed in Tosca. 

Photo by Curtis Perry

 

The Call That Changed Everything

When Jeremy got the call, it wasn’t a sure thing — just the kind of “this might happen” opportunity every singer secretly hopes for but doesn’t fully expect. So he carried on with life as usual. That Wednesday night, “life as usual” meant being at a System of a Down concert with his brother, surrounded by pounding guitars, political anthems, and the joyful chaos of a metal crowd. 

In between songs, Jeremy’s phone buzzed. Texts flew back and forth. “I finally asked if I could give my official yes in the morning, just to let everything sink in,” Jeremy remembers. “The whole night was a bit overwhelming, but I still really enjoyed the concert. Having my brother there made the experience even more meaningful — he was a steady support in the middle of all that noise and excitement.”

By the next morning, the confirmation had landed: he would get on a plane to Ottawa, learn and perform the role of Spoletta in Puccini’s Tosca with the National Arts Centre Orchestra and Edmonton Opera. 

Crash Course in Courage

Jeremy spent his first hours making a flurry of calls to jobs, gigs, and family commitments he suddenly had to cancel. Once everything was cleared, he dove headfirst into the score. 

“My approach was to zero in on the tricky corners — the spots that could slow down a rehearsal. If I could get through that first rehearsal without holding anyone back, I knew I’d have time to polish and refine on day two.” 

With four hours of study, a whirlwind half-hour of packing (with big thanks to his partner), and a flight across the country, Jeremy landed in Ottawa with only determination and adrenaline to carry him through. 

“I kept trying to shift the question in my head from ‘can I learn this role in time?’ to ‘there is no other option but to learn and perform it.’ That mindset helped me stay focused and kept doubt from taking over.” 

Stepping into the Fire

Photo by Curtis Perry

The next day, Jeremy stepped into one of the most high-pressure rehearsal rooms imaginable: the National Arts Centre Orchestra under Alexander Shelley, alongside soloists Ailyn Pérez, Nathan Berg, Matthew Cairns, and director Joel Ivany. 

“It would have been easy for them to be frustrated as I stumbled through with my score, just trying to minimize mistakes. But instead, every single one of them came to me with encouragement, support, and genuine commendation for the work I had done in such a short time. That generosity of spirit gave me so much confidence moving forward.” 

He credits a private coaching session with NAC music staff member Christopher Gaudreault as a grounding moment — a familiar presence from his McGill days who helped him focus before stepping into the fire. 

Where Metal Meets Opera

The timing of it all — jumping from a System of a Down concert into Puccini’s world — wasn’t lost on Jeremy. 

“SOAD is incredibly political, and Tosca is, at its core, a deeply political opera. Both worlds channel that intensity — rallying around ideas, causes, and raw emotion. Honestly, based on his politics, I think Cavaradossi might have been a System of a Down fan.” 

The Final Bow 

Photo by Curtis Perry

Days later, Jeremy stood on stage at the National Arts Centre, taking a bow in front of a sold-out audience. “That moment — the sigh of relief, the surge of pride — standing in front of a sold-out crowd in that gorgeous theatre, alongside world-renowned artists, was probably the most emotionally powerful part of the whole experience.” 

Looking back, Jeremy calls it one of the most rewarding and fulfilling moments of his career so far. His advice to young singers who might one day get a last-minute call? 

“Trust your training, trust your technique, and remember that everyone around you wants you to succeed and will help you get there.” 

Jeremy’s leap from metal concert to Puccini spotlight shows not only the unpredictability of live performance but also the resilience and heart of the Emerging Artists Program — where courage and preparation meet opportunity in the most unexpected ways. 

Behind the Music: A Garden Night with Chorus Tenor Shawn Wakley

From car warm-ups to garden sunsets, chorus member Shawn Wakley shares what it’s really like to perform under the open sky at Opera Al Fresco. 

Meet Shawn

“My name is Shawn Wakley and I am a tenor with the EO Chorus. I have enjoyed two glorious seasons with the Opera and am very excited to embark on my third for the 2025/2026 season.” 

A dedicated vocalist, full-time professional, and self-professed opera enthusiast, Shawn brings a unique perspective to the Edmonton Opera Chorus — one that’s grounded in joy, discipline, and a deep appreciation for both tradition and transformation. 

On Falling in Love with Opera

“I have always been keenly interested in opera — the dramatic waves of the orchestra, the power of the singers, and the grandeur of the theatre experience as a whole has always been exciting.” 

Opera offers something that’s hard to describe but easy to feel: a sense of awe, of artistry at its most immediate. For Shawn, that’s what keeps him coming back. 

“While we all have a concept of what opera is, new productions, new imaginings, and new works keep me excited about this art form.” 

In other words — it’s not just about what opera was. It’s about what it can still be. 

Stepping Onto the Stage

Shawn Wakely performing as a chorus member in Carmen during the 2023/24 season. He’s pictured seated, second from the left. Photo by Nanc Price.

Shawn’s first production with Edmonton Opera was Carmen during the 2023/2024 season — a show known for its intensity, passion, and unforgettable music. 

“The rehearsal process was thrilling, and it felt so nice to be able to reconnect with performance after COVID.” 

But it was opening night that took his breath away. 

“The most magical part for me was stepping out on the Jubilee stage. It was such an awe-inspiring experience to be part of such an amazing production and to share the stage with truly incredible artists.” 

Opera, Under the Sky

Every season, Opera Al Fresco offers something unexpected — not just for audiences, but for the artists too. Held at the University of Alberta Botanic Garden, it’s an open-air concert where nature becomes part of the performance. 

“Simply put — you get to sing outside!” 

Of course, the environment comes with surprises. Birds, bugs, wind, and even the occasional downpour all add their own flair. 

“It does require more flexibility, as you cannot always predict what is going to happen in your environment. You just have to be ready to adjust to whatever happens in the name of making beautiful music and creating a wonderful experience for the audience.” 

A Performance for the Senses

Opera al Fresco, 2024. Photo by Steven Hope.

“Singing in the garden is such a treat because all of your senses become stimulated — fresh air, sunshine, the sight and sounds of birds.” 

Unlike the opera house, where bright stage lights obscure the crowd, the garden setting offers something rare for a performer: connection. 

“Usually on stage, you cannot see the audience. Being able to see everyone enjoying the performance is a joy for the performers.” 

And that joy is mutual. Audiences hum along. Smiles spread. The music becomes something shared — not just presented. 

“It feels less like a performance and more like a community coming together to enjoy something truly beautiful.” 

On Weather and Warmups

Performing outside isn’t always idyllic. Ask any Opera Al Fresco performer what they really  think about the elements, and one answer usually comes up first: 

“The rain! You do not get to control the weather… but rain is the worst!” 

Luckily, singers perform under tents — a bit of reprieve from the elements. But the audience? “I have never seen anyone complain,” Shawn says with admiration. 

As for show day? It’s a hustle. 

“Performance day is usually pretty hectic! As I work full time, I head out to the Botanical Garden directly from work and start my vocal warm-ups in the car!” 

Despite the rush, there’s beauty in the routine. 

“We generally arrive a few hours early to ensure time for final dress rehearsal, sound checks, and just time to connect and relax before we sing. It’s so great to share a few good laughs and a walk around the gardens with fellow choristers.” 

And once the music starts? 

“The performance always feels like it goes too fast. Before we know it, the singing is done — but the smiles continue on!” 

Why It Matters

Opera al Fresco, 2024. Photo by Steven Hope.

Opera Al Fresco isn’t just a concert — it’s an invitation. To the curious. To the uninitiated. To those who’ve never seen opera at all. 

“If you have never been to Opera Al Fresco, then it is time for you to try something new!” 

And what sets it apart? 

“You may think that you have enjoyed an evening at the opera before, but it is like nothing else when you are outside, picnicking and feeling the sunshine and breathing the fresh air!” 

Whether you’re an opera regular or just dipping your toes in for the first time, this is a performance built on connection — to the music, to the earth, and to each other. 

Join Us

Opera Al Fresco returns August 27, 2025, at the University of Alberta Botanic Garden. 
Enjoy a summer night filled with breathtaking music, fresh air, and garden magic. 
 Get your tickets here 
One night only — don’t miss your chance to experience opera, outdoors. 

Joel's Thoughts on our 2025/26 Season

Hello!

A new season is launched.  Much time and thought and energy poured into the choices and realities of where we stand. 

Since I’ve arrived, I feel like we’ve been through a lot! Emerging from the pandemic with the first show took strength.  Planning and executing the first full season back with economic unknowns were challenging, but our team weathered the storm. 

We experienced what many companies in North America were experiencing with lower attendance and declining support both individually and from corporations.  Finding skilled labourers in a decimated work force took patience and training.   

The realities are that before the pandemic, subscriptions and ticket revenue was in decline.  During and then post-pandemic, the answer was thought to be, “Program Carmen and all the people and money will flood back”. 

We did.  The reality is that it hasn’t happened as quickly as we or anyone thought or desired.  The process of choosing repertoire and balancing the budget is one of the most challenging parts of this job.   

Growing up, my parents instilled a simple message when it came to spending.  Don’t spend what you don’t have.  If I made $10 for my weekly allowance, then I had $10 to spend.  It wouldn’t be possible to buy the $25 toy because I didn’t have that money. 

The same is true in opera.  Don’t spend what you don’t have.  When it comes to the role Edmonton Opera plays in the city of Edmonton, well, my desire is for Edmonton Opera to be part of the community.  To have many opportunities throughout the year and say opera can be so many things to so many people.  Unfortunately we can’t be all to everyone.  

To have a full orchestra, with full chorus and full costumes and full set, well…you need a lot of money these days to make that happen.  Part of that money comes from ticket revenue.  Without it, you can’t spend what you don’t have.    

As we shaped our 2025/2026 season, we wanted to be realistic and also celebrate what we COULD do (which is still pretty awesome)!  

Our season opens with a partnership with our symphony to bring about the best music from many of the operas that we know and love (yup, maybe some Carmen). To see and hear this, I am excited.  We honour the tradition of what opera is.   

We have an evening where we celebrate the voice thru the Rumbold Vocal Prize.  What makes opera unique is the voice overtop of music.  An evening celebrating Canadian singers is something that excites me!  We explore the boundaries of what opera is. 

We are celebrating a BRAND NEW opera!  Instead of an opera like Carmen, we’re presenting Indians on Vacation.  This is a remarkable testament to the board of directors and our team at Edmonton Opera.  To launch a new opera when the North American economic realities are so fragile is bold.  I am proud of our company to pour time and resources into that.  To have an idea, see it become an opera and then to have it come to life is a great privilege (and takes partners).  Will it become a Carmen, or a Traviata or a Filumena?  That is up to our community to decide (we think it’ll do pretty well).  I am super proud to support living Canadian composers and librettists.  A world premiere…right here in Edmonton, why not?  We embrace the evolution of opera. 

Finally, we end our season with Siegfried…Music that has not been heard in this city, or west of Toronto, ever.  How exciting to see it come to life here in Edmonton in a way that yes, is not how Wagner intended, but is something unto itself.  It is the story, the music, the characters all brought to life right before our eyes.  That is the wonderful magic of opera.  If we could afford to do Siegfried as Wagner wrote it, would we?  I would love to, but that would likely require most of the budget we have for our 2025/26 season (and likely me street performing for any extra $).  Again, to have more engagement within the community is important. 

Our 2025/26 is an important one.  Is it what it could have been?  Likely not.  Is it daring, bold, community driven and unique?  100%!  Different venues, new opera, Wagner...come along for the ride. 

If you know me (or if you don’t yet) I am always available and willing to meet and chat.  I love coffee.  My mission is to support the next generation of Canadian opera singers.  My mission is to squeeze as much out of every dollar that we have to give you as much opera as we can to our community.   We can’t do this without you.  Join us! 

Joel Ivany

Explore Season

Unlocking 7 Chests: Judith’s Journey to Bluebeard’s Castle"

As opening night of Bluebeard’s Castle approaches, we invite you to join us in exploring the profound emotional landscapes this story reveals.

This award-winning production is a deeply moving portrayal of Judith’s journey as she faces memory loss due to dementia. Together, we’ll witness how this struggle impacts not only her but also her husband, Bluebeard, as they reflect on the life they’ve built and the memories they’ve shared.

It’s a journey of love, loss, and resilience—one that promises to be emotional, but ultimately, deeply rewarding. We hope you’ll take this meaningful journey with us.

If you’ve missed any part of our weekly emotional countdown, don’t worry — you can catch up here. We invite you to join the conversation and share your memories with us as we honour this poignant and deeply moving production.

To skip to the week you missed, click on the week alone.

WEEK 1: CURIOSITY & NEW BEGINNINGS
WEEK 2: LOVE & YOUR FIRST HOME
WEEK 3: JOY & YOUR FIRST LOVE
WEEK 4: FEAR & ADVENTURE
WEEK 5: FAMILY & LOVE
WEEK 6: LOSS & RESILIENCE

Open the 1st Door in your Journey to Bluebeard’s Castle

Photo by Dahlia Katz | Bluebeard’s Castle performed by Against the Grain Theatre

Today, we are 7 weeks away from the opening night of Bluebeard’s Castle, and we invite you to join us on a powerful journey.

This isn’t the Bluebeard’s Castle you know - it’s an award-winning reimagining by Stephen Higgins and Daisy Evans. This bold new production delves into themes of memory, identity, and the courage it takes to confront life’s uncertainties.

As Judith continues to open a chest, releasing moments from her past, she explores her memories and identity while grappling with the reality of Alzheimer’s. Each time the chest is opened it reveals pieces of her story, reflecting a profound and deeply human experience.

In the weeks leading up to opening night, we’ll mirror Judith’s journey by opening our own chests of memories of moments that shape us. We invite you to reflect with us, to celebrate life’s beauty, and to honour the journey Judith will take on stage this February.

Today, we open the chest for the first time together and explore curiosity and new beginnings.

New beginnings are moments of transformation. They can be exciting, challenging, or both, but they always mark turning points in our lives. For Judith, this new beginning brings her face-to-face with the loss of her memories and the journey to rediscover what they mean to her sense of self. Her story is a testament to resilience, courage, and the complexities of being human.

Join the Conversation
As we count down to opening night, we invite you to reflect on personal experiences and memories, just as Judith does in her journey with Alzheimer’s.

What new beginnings has shaped your life?
We’d love to hear from you! Join the conversation on Instagram and Facebook, and share your reflections on curiosity, new beginnings, and the journeys that define us.

What Does “Home” Mean to You?

Photo by Dahlia Katz | Bluebeard’s Castle performed by Against the Grain Theatre

Today we open the chest for a second time in our countdown to Bluebeard’s Castle - this time inviting you to reflect on home and love, two deeply intertwined parts of our lives.

In February, we’ll follow Judith’s journey as she navigates the realities of memory loss. Her home - the one she built with Bluebeard - is a constant thread in her life, filled with family, shared moments, and the memories they created together. But as her memories begin to fade, even this once-familiar place starts to feel foreign, amplifying the sense of loss.

Through it all, Judith’s anchor is love. The love that transformed a house into a home remains steadfast, built over the years of trust and companionship with Bluebeard.

If someone asked you about your first home, what would come to mind? Perhaps it’s the house you grew up in, filled with childhood memories and family traditions. Or maybe it’s the first place you called your own, where independence blossomed, and every corner reflected your identity.

First homes are as unique as the people who inhabit them, yet they all share a common thread: love and belonging.

As she opens the doors to her past, each tied to memories and experiences that shaped her life, Judith is faced with the bittersweet truth: love remains, but the memories that once gave it shape are slipping away.

Join the Conversation: Share Your Memories of Home
Do you have a photo, keepsake, or object that reminds you of home? Send us a picture of it and a short note of what it means to you.

Judith’s Journey with Love

Photo by Dahlia Katz | Bluebeard’s Castle performance by Against the Grain Theatre

Falling in love is often a time of intense emotion and discovery. It’s when every glance feels electric, every word carries meaning, and the world seems bright - filled with endless possibilities. That person is always on your mind, and no matter what challenges arise, the memory of those moments can light the way forward.

Even in life’s hardest moments, the memory of love has a way of grounding us, reminding us of joy, connection, and hope.

Today, we open the chest for the 3rd time in Judith’s Journey - a chest filled with joy and love. As she unlocks parts of her past, Judith rediscovers fleeting moments that echo the thrill of falling in love. These memories, though bright and full of life, are bittersweet. They remind her of the beauty she’s experienced, but also of the fragility of holding on to them.

Judith clings to these moments, knowing they shape her identity, even as the inevitability of losing them makes her journey both heart-wrenching and profound.

Join the Conversation: Share Your Love Songs
Love and music go hand in hand, capturing the magic of connection in ways that span genres, decades, and cultures. To celebrate this universal love language, we’re creating a playlist dedicated to love - and we’d love your input!

Whether it’s an operatic aria that stirs your soul or a song that reminds you of your first love, your favourite tunes belong on this playlist. Help us show the many ways music celebrates love. Share your songs and be part of the story.

Here’s how it works: Submit your songs in the form below, we’ll build the ultimate love song playlist, and then we’ll share it with you to enjoy.

submit your songs

Fear and Adventure: Exploring Life’s Milestones Through Judith’s Journey

This week, we open the chest of Bluebeard’s Castle for the fourth time and step into a new theme: fear and adventure.

Fear and adventure are universal experiences that mark life’s greatest milestones. Whether it’s the excitement of becoming a parent, starting your education, learning to drive, or moving to a new city, we’ve all faced moments where fear and exhilaration walk hand in hand. Think back to the heroes you’ve rooted for over the years – their courage is never separate from their fear. Being afraid doesn’t diminish their strength; it reveals it. True courage is walking boldly toward the unknown, even when fear threatens to hold you back.

For Judith, her journey with dementia is the most harrowing adventure of all. It is a path filled with uncertainty, but also one shaped by the richness of a life lived — the moments and memories that define her, even as they begin to slip away.

Join the Conversation: Share Your Adventures
We invite you to reflect on a time in your life when you faced a challenge with courage. How did that adventure shape who you are today?

This week, we encourage you to put that memory into words—on paper. Send us a letter sharing your story. Your words will stand as a testament to the strength we all carry, even in life’s most challenging moments.

Send Your Stories To:
Edmonton Opera
11442 168 NW #102
Edmonton, AB T5M 3T9

Opening the Fifth Chest: Memories of Family and Love

Family can take many forms, differing not only in who makes up a family but in how they celebrate, what they do, and the traditions they hold dear.

For some, it’s the joy of returning to the same table, year after year, with the same loved ones, sharing the same dishes, stories, an laughter. These traditions never feel overdone; instead, they are cherished anchors in our lives, where we gather with those who matter most.

For others, it’s the bonds formed with chosen family - friends who have become just as important. These moments of connection remind us that family isn’t always about where we come from, but who we choose to walk through life with.

In Bluebeard’s Castle, we’ll witness Judith grappling with the heartbreaking reality of losing those moments. As she faces the loss of her memories, she is not only robbed of the memories of family gatherings she and Bluebeard once cherished but also of the ability to fully participate in them as herself.

Together, we’ll watch as Judith pleads for the chest to be opened again and again, revealing fragments of her life and the person she was before Alzheimer’s began reshaping her reality.

Join the Conversation: The Beauty of Family Gatherings
Do you have a photo that captures the joy and beauty of your families traditions and gatherings? We’d love to see it!

Share a glimpse of the connections, traditions, and love that have shaped your life.

  • Tag us in your family photos on social media or,

  • Email us at communication@edmontonopera.com

A Journey Through Loss and Resilience in Bluebeard’s Castle

Loss is one of life’s most profound experiences, woven into the fabric of our existence. It touches us all in different ways – through the passing of a loved one, the absence of a cherished companion, or the letting go of a future we once envisioned. In these moments, we often grapple with grief, confusion, and longing for what once was, but we also discover the depth of our resilience and the power of love that endures.

In Bluebeard’s Castle, Judith opens the chest for the 6th time to confront her most profound loss – the loss of her memories due to Alzheimer’s. Through this chest, we witness her struggle to hold on to fragments of a life once filled with love, joy, and meaning. For Judith, it is not only the memories she loses but also the ability to share in them, to fully participate in the world she once built alongside Bluebeard.

Bluebeard, too, must face his own devastating journey. The woman he loves, his lifelong partner, is still with him – yet she is slipping away. Together, their story reflects the bittersweet truth of loss: the ache of what is gone, but also the beauty of having loved so deeply in the first place.

This award-winning production brings these themes to life with stunning artistry and emotional depth, offering a profound reflection on love, loss, and the moments that define us. Bluebeard’s Castle invites us to reflect on our own experiences of letting go and cherishing what remains.

Join the Conversation: Share Your Comfort Recipe 
Food often brings comfort in times of loss, grounding us in moments of connection and care. Do you have a recipe that soothes your soul or carries a special memory?

We invite you to share your recipe and the story behind it. Like the playlist we created for the theme of love, we’ll share these recipes so you can explore and connect with the foods that bring others comfort.

Submit your recipe and story to communication@edmontonopera.com or connect with us on social media.

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