Andrew Love


Current Shows:

As a participant in Pacific Opera Victoria’s 2012 Resident Artist Program, Calgary native Andrew Love made his mainstage debut with the company in the role of Le Dancaïre in Carmen. In 2012 he added Lord Cecil (Maria Stuarda) to his repertoire, and in 2018 he performed Schaunard in Puccini’s La Bohème. The 2019/20 season sees his return to Pacific Opera as Marco in Puccini’s Gianni Schicchi.

Andrew is in the enviable position of balancing his time between engagements on Broadway and on the opera stage. Heard as the Bishop in Les Misérables in the Mirvish production in Toronto, he was also engaged for the same role in the Broadway run of the show and the current national tour to be completed in February of 2020.

In 2017/18, Andrew joined the Regina Symphony for the Fauré Requiem and appeared as Baron Duphol in La traviata for Manitoba Opera. He made his company and role debut singing Hannah Before in As One for Opera on the Avalon, returning in the fall of 2018 for the role of Nangle in John Estacio’s Ours.

In the 2016/17 season, he starred as Charlie in the Calgary Opera production of Filumena, Marcello in La bohème for Against the Grain Theatre, and Schultz in Louis Riel for the Canadian Opera Company and for Opéra de Québec.

Further credits include Baron Douphol for Calgary Opera and Opéra de Québec;, Papageno in The Magic Flute (Highlands Opera), Marco in Gianni Schicchi with Calgary Opera, Silvio in Pagliacci (Opera Hamilton), Figaro in Le nozze di Figaro (Saskatoon Opera) and Sid in Albert Herring (Opera on the Avalon).

As a concert artist he has been heard with the New Brunswick Symphony, Indian River Festival, Westben Festival, Grand Philharmonic Choir, Buffalo Philharmonic, at Avery Fisher Hall and the Global Cabaret Festival in works such as Carmina Burana, the Fauré and Brahms Requiems, Messiah, and Beethoven’s Symphony No. 9. Andrew completed his training at the University of Toronto where he received the ARIAS Distinguished Graduate Award.


Baritone Andrew Love is a consummate Marcello, big-voiced and hugely captivating. There is more than a faint note of angry young man in this performance, a lashing out at life that gives his characterization a smouldering intensity. But there is a kindness and benevolence abundantly apparent here as well. The “good Marcello” Mimi reaches out to in time of desperation comes as no surprise. Love is a singer actor of impressive dexterity.

Ian Ritchie, Opera Going Toronto, review of La bohème, Against the Grain Theatre, 2017

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