Canadian mezzo soprano Carolyn Sproule was scheduled to make her debut with Pacific Opera Victoria in April 2020, performing the title role in Bizet’s Carmen. The production has been postponed. Updates will be posted when confirmed.
A 2019 George London Prize winner, Carolyn begins her 2019/20 season singing Olga in Eugene Onegin at Opéra de Montréal and debuts in a leading role at the Metropolitan Opera as Dorabella in Cosí fan tutte, before coming to Victoria to sing Carmen.
In the 2018/19 season, Carolyn returned to Opéra de Montréal as Maddalena in Rigoletto and Flosshilde in Das Rheingold; made her Michigan Opera Theatre debut as Olga in Eugene Onegin; returned to the Canadian Opera Company as Emilia in Otello; and joined the roster of the Metropolitan Opera for her fifth consecutive season in their productions of Otello and Falstaff. Highlights of future seasons include a leading role at Houston Grand Opera, and a debut at San Diego Opera.
Highlights of past seasons include Maddalena at the Canadian Opera Company, Olga for Vancouver Opera, a return to the Metropolitan Opera for Thaïs, and her Roy Thomson Hall debut as a soloist in their Bravissimo! New Year’s Eve concert. She also gave an acclaimed European debut as Erika in Samuel Barber’s Vanessa at the Wexford Festival, and subsequently her Italian debut at Teatro Lirico di Cagliari as Ulrica in Un Ballo in Maschera.
Ms. Sproule debuted at The Metropolitan Opera in 2015 as the Sandman in Hansel and Gretel; has sung the Page in Salome and Inez in Il Trovatore; and has been on the Metropolitan Opera roster for their productions of Falstaff, Otello, Thais, Eugene Onegin, Le Nozze di Figaro, The Death of Klinghoffer, Manon, and Cavalleria Rusticana.
Carolyn is a native of Montréal and a graduate of the Juilliard School and Rice University. She has also participated in residencies at The Banff Centre, Aspen Opera Theatre, Merola Opera Program, Wolf Trap Opera (Filene Young Artist), and the Houston Grand Opera Studio.
It was mezzo-soprano Carolyn Sproule as Erika who stole the show. Possessing a mellifluous voice, Sproule transported us to a higher realm with her wisps of pianissimo hovering in the air while her tortured exclamations of Act II, as she learns that Anatol is engaged to Vanessa, cut us to the quick. It was her characterization that was so impressive. Sproule delved into the very soul of Erika, showing a convincing transition between the dreamy idealism of the start to the insightful, if thwarted, sexual realism as the opera progresses.
Andrew Larkin, Bachtrack, Review of Vanessa, Wexford Festival Opera, 2016.
Carolyn Sproule, a Canadian mezzo-soprano who has done most of her training and performing in the US made her COC debut as Maddalena, sister of the nefarious assassin-for-hire, Sparafucile. She served notice with her sizeable, rich tone and striking presence.
Gianmarco Segato, Opera Canada, review of Rigoletto, Canadian Opera Company, 2018