“The best of the opera was mezzo-soprano Carolyn Sproule as Erika. Both vocally and theatrically she gave a flawless performance. Her voice is attractive, and she sings with great expressiveness. Ms. Sproule definitely has a career ahead of her."
José M. Irurzun, Seen and Heard International
In the 2019/2020 season Carolyn Sproule returns to the Metropolitan Opera to sing Dorabella in Così fan Tutte, and also joins the Met for their productions of Pique Dame and The Magic Flute. She returns to Opéra de Montréal as Olga in Eugene Onegin, makes her Pacific Opera Victoria debut as Carmen, and her Des Moines Metro Opera debut as Pauline in Pique Dame. Highlights of future seasons include a return to Houston Grand Opera as Carmen and the Canadian Opera Company in a new role, as well as debuts with English National Opera and San Diego Opera. On the concert platform, Ms. Sproule looks forward to her National Arts Centre Orchestra debut in Ottawa, and a return to the Minnesota Orchestra.
Highlights of past seasons include a critically acclaimed European debut singing Erika in Samuel Barber's Vanessa at the Wexford Festival for which critics praised her “vocally and theatrically flawless performance”. In her native Canada, Ms. Sproule has sung Maddalena in Rigoletto for the Canadian Opera Company, Vancouver Opera, and Opéra de Montréal, and Olga in Eugene Onegin in Vancouver, Montreal, and for her Michigan Opera Theater debut.
Ms. Sproule debuted at The Metropolitan Opera in 2015 as the Sandman in Hansel and Gretel and has since returned singing the Page in Salome and Inez in Il Trovatore. She has also 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. Concert highlights include the alto soloist in Handel's Messiah with the Minnesota Orchestra as well as alto soloist in Beethoven's 9th Symphony at the Aspen Music Festival conducted by Robert Spano, and her Roy Thomson Hall debut in their New Year’s Eve gala.
As a resident of the Houston Grand Opera Studio, Ms. Sproule sang the roles of Orlofsky in Die Fledermaus, Maddalena in Rigoletto, Countess Charlotte in A Little Night Music, Mercédès in Carmen, Zulma in L'Italiana in Algeri, Third Lady in The Magic Flute, and Vlasta in the US premiere of The Passenger which she reprised at The Lincoln Center Festival.
Ms. Sproule is a native of Montréal, Canada and is a graduate of The Juilliard School (BM 2010), and Rice University (MM 2012). She also participated in residencies at the Merola Opera Program, Wolf Trap Opera (Filene Young Artist), the Houston Grand Opera Studio, Aspen Opera Theater, and The Banff Centre. She is a winner of a 2019 George London award, the Marcello Giordani memorial prize in the 2019 Premiere Opera Foundation Competition, as well as a recipient of grants from the Jacqueline Desmarais foundation, HGO studio, Wolf Trap Opera, and Merola.
APR 16, 18, 22, 24, 26
Pacific Opera Victoria
Conductor: Timothy Vernon
Director: Serge Denoncourt
Jean Michel Richer, Erik Van Heyningen, Lauren Margison
Queen of Spades
Des Moines Metro Opera
Conductor: David Neely
Director: Matthew Ozawa
Sara Gartland, Jonathan Burton, Joyce Castle, Alexander Elliott, Brian Vu
JUL 5, 7, 10, 18CANCELLED
SEPT 23, 26, 29
OCT 3, 7, 10
The Metropolitan Opera
Conductor: Maurizio Benini
Director: David McVicar
Angela Meade, Jamie Barton, Stephen Costello, Davide Luciano
Houston Grand Opera
Conductor: Eun Sun Kim
Director: Rob Ashford
Frederick Ballentine, Christian Pursell,
NOV 8, 10, 14CANCELLED
National Arts Centre Orchestra
DEC 15, 16 CANCELLED
San Diego Opera
La Ciesca/La Zelatrice
Conductor: Yves Abel
Director: Paul Curran
Stephanie Blythe, Marina Costa-Jackson,
FEB 13, 16, 18, 21TICKETS
Così fan tutte
APR 1, 6, 8, 10, 12, 15, 17COMING SOON
Conductor: Osmo Vänskä
Carolyn Sampson, Barry Banks, James Rutherford
JUN 17, 18, 19TICKETS
"rich and gleaming tone...a true mezzo"
"It was a real pleasure to get acquainted with the voice of mezzo Carolyn Sproule, the Maddalena in the COC Rigoletto this month. A true mezzo, her rich and gleaming tone was heard to advantage in Dalila’s “Mon Coeur” from Samson et Dalila."
Ludwig Van Toronto
"Breathtaking...her voice is lush and dark and phenomenally powerful even at her lowest range"
“Mezzo-soprano Carolyn Sproule was breathtaking as Olga. Her voice lush and dark, and phenomenally powerful, even at her lowest range. As one of the few non-Russian principals, one would think she’d be at a disadvantage, but her diction was so flawless, that a native Russian speaker in attendance was amazed that it wasn’t her first language. I hope this role becomes a staple in her repertoire.”
"...a mellifluous voice"
"There was much to enjoy from all five soloists, but 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."
"sizeable, rich tone and striking presence."
“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.”
"star is deservedly on the rise"
“Mezzo-soprano Carolyn Sproule, whose star is deservedly on the rise, sang Tatyana’s sister Olga with energetic warmth, infusing the character with endearing sweetness.”