“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

Acclaimed for her "sizeable rich tone and striking presence" (Opera Canada), "whose star is deservedly on the rise" (Opera News), Canadian mezzo-soprano Carolyn Sproule is engaged in the 2020-2021 season to debut at Opera Hong Kong in the title role of Carmen; San Diego Opera as La Ciesca in Gianni Schicchi and La Zelatrice in Suor Angelica conducted by Yves Abel in a new production by Paul Curran; Des Moines Metro Opera as Pauline in Pique Dame, as well as return to the Minnesota Orchestra for Beethoven’s Missa Solemnis conducted by Osmo Vänskä. Ms. Sproule was previously engaged to make house debuts at Pacific Opera Victoria as Carmen in a new production before reprising the role in her return to Houston Grand Opera; the National Arts Centre as the alto soloist in Handel’s Messiah; English National Opera as Dorabella in Così fan Tutte, as well as a return to the Metropolitan Opera roster for Roberto Devereux.

Ms. Sproule began her 2019-2020 season with a return to Opéra de Montréal as Olga in Eugene Onegin in a Tomer Zvulun production conducted by Guillaume Tournaire; the Metropolitan Opera to sing Dorabella in Phelim McDermott's Coney Island production of Così fan Tutte conducted by Harry Bicket in addition to joining the company for their productions of Pique Dame and The Magic Flute.  

Highlights of past seasons include her European debut singing Erika in Samuel Barber's Vanessa at the Wexford Festival for which she received unanimous critical acclaim and received an award from the festival as their favorite singer of the season. In her native Canada, Ms. Sproule has sung Maddalena in Rigoletto for her Canadian Opera Company debut in a Chris Alden production, as well as at Vancouver Opera and Opéra de Montréal. She has sung Olga in Eugene Onegin in Vancouver, Montreal, and for her Michigan Opera Theater debut, and last season returned to the Canadian Opera Company as Emilia in David Alden’s production of Otello, conducted by Johannes Debus

Ms. Sproule debuted at The Metropolitan Opera in 2015 as the Sandman in Hansel and Gretel in a Richard Jones production conducted by Sir Andrew Davis, and has since returned singing the Page in Salome, Inez in Il Trovatore, and Dorabella in Così fan Tutte. 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, Cavalleria Rusticana, Pique Dame, and Magic Flute. 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 has had the honor of collaborating with illustrious conductors and directors including Sir Andrew Davis, Yannick Nezet-Seguin, Patrick Summers, Robert Spano, Harry Bicket, Marco Armiliato, Johannes Debus, David Pountney, David Alden, Chris Alden, and Jürgen Flimm.

A native of Montréal, Canada, Carolyn Sproule 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. 


Houston Grand Opera


Conductor: Eun Sun Kim
Director: Rob Ashford

Frederick Ballentine, Christian Pursell,
Anita Hartig

NOV   8, 10, 14


National Arts Centre Orchestra

Alto Soloist

DEC   15, 16


Gianni Schicchi
Suor Angelica
San Diego Opera

La Ciesca/La Zelatrice

Conductor: Yves Abel
Director: Paul Curran

Stephanie Blythe, Marina Costa-Jackson, Piotr Buszewski

FEB   13, 16, 18, 21


West Side Story

Opera Naples


Conductor: Ramón Tebar

Isabel Leonard, Alex McKissick, Alex Mansoori

MAR   12


Così fan tutte

English National Opera


APR   1, 6, 8, 10, 12, 15, 17


MAY  13, 15, 16


Opera Hong Kong


Conductor: Gianna Fratta

Mikheil Sheshaberidze, Louise Kwong, Pierre Doyen



Savonlinna Opera Festival


Conductor: Garry Walker

Amadi Lagha, Frederik Zetterström, Annika Leino

JUL   3, 6, 12, 20


"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."

Joseph So,
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.”

Melissa Ratcliff

"...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."

Andrew Larkin,

"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.”

Gianmarco Segato,
Opera Canada

"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.”

Jennifer Goltz,
Opera News




General Management:

Marcin Kopec
TACT International Art Management
+44 79 81 91 88 14
Canadian Concert Booking:

Henry Ingram, Director - Concert Division
Dean Artists
+1 416 969 7300 x 304
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