"Sproule...is astonishing. Her Carmen is, first and foremost, a magnetic stage beauty...She owns her power. Her eyes flash, her smile radiates. Who could resist her? And then there's that voice – deep and rich...She commands the stage and you can't take your eyes off her – or your ears."
Acclaimed for her "irresistible charisma and dark luscious sound…whose star is deservedly on the rise” (Opera News), Canadian mezzo-soprano Carolyn Sproule is engaged in the 2022-2023 season to debut with Pacific Opera Victoria as Carmen, return to The Metropolitan Opera singing Third Lady in The Magic Flute, return to the Canadian Opera Company as the Page in Salome as well as to sing a recital, sing Carmen in concert with the Reno Philharmonic, return to Teatro dell'Opera di Roma as Pobehlice in Janacek’s From the House of the Dead, and debut in Finland at the Savonlinna Opera Festival as Stéphano in Roméo et Juliette.
Last season, Ms. Sproule returned to Houston Grand Opera as Carmen in Rob Ashford's dynamic production, conducted by Lidiya Yankovskaya shortly after debuting as Carmen with Opera Hong Kong. Ms. Sproule subsequently debuted at Teatro dell'Opera di Roma as Varvara in Kát’a Kabanová in a Richard Jones production, conducted by David Robertson; returned to The Metropolitan Opera for their production of Madama Butterfly; and debuted at Festival d'Aix-en-Provence in Andrea Breth’s new production of Salome.
Ms. Sproule debuted at The Metropolitan Opera in 2015 singing Sandman in the acclaimed Richard Jones production of Hansel and Gretel. She since returned to The Met singing Dorabella in Phelim McDermott's Coney Island production of Così fan Tutte conducted by Harry Bicket, as well as Ines (Trovatore), Page (Salome), and Third Lady (The Magic Flute). In addition, Ms. Sproule has been on the Met roster for their productions of Falstaff, Otello, Thais, Eugene Onegin, Le Nozze di Figaro, The Death of Klinghoffer, Manon, Cavalleria Rusticana, Pique Dame, and Madama Butterfly.
Past season highlights include a European debut as Erika in Samuel Barber's Vanessa at The Wexford Festival for which Ms. Sproule 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, and subsequently returned to COC for their productions of Otello, Forza del Destino (*canceled), and Salome; Opéra de Montréal (Rigoletto, Elektra, Eugene Onegin, Das Rheingold), Vancouver Opera (Eugene Onegin, Rigoletto) and Pacific Opera Victoria (Carmen).
Ms. Sproule has worked with an illustrious array of conductors and directors including Yannick Nézet-Séguin, Patrick Summers, Sir Andrew Davis, Harry Bicket, Robert Spano, Marco Armiliato, Richard Jones, Andrea Breth, Sir David Pountney, Krzysztof Warlikowski, and Rob Ashford.
While in residency at 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.
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.
PRESS FOR "CARMEN"
"This is Carmen as it was intended to be sung, by a voice with a massive amount of depth, that is luxurious and rich. I don’t think I’ve ever heard anyone perform it better, and I hope this becomes the staple of Sproule’s repertoire. "
Melissa Ratcliff, Schmopera
"Canadian mezzo Carolyn Sproule, as Carmen, was a stand-out, not just for her singing—which was rich, creamy and expressive—but her acting too. With that expressive face and powerhouse voice, Sproule is clearly a singer with a huge career ahead of her."
Robin J. Miller, Opera Canada
"Mezzo-soprano Carolyn Sproule brought the title role an earthy, full-throated voice that exuded Carmen’s rebelliousness and free spirit. Sproule’s voice soared aloft with an ease and vibrancy that made the occasional vaulting phrases into visceral expressions of Carmen’s courage in the face of doom."
Steven Brown, Texas Classical Review
"Starring as Carmen is Carolyn Sproule, an attention magnet from the moment she appears onstage...the Montreal native brings a dusky glamour and easy sensuality to the role...At certain moments Sproule seems to be almost purring, her supple mezzo-soprano luxuriating over the libretto and a come-hither twinkle in her eye. "
Chris Gray, Houston Chronicle
"As Carmen, HGO studio alumna Carolyn Sproule combined unshakeable confidence and irresistible charisma with a dark, luscious sound. The Canadian mezzo clearly relished the role."
Gregory Barnett, Opera News
"Sproule...is astonishing. Her Carmen is, first and foremost, a magnetic stage beauty...and then there's that voice – deep and rich..She commands the stage and you can't take your eyes off her – or your ears."
D.L. Groover, Houston Press
12, 14, 18, 20 2022
Pacific Opera Victoria
Timothy Vernon, Conductor
François Racine, Director
16,18, 22, 24 26,28, 30 January
2, 6, 2023
The Metropolitan Opera
Duncan Ward, Conductor
Julie Taymor, Director
Page of Herodias (Herodias cover)
Canadian Opera Company
Johaness Debus, Conductor
Atom Egoyan, Director
Free Concert Series
Canadian Opera Company
23, 25, 27
From The House of the Dead
Teatro dell'Opera di Roma
Dmitry Matvienko, Conductor
Krzysztof Warlikowski, Director
12, 14, 17
Roméo et Juliette
Savonlinna Opera Festival
Yves Abel, Conductor
Amy Lane, Director
"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.”
TACT International Art Management
+44 79 81 91 88 14
Henry Ingram, Director - Concert Division
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