“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 Phelim McDermott's Coney Island production of Così fan Tutte conducted by Harry Bicket, 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 conducted by Guillaume Tournaire, makes her Pacific Opera Victoria debut as Carmen in a new production, 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 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 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, 18


SEPT   23, 26, 29
  3, 7, 10

Roberto Devereux

The Metropolitan Opera

Sara (cover)

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,
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


Così fan tutte

English National Opera


APR   1, 6, 8, 10, 12, 15, 17


Missa Solemnis

Minnesota Orchestra

Mezzo Soloist

Conductor: Osmo Vänskä

Carolyn Sampson, Barry Banks, James Rutherford

JUN   17, 18, 19


Queen of Spades
Des Moines Metro Opera


Conductor: David Neely
Director: Matthew Ozawa

Sara Gartland, Jonathan Burton, Joyce Castle, Alexander Elliott, Benjamin Taylor

JUL   3, 11, 13, 16, 24


"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




Concert Management:

Henry Ingram
Dean Artists
416-969-7300 x 304
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