© Fay Fox
Mezzo Soprano
Carolyn Sproulе
"whose star is deservedly on the rise"
- Opera News
Represented by
ARTIST OVERVIEW - ARTIST PROFILE
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Upcoming Past
Dec 2023
31.
19:00
19:00
Johannes Debus, Conductor
Jan 2024
26.
20:00
20:00
Johannes Debus, Conductor
Jamie Manton, Stage Director
Jan 2024
28.
20:00
20:00
Johannes Debus, Conductor
Jamie Manton, Stage Director
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Oct 2023
20.
19:30
19:30
Jonathan Brandani, Conductor
Aria Umezawa, Stage Director
Oct 2023
18.
19:30
19:30
Jonathan Brandani, Conductor
Aria Umezawa, Stage Director
Oct 2023
14.
19:30
19:30
Jonathan Brandani, Conductor
Aria Umezawa, Stage Director
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Biography Highlights
Upcoming & Recent
Stéphano Roméo et Juliette Savonlinna Festival, Cherubino Le Nozze di Figaro at Calgary Opera, Lapák the dog The Cunning Little Vixen with Canadian the Canadian Opera Company, the title role in Carmen at Vancouver Opera and Kate Pinkerton Madama Butterfly at the Hyogo Performing Arts Centre.
Previous
The title role of Carmen at Pacific Opera Victoria, Houston Grand Opera, and Opera Hong Kong, Page Salome with Festival d'Aix-en-Provence and Canadian Opera Company, Dorabella Così fan Tutte and Dritte Dame Die Zauberflöte at Metropolitan Opera and English National Opera, Varvara Kat'a Kabanova and Prostitute From the House of the Dead Teatro dell'Opera di Roma, alto soloist in Handel’s Messiah at the National Arts Centre Orchestra in Ottawa, Olga Eugene Onegin Opéra de Montréal, participation in The Magic Flute and Roberto Devereux Metropolitan Opera, Erika Vanessa Wexford Festival, Maddalena Rigoletto Canadian Opera Company, Olga Eugene Onegin Vancouver, Montreal, and Michigan Opera Theater, Emilia Otello at the Canadian Opera Company.
Portraits
© Fay Fox
© Fay Fox
© Fay Fox
© Fay Fox
© Fay Fox
Deh! Proteggimi o Dio...
Bellini
Deh! Proteggimi o Dio...
Bellini
Carmen
Bizet
Carmen
Bizet
Olga's Aria
Tchaikovsky - Eugene Onegin
Olga's Aria
Tchaikovsky - Eugene Onegin
Reviews & Press
Houston Grand Opera - Bizet - Carmen - Carmen
mezzo-soprano Carolyn Sproule brought the title role an earthy, full-throated voice that exuded Carmen’s rebelliousness and free spirit. Right from her opening “Habanera,” this Carmen’s lusty tones showed that she was a larger-than-life figure. Especially in the “Habanera” and “Seguidilla,” Sproule complemented the lustiness with a lightness that brought out Carmen’s flirtatious, mercurial side. When Sproule’s voice reached out to give a gentle caress to whichever man caught Carmen’s eye, the allure registered instantly.
- Steven Brown , Texas Classical Review
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Starring as Carmen is Carolyn Sproule, an attention magnet from the moment she appears onstage [...] Basking in the attention, Carmen slinks around the stage, teasing both townsfolk and the Spanish soldiers who have gathered in Seville’s town square. 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. Jaded and tart-tongued, she rolls her eyes at past lovers and delights in driving men mad with desire. Still, Sproule is able to find hidden depths that prevent the character from feeling too much like a cartoon. The sudden vulnerability during Act Three’s fortune-telling scene, when Carmen is confronted by one of the few forces she can’t control — death — opens up a different side of her without sanding away any edginess.
- Chris Gray , Houston Chronicle
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Wexford Festival Opera - Barber - Vanessa - Erika
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
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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 , Bachtrack
Canadian Opera Company - Verdi - Rigoletto - Maddalena
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
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Opera Vancouver - Tchaikovsky - Eugene Onegin - Olga
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.
