Style and musical elegance combined with an intuitive theatrical sense are the hallmarks of soprano Monica Whicher's performances on the concert and opera stage. In 2010-2011, Ms Whicher looks forward to the launch of the Mykola Lysenko album, part of an ongoing project to record the art song repertoire of leading Ukrainian composers. She will be soprano soloist in Bach’s WEIHNACHTSORATORIUM with the Toronto Bach Consort conducted by Zeitouni in December and also has concerts with the Talisker Players and Aldeburgh Connection on her schedule. In the U.S., she debuts with Houston’s Mercury Baroque as Asprano in Vivaldi’s MONTEZUMA, a presentation that represents the work’s premiere in North America. Recent seasons reflect the varied aspects of her artistry and highlights include Strauss’ VIER LETZTE LEIDER with Oundjian and the Toronto Symphony, ELIJAH with the Calgary Philharmonic, the title role in THAÏS for Pacific Opera Victoria, Bach’s JOHANNES PASSION for the Amadeus Choir and performances at the Westben Festival and Festival of the Sound. Ms. Whicher has been heard in Bach’s WEIHNACHTSORATORIUM with the National Arts Centre Orchestra, Mozart’s MASS IN C MINOR with the Kingston Symphony, Grieg’s PEER GYNT with the Victoria Symphony and a new work by Gavin Bryars performed with the Talisker Players of Toronto.
For 2006-2007, she sang the Strauss songs for Orchestra London and the Ottawa Symphony, MESSIAH with the Colorado Symphony and the Elmer Iseler Singers, the title role in Purcell’s DIDO & AENEAS for Opera Atelier’s tour of Korea, and then repeated the role for Toronto Masque Theatre. On her schedule for 20005-2006 were Opera Atelier’s ARMIDE and ORFEO and she returned to Pacific Opera Victoria for Female Chorus in THE RAPE OF LUCRETIA. ELIJAH with the Vancouver Symphony, DIE SCHÖPFUNG for Orchestra London, Strauss’ VIER LETZTE LIEDER with the Hamilton Philharmonic, Bach’s Mass in B Minor for the Vancouver Bach Choir and Mozart’s REQUIEM with the Victoria Symphony were highlights of her concert schedule.
She has been featured in MESSIAHs with the Calgary Philharmonic and the Edmonton Symphony, as Drusilla in Monteverdi’s CORONATION OF POPPEA for the Cleveland Opera and she was lavishly praised for her Naxos recording of CASTOR ET POLLUX with Opera in Concert of Toronto. For Opera Atelier, she starred as the Countess in Mozart’s NOZZE DI FIGARO, the Aldeburgh Connection presented her in Wolf’s ITALIENISCHES LIEDERBUCH and she was in Ottawa with the National Arts Centre Orchestra for Mozart’s REQUIEM. Summer festival appearances include the Ottawa Chamber Music Festival and at the Nürnberg Chamber Music Festival as the Governess in TURN OF THE SCREW and Female Chorus in THE RAPE OF LUCRETIA, the latter recorded for broadcast by Bayerische Rundfunk.
Further performance credits include MESSIAH with the Toronto Symphony, Mendelssohn's A MIDSUMMER NIGHT'S DREAM with the Hartford Symphony, Haydn's ST. CECILIA MASS, Handel’s SOLOMON and Bach's ST. JOHN PASSION. She has sung Pamina in DIE ZAUBERFLÖTE for Opera Lyra in Ottawa, Elisa in IL RE PASTORE for the Canadian Opera Company and Zerlina in DON GIOVANNI for Vancouver Opera.
On the international circuit, Ms. Whicher performed Mozart’s MASS IN C MINOR and EXULTATE, JUBILATE with Rilling in Bilbao and has also been heard with the symphonies of Barcelona, Utah and Minnesota. Winner of the George London Award, she premiered Ryan's OPHÉLIE with the Toronto Symphony and was heard with the Kitchener Waterloo Symphony (Brahms' DEUTSCHES REQUIEM) and with the National Ballet (Gorecki's SYMPHONY OF SORROWFUL SONGS). In concert, Ms. Whicher premiered song cycles by John Beckwith and John Greer for the Aldeburgh Connection and appeared with the Winnipeg New Music Festival and Festival Lanaudiere. She has collaborated with harpist Judy Loman, guitarist Rachel Gauk and the Penderecki Quartet in recital and her concerts are frequently broadcast by CBC Radio 2. Her recordings of Bach, Schubert and Hatzis are available on Marquis Classics and other labels. Ms. Whicher was nominated for a 2002 Juno Award for her CD entitled “Singing Somers Theatre” released on the Centredisc label. Ms. Whicher is a Faculty member of Toronto’s Royal Conservatory of Music. August 2010
OPERA
| Bizet |
CARMEN |
Micaëla |
| Britten |
MIDSUMMER NIGHT’S DREAM
RAPE OF LUCRETIA |
Titania
Female Chorus |
| Debussy |
PÉLLEAS ET MÉLISANDE |
Mélisande |
| Gluck |
ARMIDE |
Phenice |
| Handel |
GIULIO CESARE |
Cleopatra |
| Humperdinck |
HÄNSEL UND GRETEL |
Gretel/Sandman |
| Lully |
PERSÉE
ARMIDE |
Mérope
Phénice |
| Massenet |
THAÏS
MANON |
Thaïs
Manon |
| Monteverdi |
L’INCORONAZIONE DI POPPEA
ORFEO ED EURIDICE |
Poppea
La Musica |
| Mozart |
LE NOZZE DI FIGARO
DIE ZAUBERFLÖTE
IDOMENEO
IL RE PASTORE
DON GIOVANNI |
Countess
Pamina/Erste Dame
Ilia
Elisa
Zerlina |
| Puccini |
LA BOHÈME |
Musetta |
| Purcell |
DIDO AND AENEAS |
Dido |
| Rameau |
CASTOR ET POLLUX |
Télaire |
| Somers |
MARIO AND THE MAGICIAN |
Sylvestra |
| Stravinsky |
THE RAKE’S PROGRESS |
Anne Trulove |
| Verdi |
FALSTAFF |
Nannetta |
| Zimmerman |
THE WHITE ROSE |
Sophie |
CONCERT/ORATORIO
| Bach |
Magnificat
Mass in B Minor
Johannes Passion
Matthäus Passion
Weihnachts Oratorium
Cantata 147 |
| Beethoven |
Mass in C |
| Bizet |
Te Deum |
| Brahms |
Ein Deutsches Requiem |
| Britten |
Les Illuminations |
| Bruckner |
Te Deum |
| Fauré |
Requiem |
| Gorecki |
Symphony of Sorrowful Songs |
| Grieg |
Peer Gynt |
| Gubaidulina |
Homage à T.S. Eliot |
| Handel |
Israel in Egypt
Messiah
Solomon
Samson
Dixit Dominus |
| Haydn |
Die Jahreszeiten
Die Schöpfung
Masses |
| Mahler |
Symphony Nos. 2, 4 |
| Mendelssohn |
Elijah |
| Mozart |
Mass in C Minor
Requiem
Exultate Jubilate |
| Poulenc |
Gloria |
| Rossini |
Petite Messe Solennelle
Stabat Mater |
| Ryan, J. |
Ophélie |
| Schubert |
Masses
Salve Regina |
| Strauss, R. |
Vier Letzte Lieder |
| Vaughan Williams |
Dona Nobis Pacem
Benedicite |
| Vivier |
Lonely Child |
EDUCATION
Diploma in Opera Performance, University of Toronto (1990)
Honours Bachelor of Music, University of Toronto (1988)
Primary Vocal Instructor: Lois Marshall (1986-1997)
Coaches: Stuart Hamilton, Don Tarnawski, Steven Blier
OTHER TRAINING
| 1995 |
The Steans Institute for Professional Singers, Davis Owen-Norris, director
(Christophe Eschenbach, Roger Vignoles, Reri Grist, Ian Partridge, Ellen Shade, Barbara Bonney, instructors) |
| 1991-1993 |
Member of the Canadian Opera Company Ensemble Studio
(Marlena Malas, Virginia Zeani, voice teachers) |
| 1989-1991 |
Britten/Pears School for Advanced Musical Studies
(Kurt Equiluz, Ileana Cotrubas, Sarah Walker, Steuart Bedford, Alastair Ross, Nancy Evans, instructors) |
| 1990 |
The Banff School of Fine Arts, Academy of Singing, Martin Isepp, director |
AWARDS
| 1993 |
George London Award |
| 1993 |
Sullivan Foundation Role Preparation Grants |
| 1992 |
Canada Council for the Arts, Career Development Grant |
DISCOGRAPHY
The Bach Consort at L'Arche
The Bach Consort
Monica Whicher, Elizabeth Turnbull, Michael Schade, Russell Braun
L'Arche Daybreak (1997)
Omar Daniel: My Angel
performing My Angel
Rachel Gauk, guitar
Marquis Classics (1997)
Christos Hatzis: Erotikos Logos
performing Three Songs on Poems by Sappho and Arcana
Robert Aitken, conductor, Joaquin Valdepeñas, clarinet; Steven Dann, viola; David Heatherington,
violoncello; Marc Widner, piano; Trevor Tureski, percussion;
Marquis Classics ERAD 197 (1996)
The Bach Consort at Camphill
The Bach Consort
Monica Whicher, Elizabeth Turnbull, Michiel Schrey, Russell Braun
Camphill Village Ontario (1995)
Forgotten Dreams
with Thirteen Strings, singing Schubert's Salve Regina (1995)
Canadian Music for Voice, Harp and Oboe
CBC Records
Hallelujah Handel
Classical Kids (1995)
Daydreams and Lullabies
Classical Kids
Mozart's Magic Fantasy - Juno Award-Winner
Classical Kids
Beethoven Lives Upstairs - Juno Award-Winner
Classical Kids
Rameau, Castor et Pollux
Opera in Concert, Aradia Ensemble(Julie Wedman, Concertmaster) Kevin Mallon
NAXOS 2004
Somers, H., Singing Somers Theatre (A Window on Somers)
Centredisc 2001
"Monica Whicher offered an elegantly crafted performance as Thaïs the woman in search of her true soul, her French diction near flawless, and her acting skills honed to perfection. Her famous "Mirror Aria" was brilliantly understated, flowing seamlessly into the impressionist palette rather than being a stand-alone wonder, and her death scene was simply thrilling as, entering paradise, she beholds her new god." Review Vancouver, October 2008 “Whicher shone in everything she did; an obvious audience favourite…performed with full, uninhibited splendour.”
Toronto Star, November 2003
“Monica Whicher’s dignified Dido reached a magnificent climax in her confrontation scene with Aeneas: Here, Whicher completely entered the Purcell “zone”, catching every nuance of emotion as his harmonies and rhythms set Dido’s words aflame.”
The Globe and Mail, April 2007
“Soprano Monica Whicher, a favourite of Edwards, surmounted the orchestra effortlessly and unleashed many a sterling high note.”
Montreal Gazette, April 2005
“Monica Whicher emporte l’adhésion dans unbouleversant ‘Ah, je garderai bien mon coeur…Son timbre agréeable, l’importance qu’elle accorde au texte et ses talents de comédienne s’expriment particulièrement bien dans les scènes de désespoir…”
forumopéra.com, June 2005
“The principals have fresh, personable voices and understand the French Baroque style, above all Monica Whicher, who gives a poignantly expressive account of Telaïre’s sublime lament ‘Tristes apprêts’.”
The Guardian, March 2004
“The recital’s biggest treats were the two Canadian singers who dared to plumb these turbulent musical waters: soprano Monica Whicher and baritone Russell Braun. They were perfectly matched in having large, flexible voices, superb vocal control and a clear sense of where to draw the line between drama and bathos. It is a rare and wonderful treat to hear two singers at the peak of their powers singing in an intimate setting…”
Toronto Star, March 2003
“Soprano Monica Whicher, who is making her debut in the role of the Countess, is the strongest of all, singing with a smooth, elegant line, but also conveying passion and hurt. Her big aria, ‘Dove Sono’ is the highlight of the night.”
Toronto Star, May 2003
“Soprano Monica Whicher was superb as Mérope, whose hopeless love for Persée makes her the emotional center of the piece. She sang with lustrous tone and true poignancy that humanized the entire opera.”
Globe and Mail – Christopher Hoile
“Monica Whicher’s fresh, lustrous soprano illuminated four songs, including an unforgettable Litanei auf das Fest Allerseelen: the singer’s wonderful legato…made the repeated “All souls rest in peace” a musical epiphany.”
Globe and Mail - Urjo Kareda
“Soprano Monica Whicher’s song-suffering Télaïre is magnificent in the gorgeous ‘Tristes apprêts’.
Whole Note – Pamela Margles
“Soprano Monica Whicher found the emotional truth in the recitative Thy rebuke hath broken his heart and sang as agile Rejoice Greatly, even at Rilling’s somewhat unyielding fast pace.
Star Tribune, Minneapolis-St. Paul
“ Monica Whicher, the soprano was magnificent. What a pure voice. In both pieces (Mozart’s REQUIEM, Handel’s DIXIT DOMINUM) she displayed a striking, controlled, wide-ranging passion.”
Desert News, Salt Lake City
“Among the lovers, Monica Whicher’s Mérope was outstanding; vocally assured, with an engaging stage presence, she carried the three arias Lully assigned to her with power and wit.”
UK Opera Magazine, January 2001
“Whicher has a gorgeous, serene voice…She’s one of those rare singers who can make something as taxing as Bach sound effortless.”
Kitchener-Waterloo Record, April 1999
“Monica Whicher est certainment la plus belle Telaïre qu’on puis entendre au disque…La voix a une beauté de timbre, une largeur de register, un aisance à orner qui forcent l’admiration. Le sublime “Tristes apprêts’ est un des grand moments de cet enregistration. Personne n’échappera a l’émotion intense d’égagé par la progression qui mène au poignant “non” de la reprise le l’air…avec un ineffable pianissimo dans l’aigu.
L’Avant-Scène Opéra, July/August 2004
“Soprano Monica Whicher possesses…a gleaming instrument that she uses with confidence and fire.”
The Calgary Herald – Eric Dawson
