| Frédérique Vézina |
Introduction “…pulled all the familiar heartstrings. Frédérique Vézina is a very touchingly pure Mimi, in fact she’s magnificent in the part. You know from the moment she appears that she will die and yet it’s a shock when she does.” Vancouver Sun – Lloyd Dykk BiographySoprano Frédérique Vézina has established herself both in Canada and the United States as an artist of note and in Marmande France, she was declared First Prize winner at the Concours International de Chant. Highlights of past seasons include Tatiana in EUGENE ONEGIN for the Lanaudiere Festival conducted by Kent Nagano, LES NUITS D’ETE for the Edmonton Symphony, Mimi in LA BOHEME for Vancouver Opera and L’Opéra de Quebec, Micaëla in CARMEN for the Edmonton Opera, Beethoven’s Symphony No. 9 with Orchestre symphonique de Trois Rivieres and a return to the role of BOHEME’s doomed heroine for the Canadian Opera Company. She wan Elvira in DON GIOVANNI for Pacific Opera Victoria and Orchestra London, while on the concert stage she has appeared as soprano soloist in Mozart’s REQUIEM for the Thunder Bay Symphony. In a lighter vein she was heard for Orchestra London in an evening devoted to Viennese operetta classics. Of particular note is the upcoming World Premiere of Estacio’s LILLIAN ALLING for the Vancouver Opera. Praised for her “stimulating vocal performance” and “ sense of dramatic immediacy”, the striking young Quebecoise sang Lisa in PIQUE DAME while still a member of the company’s Ensemble and critics hailed the arrival of a major presence on the opera stage: “The dark mahogany tone of Vézina’s soprano somehow verified the dignity that was continually being stripped from her, and her performance of her big Act III aria made eloquent testimony to the character’s own addiction to emotional gambling.” (Everett Green – Globe and Mail) Debuts with the Toronto Symphony (Vaughan Williams’ DONA NOBIS PACEM) and Washington Opera (Wellgunde in RHEINGOLD) highlighted past seasons. Also among her engagements were Pacific Opera Victoria’s EUGENE ONEGIN (Tatiana), a solo recital for the Mountain View Festival in Alberta, Beethoven’s Symphony No. 9 for l’Orchestre Metropolitain with Nezet Seguin, and Mozart’s MASS IN C MINOR for L’Orchestre Symphonique de Québec with Yoav Talmi. Back in the U.S. she was heard at Chautauqua Festival as Fiordiligi in COSI FAN TUTTE. She was seen in COC’s THE TURN OF THE SCREW as the Governess and also as Ellen Orford in PETER GRIMES. Ms. Vézina appeared as Tatiana in EUGENE ONEGIN at the Opera Festival of New Jersey and was the ‘merry’ widow herself for L’Opéra de Montréal. Further credits include Miranda in Lee Hoiby’s THE TEMPEST for Pacific Opera Victoria, Micaëla in CARMEN for Cincinnati Opera, Ruders’ THE HANDMAID’S TALE for COC, Micaëla for l’Opéra de Montréal and in a special coup, was asked to sing the title role in Estacio’s FILUMENA at the National Arts Centre in Ottawa. Her concert schedule has included a solo recital with Music Toronto, MESSIAH in Victoria, LOBGESANG with l’Orchestre symphonique de Québec, and the Fauré REQUIEM with the Winnipeg Symphony. A Metropolitan Opera semi-finalist in 2004 and a winner in the Début Young Artists Competition, Ms. Vézina completed a Bachelor of Music Degree at McGill University. She received first prize in three consecutive years at the National Association of Teachers of Singing Competition (NATS) and was also awarded the ‘Most Promising Singer’ prize. In 2002, at the Trois-Rivières Symphony competition, she was awarded the Grand Prize as well as a recital broadcast on CBC. Ms. Vézina was also the first prizewinner at the National Music Festival held in Calgary. She performed the role of Alaïde in Bellini’s LA STRANIERA for Opera in Concert and other roles include Contessa (LE NOZZE DI FIGARO), Pamina in DIE ZAUBERFLÖTE, Antonia (LES CONTES D’HOFFMANN) and Juliette (ROMÉO ET JULIETTE). Ms. Vézina was heard in a broadcast recital at Chapelle historique du Bon-Pasteur and has also performed Bach’s JOHANNES PASSION and MASS IN B MINOR. August 2010
Full RepertoireOPERA
CONCERT AND ORATORIO
SONG CYCLES
LIEDER
CONDUCTORS/CHEFS D’ORCHESTRE
STAGE DIRECTORS
VOICE TRAINING/COACHES
AWARDS AND PRIZES First Prize, Concours International de Chant de Marmande, Lot-et-Garonne et de la Region Aquitaine, France
EDUCATION Canadian Opera Company Studio Ensemble, 2002 – 2003 Engaged By
Reviews“…pulled all the familiar heartstrings. Frédérique Vézina is a very touchingly pure Mimi, in fact she’s magnificent in the part. You know from the moment she appears that she will die and yet it’s a shock when she does.” Vancouver Sun – Lloyd Dykk
“…install Vézina instantly as a VIP…Quebec’s Vézina, a late cast addition is a startling find, delivering the lines of her highlight-reel performance with ravishing sensuousness and fully at home with the urgency and exuberant passion of Handelian affairs. She drew golden threads from the part, singing confidently and endearingly of love and torment with beautifully shaped notes…Where has this shining light with a great future been hiding?” (ARIODANTE) The Toronto Star - Geoff Chapman
“Quoi qu’il en soit , il n’y a qu’une chose à retenir de tout ce qu’on a entendu pendant ces deux très longues heures: l’interprétation, par la soprano Frédérique Vézina, dela célèbre cinquième BACHIANA BRASLEIRAS, Villa Lobos. Déja, face au public, la grade allure d’une future grande chanteuse. Mieux encore: la voix chaude et ensoleillée requise par se séduisant diptyque.” La Presse – Claude Gingras
“soprano Frédérique Vézina continues on her glittering career path as Filumena. She is able to handle with ease the high tessitura of the role and her lovely voice, with its warm, rich depth, top vibrato and beautiful phrasing makes her one of the country’s most gifted young singers. (National Arts Centre, FILUMENA) The Globe and Mail – Paula Citron
“ Frédérique Vézina est faite de finesse, de grace et de fragilité. Dès son air d’entrée, Mi chiamo Mimi, on sent toute la vulnérabilité de la femme, celle qui d’abord s’abandonne sous le poids de la fatigue, de la maladie qui l’empotera bientôt. La Scène – Jacques Hétu
“Vezina was the discovery of the evening. Her rich soprano and radiant characterization conveyed the princess’s nobility and innocence.” (ARIODANTE) National Post, Toronto – Tamara Bernstein ‘ Frédérique Vézina escalated from the supporting role to the co-starring role of Lisa, PIQUE DAME performed as impressively as if she had been engaged for the role in the first place.” Toronto Star – William Littler
Frédérique Vézina a la grande allure sinon la parfaite voix mozartienne.” (Contessa) La Presse – Claude Gingras
“…filling in on short notice, Frédérique Vézina, whose richly assured Princess Ginerva promises an outstanding career.” Opera Canada – Wayne Gooding
“ Frédérique Vézina en Antonia, seule présence de la soirée qui méritait de monter sur les planches…” Le Devoir – François Tousignant
“Son soprano reste ideal pour le genre: juste, intelligemment conduit et même ornementé au passage.” La Presse – Claude Gingras
“Soprano Frédérique Vézina a lissome and sweet-voiced Tatiana, was the emotional core of the opera.” Opera Canada – Robert Jordan
“The role of Tatiana is fully inhabited by Frédérique Vézina…tactfully lets the arias communicate the turmoil inside, limiting herself to an almost minimalist but wholly convincing acting. Her effects are dazzling and she soars in the role.” (Pacific Opera Victoria,EUGENE ONEGIN) Times Colonist
…a highlight was Frédérique Vézina’s performance of the mirror song from Massanet’s THAÏS. Playing the courtesan lead role, her performance was notable for its superb breath control and dynamic range, with a clear and soaring voice that left us wanting more.” Winnipeg Free Press – Holly Harris |