By Kristin McKinnon, Publicist and Publications Co-ordinator
Canadian conductor Keri-Lynn Wilson has impressed audiences and critics alike with her nuanced and expressive performances while leading some of the most prestigious orchestras around the world. This spring she comes home to make her Canadian Opera Company debut conducting Puccini’s Tosca. With such success, it’s hard to believe that an international conducting career was not always part of her plans.
Growing up in Winnipeg, Wilson knew her future career would involve music. You could say it is in her blood. “I grew up in this very musical family,” she says. “My grandmother taught me piano and my father (conductor, educator and violinist Carlisle Wilson) taught me violin.” She was also an accomplished flautist, playing in the Winnipeg Youth Orchestra which her father conducted. “Playing in the orchestra was the most memorable part of my childhood. I lived for the weekly Saturday afternoon youth orchestra rehearsals.” These experiences sparked an early fascination with conducting. “I knew at some point that I wanted to conduct but I didn’t know how seriously I would actually pursue it,” says Wilson. “I would have never imagined that I would have ended up having the career I have.”
She went on to study at the prestigious Juilliard School in New York City, pursuing both a master’s and a bachelor’s degree in flute, with the intention of becoming a professional orchestral musician. But in her final year, she hit a crossroads. “I became bored with flute,” she recalls. “I was taking all sorts of other courses, like conducting courses and various opera courses… I wanted to broaden my horizons in every way.” It was after observing one of these conducting classes that she came to a sudden realization. “Somebody said to me, ‘Are you intending on taking the audition at Juilliard for conducting?’ And I said ‘Oh, no, no, no. I’m just fascinated with watching the conducting.’ When I walked home that night through Central Park, I thought ‘Why don’t I take the conducting audition?’ So I made the overnight decision (to audition).” It was a choice that changed her life.
After undergoing a grueling audition process, where the inexperienced Wilson had less than six months to prepare challenging repertoire, including The Rite of Spring, for her colleagues in the Juilliard orchestra, she was accepted into the conducting program. She studied under German-American conductor Otto-Werner Mueller, who became a major formative influence. Like Wilson, Mueller’s early career started in Canada where he was a pianist, composer, arranger, and conductor for CBC. He then moved to the United States, joining the faculties of Juilliard, the Yale School of Music and the Curtis Institute of Music over the course of his career, and became one of the country’s most eminent educators and conductors. “He was from the German school and had a very thorough way of teaching orchestral repertoire,” says Wilson, and he had way with teaching young conductors.
Another important mentor was Claudio Abbado, one of the most celebrated conductors of the 20th century. During her time off from Juilliard, he allowed Ms. Wilson to watch his rehearsals with the Berlin and Vienna philharmonic orchestras and she even assisted him at the Salzburg Festival one summer. “He was a huge influence because he represented the spontaneous and fantastic, yet emotional, approach to conducting. The artistry of Claudio Abbado is an inspiration.” He contrasted with Mueller’s more analytical approach but their dual influence proved to be a “perfect complement” for Wilson as she embarked on her own professional career.
After graduating from Juilliard, Wilson spent four years at the Dallas Symphony Orchestra. Initially a purely symphonic conductor, she leapt at the chance to “enter the lion’s den” and conduct her first opera, Lucia di Lammermoor, in Verona. The resulting success opened doors to companies across Italy and she established herself as a specialist in Italian opera early in her career. These days, her repertoire has become more varied. She has a special passion for Russian music and a desire to conduct more Wagner, and she performs with symphonies and opera companies around the world, including recent appearances with the Bolshoi and Mariinsky theatres, English National Opera and Bayerische Staatsoper. While she prefers to keep a “perfectly balanced season” of symphonic and operatic music, she enjoys the intellectual challenge of conducting opera. “Symphonic is pure music… however, opera is embracing of so much–the music, the story, the passion, the libretto, the history... I love that.”
The COC’s Tosca marks a return to Wilson’s conducting roots. It was the first Puccini opera she ever conducted and despite revisiting it many times since—including at the “magical” Puccini Festival in Torre del Lago where she received Puccini’s granddaughter’s seal of approval—it continues to captivate her. “It’s always fresh to come back to because I love it so much for its passion, its dramatic energy, its power, its beauty and its intensity.” Audiences around the world agree, with Tosca continuing to be one of the most performed works in the operatic canon since its premiere in 1900. “I’ve performed Puccini all over the world and it’s never any different – audiences just love Puccini,” says Ms. Wilson. “It connects immediately to your emotional being. It gives anyone shivers… It’s just so fantastic.”
Her passion and respect for the music comes through when she’s at the podium. “When I conduct Tosca, I feel it through my entire body. It’s so easy to communicate because I really feel it. It’s an incredible emotional journey.” She finds Act II particularly moving and a testament to Puccini’s perfection. “It’s the most thrilling to conduct because it feels like you’re becoming Scarpia or becoming Tosca. Right from the beginning, it is one big dramatic force of passionate beauty and intensity.”
Wilson has travelled the world as a sought-after maestra and has conducted Tosca numerous times, but with a fresh cast and production, the experience is always new. She’s particularly looking forward to the COC’s cast, most of whom she’s never worked with before. “It’s fantastic seeing how one Tosca is different from the next… It’s a journey, a discovery.” And returning to the country of her birth, where she maintains close ties and got her musical start, gives her COC debut added meaning. “When I’m in Europe, I proudly say I’m Canadian,” she says. “I’m really excited to come back.”
Keri-Lynn Wilson is generously sponsored by Robert Sherrin.
See Keri-Lynn Wilson conduct our production of Puccini's Tosca from April 30 to May 20, 2017. For more information and tickets, click here.
Photo credits (top - bottom): Keri-Lynn Wilson, photos by Daria Stravs Tisu and E. Moreno Esquibel
Posted by COC Staff / in Tosca / comments (0) / permalink
Is there a better time of year than spring to experience the freshest voices and brightest rising stars of Canadian opera? This April and May, there are plenty of opportunities to hear the young artists of the COC Ensemble Studio in performance, as well as one of its notable graduates, as part of the Free Concert Series in the Richard Bradshaw Amphitheatre.
April 18, 2017
Toronto-based Collectìf, co-founded by Ensemble Studio soprano Danika Lorèn, is dedicated to exploring and expanding the world of art song performance by presenting innovative, song-based theatre. In a newly-compiled pastiche, entitled Fête, Collectìf presents staged vignettes of art song based on Verlaine’s iconic poetry cycle, Fêtes galantes.
April 25, 2017
A Woman's Life and Love
COC Ensemble Studio artists, mezzo-soprano Lauren Eberwein and soprano Danika Lorèn, explore themes of life, love and sensuality from a woman’s perspective in a program that includes Schumann’s beloved Frauenliebe und –leben. They are accompanied by pianists Stéphane Mayer and Hyejin Kwon.
April 27, 2017
In this annual tradition, singers from the young artist programs of the Canadian Opera Company and l’Opéra de Montréal join forces in a program of arias and ensembles.
May 9, 2017
Women on the Edge
Canadian mezzo-soprano Allyson McHardy (Julie Riel in the COC’s Louis Riel), and graduate of the COC Ensemble Studio, teams up with pianist Rachel Andrist in a concert about women “on the edge.” The program includes Schumann’s Poèmes de la reine Marie d’Ecosse, and Zemlinsky’s Six Songs after Poems by Maeterlinck.
May 10, 2017
COC Ensemble Studio tenor Aaron Sheppard, accompanied by pianist Stéphane Mayer, reflects on the brevity of life in Finzi’s A Young Man’s Exhortation, based on the poetry of Thomas Hardy. The concert also features performances by soprano Samantha Pickett and mezzo-soprano Megan Quick.
May 11, 2017
COC Ensemble Studio mezzo-soprano Lauren Eberwein joins members of the COC Orchestra and pianist Hyejin Kwon in a special program featuring two of J.S. Bach’s best-loved cantatas: Ich habe genug, BWV 82, and Vergnügte Ruh, BWV 170.
May 17, 2017
Dawn Always Begins in the Bones
Multi-award-winning Canadian composer Ana Sokolović premieres her Canadian Art Song Project-commissioned cycle, Dawn Always Begins in the Bones. She has earned international acclaim for her orchestral, vocal, chamber, operatic and theatrical pieces. COC Ensemble Studio artists, with pianist Liz Upchurch, will perform songs and ensembles based on texts from across Canada, celebrating our country and the richness of its artistic traditions.
May 18, 2017
Les Adieux: Die schöne Müllerin
Tenor Charles Sy and pianist Hyejin Kwon bid farewell to the COC Ensemble Studio in a performance of one of the greatest song cycles ever composed: Schubert’s Die schöne Müllerin.
All performances are FREE to the public and begin at 12 p.m., but line
up early to make sure you get a seat! Doors open 11:30 a.m. and late admission is not possible. There is capacity for 230 patrons.
For more information and the complete listings of all 2016/2017 Free Concert Series performances, click here.
Photo credit: Artists of the 2016/2017 Ensemble Studio, photo: Bronwen Sharp
Posted by COC Staff / in Free Concert Series / comments (0) / permalink
Get to know Canadian soprano Adrianne Pieczonka with this article from our spring program! Curious to know more? Be sure to check out our Rapidfire video with Adrianne here.
What is your go-to song for karaoke?
“I Will Survive” by Gloria Gaynor
What is the best advice you’ve been given?
“Slow and steady wins the race.” I’m soon approaching my 30-year anniversary on stage so this is fitting. I like to pass this advice on to young singers.
If you weren’t an opera singer, you would be?
A high school music teacher who would also direct the yearly school musical production.
What is your dream operatic role, regardless of voice type?
Rodrigo Marquis de Posa in Verdi’s Don Carlo. He gets the most beautiful arias and duets and dies a noble, heartbreaking death.
What book have you read again and again?
Alice Munro’s Lives of Girls and Women.
If you could go anywhere in the world, where would you go?
I’ve always wanted to go to Australia... maybe I’d catch the Australian Open tennis tournament while I was there.
If you were in a girl band, what would the band’s name be?
Who are three people, alive or dead or fictional, that you would like to have dinner with?
Wolfgang Amadeus Mozart, Albert Einstein and Meryl Streep
Who is your favourite artist of all time, from any art form?
What is the first thing you do when you arrive in a new city?
Make sure the Wi-Fi is working in my apartment or hotel. The internet and Skype are the lifeline to my family and I feel lost without it.
What is the first thing you do when you arrive back home?
Hug my wife and daughter and then cuddle our two cats.
Above: Adrianne Pieczonka (right) with her wife Laura Tucker (left) and their daughter Grace.
You can only watch one movie/TV show for the rest of your life. What would that be?
The film Sense and Sensibility starring Emma Thompson and Kate Winslet. The imagery of the English countryside itself is exquisite, not to mention this brilliant adaptation of Jane Austen’s classic novel.
If you had to be locked up in a building overnight, what building would you most like to be locked in?
What an intriguing question! Being locked up in a spa would be pretty nice. I love swimming, saunas and steam rooms, and I could easily spend a night doing all three.
What is one thing people would be surprised to know about you?
I’m an introvert.
What’s the best thing about being an opera singer?
Singing is good for the soul and studies have shown that singing also has other health benefits too. One takes it for granted when one is younger, but the older I am, the more grateful I am that I can earn my living as an opera singer. It’s a privilege!
What’s something that you have always wanted to try but you’ve been too scared to do?
Parachuting. I’m still too scared! When I turned 30, I actually booked a parachute jump in Austria but I chickened out and canceled it! I’m still too scared.
What would be the title of your autobiography?
An die Musik
What is one piece of advice for Tosca?
Make sure you judge the distance between you and Scarpia carefully when you rush in to stab him in Act II. If not it can look very awkward indeed! And good luck for the final jump of course.
Adrianne Pieczonka performs the title role in our production of Tosca. For more information and to purchase tickets, click here.
Photo credits: Adrianne Pieczonka and Carlo Ventre in Tosca (COC, 2012), photos by Michael Cooper
Posted by Tanner Davies / in Tosca / comments (0) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001