Performer Bios

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Jason Davis

One of Canada’s brightest prospective tenor stars, Jason has won numerous scholarships and competitions including the Hartt Talent Trust and Berkowitz scholarships as well as the Amici and New Hampshire vocal competitions having studied with renowned teachers Marlena Malas, Arthur Levy and Steven Crawford. Jason is very comfortable teaching all genres of music and voice to students of all ages and levels of experience.…Read More

One of Canada’s brightest prospective tenor stars, Jason has won numerous scholarships and competitions including the Hartt Talent Trust and Berkowitz scholarships as well as the Amici and New Hampshire vocal competitions having studied with renowned teachers Marlena Malas, Arthur Levy and Steven Crawford. Jason is very comfortable teaching all genres of music and voice to students of all ages and levels of experience. He is proficient and passionate about helping students prepare for exams, festivals, auditions and performances and a number of his students have gone on to pursue studies in music at top universities throughout North America such as The Glenn Gould School and The Berklee School of Music. When he is not teaching Jason is highly in demand as a performer of recital, concert and operatic repertoire most recently singing the lead role of Rodolfo in Opera Nova Scotia’s production of Luisa Miller and the lead role of Canio in Leoncavallo’s Pagliacci.  He was also recently freatured as a Co-Artist in residence for the 2013/14 Cecilia Concert series and was a featured vocal soloist with Symphony Nova Scotia for their 2014 Port of Wines festival.

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Jon-Paul Décosse

Jon-Paul Décosse, “a powerful, full-throated bass-baritone” (Opera Canada), has been heralded for both his vocal and dramatic presentations in a variety of operatic and concert repertoire. Born in Ontario, he is an alumnus of the Canadian Opera Company Ensemble Studio, Canada’s premiere training program for young opera professionals. During his final season as an Ensemble member, Mr.…Read More

Jon-Paul Décosse, “a powerful, full-throated bass-baritone” (Opera Canada), has been heralded for both his vocal and dramatic presentations in a variety of operatic and concert repertoire. Born in Ontario, he is an alumnus of the Canadian Opera Company Ensemble Studio, Canada’s premiere training program for young opera professionals. During his final season as an Ensemble member, Mr. Décosse performed the roles of Sciarrone in TOSCA, Don Juan in Janáček’s FROM THE HOUSE OF THE DEAD, and Pasquariello in Gazzaniga’s DON GIOVANNI. Most recently he was seen as Zaretski in EUGENE ONEGIN at Edmonton Opera and Wurm in LUISA MILLER with Opera Nova Scotia.

Highlights of the 2013-2014 season include the role of Pistola in FALSTAFF for Opera Hamilton, Zaretski in EUGENE ONEGIN for Edmonton Opera, Wurm in LUISA MILLER for Opera Nova Scotia and he will join the Thunder Bay Symphony for Haydn’s moving, MASS IN TIME OF WAR. Other performances have included Schaunard in LA BOHEME for the Canadian Opera Company and for Calgary Opera, Buonafede in Haydn’s IL MONDO DELLA LUNA for Opera in Concert, Papageno in DIE ZAUBERFLÖTE with Opera New Brunswick, Don Alfonso in the COC’s Ensemble production of COSI FAN TUTTE, Beethoven’s Symphony No. 9 for the Thunder Bay Symphony, MESSIAH with the Guelph Chamber Choir, Sam in TROUBLE IN TAHITI in the Richard Bradshaw Amphitheatre and Colline in BOHEME for both Opera Hamilton and Edmonton Opera.

Busy across Canada, Mr. Décosse has appeared as Marullo in RIGOLETTO for both Pacific Opera Victoria and Orchestra London Canada, Thierry and the First Officer in Vancouver Opera’s production of Poulenc’s DIALOGUES DES CARMÉLITES, and Charles in Allan Bell’s TURTLE WAKES for Calgary Opera.

As a graduate of the University of Toronto Opera Division, he performed the roles of Mr. Peachum in Benjamin Britten’s setting of THE BEGGAR’S OPERA, Melisso in Handel’s ALCINA, Don Alfonso in Mozart’s COSÌ FAN TUTTE, Superintendent Budd in Britten’s ALBERT HERRING, and the title character of Donizetti’s DON P ASQUALE.

Also no stranger to the concert stage, he has appeared as a guest artist in such works as

Haydn’s DIE SCHÖPFUNG (The London Singers), Handel’s MESSIAH (Haliburton Messiah Choir), Duruflé’s REQUIEM (University of Toronto Symphony Orchestra), and a variety of Bach Cantatas (London Choral Guild, International Bach Festival).

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Suzanne Rigden

Canadian soprano Suzanne Rigden is establishing herself on the International stage with her “remarkable gift for stratospheric coloratura” and “comic genius”, as evidenced in her “dazzling” performance in the Quarter-Finals of the Montreal International Voice Competition 2015 and her summer recitals as a Tanglewood Music Fellow. She recently “stole the stage” in the role of Adele in DIE FLEDERMAUS with Vancouver Opera, where Opera Canada said “Suzanne Rigden brought an agile and graceful coloratura as well as an impish coquettishness to the role of Adele and played her as a delightfully shrewd and feisty survivor to win huge audience empathy and applause at curtain.” Opera World described “her effervescent approach and her strong and confident singing of the most difficult coloratura parts.”

Suzanne Rigden also performed Adele with Maritime Concert Opera, Zerlina in DON GIOVANNI with Opera Nova Scotia, Elvira in L’ITALIANA IN ALGERI with Opera Company of Middlebury, Vermont, Queen of the Night in LA FLÛTE ENCHANTÉE with FestivalOpéra de Saint-Eustache, and Zerbinetta in ARIADNE AUF NAXOS with Pacific Opera Victoria, and Blondchen in DIE ENTFÜHRUNG AUS DEM SERAIL with the Ann Arbor Symphony.

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Canadian soprano Suzanne Rigden is establishing herself on the International stage with her “remarkable gift for stratospheric coloratura” and “comic genius”, as evidenced in her “dazzling” performance in the Quarter-Finals of the Montreal International Voice Competition 2015 and her summer recitals as a Tanglewood Music Fellow. She recently “stole the stage” in the role of Adele in DIE FLEDERMAUS with Vancouver Opera, where Opera Canada said “Suzanne Rigden brought an agile and graceful coloratura as well as an impish coquettishness to the role of Adele and played her as a delightfully shrewd and feisty survivor to win huge audience empathy and applause at curtain.” Opera World described “her effervescent approach and her strong and confident singing of the most difficult coloratura parts.”

Suzanne Rigden also performed Adele with Maritime Concert Opera, Zerlina in DON GIOVANNI with Opera Nova Scotia, Elvira in L’ITALIANA IN ALGERI with Opera Company of Middlebury, Vermont, Queen of the Night in LA FLÛTE ENCHANTÉE with FestivalOpéra de Saint-Eustache, and Zerbinetta in ARIADNE AUF NAXOS with Pacific Opera Victoria, and Blondchen in DIE ENTFÜHRUNG AUS DEM SERAIL with the Ann Arbor Symphony. She returned to Victoria as soloist with Victoria Symphony’s Viennese New Year’s, and will play Tytania in Brittens A MISUMMER NIGHT’S DREAM in April. Suzanne returned to her gilbert adn Sullivan roots in a fun debut as Mabel in Pirates of Penzance in Saint Jakobs, Ontario. Critics underline Suzanne’s magical performances and character portrayal. Opera Canada wrote, ​”… the sassy Zerbinetta (soprano Suzanne Rigden, who nailed the high E), … could give classes in how to sing well while bringing a character to life with a gesture or a glance.”

A graduate of l’Atelier lyrique de l’Opéra de Montréal, Suzanne Rigden made a glorious Montreal Opera debut in the role of Sophie in WERTHER, and participated in a tour of Quebec with their show of opera favourites called ALEACANTO. Suzanne also appeared in Montreal Opera’s productions of RIGOLETTO, TOSCA, and DIE ZAUBERFLÖTE, covering Queen of the Night while performing First Spirit. She also sang Gertrude in André Gagnon’s NELLIGAN, produced by Atelier lyrique.

Recent seasons have included a tour of CARMEN as Frasquita with Jeunesses Musicales du Canada, a role she also played in Czech Republic, Blondchen with Opera Nova Scotia, and a return to Merola Opera Centre in San Francisco as Lady with a Hand Mirror from POSTCARD FROM MOROCCO and cover of Serpetta in LA FINTA GIARDINIERA. She performed the role of Morgana in ALCINA with the Pocket Opera of New York and was widely acclaimed by San Francisco critics for her Rosina in IL BARBIERE DI SIVIGLIA with the Merola Opera Program. Suzanne Rigden sang Asprano in MONTEZUMA with Ensemble Caprice at the Montreal Baroque Festival, and Fire and Nightingale in L’ENFANT ET LES SORTILÈGES with ICAV Montréal. 

Suzanne Rigden has performed internationally, including Mozarteum in Salzburg, Austria, and l’Académie internationale de musique française Michel Plasson in France. In Tel Aviv, Israel, she played the role of Marie in LA FILLE DU RÉGIMENT with the International vocal Arts Institute (IVAI), and has recently returned from a successful Eternal Classic Opera Tour of 14 cities in China. Suzanne has participated in several international competitions, winning First Place and the Audience Choice award in the 2015 National Opera Association Voice Competition, Artist division, in North Carolina. She delighted the audience in her quarter-finalist recital in the Montreal International Voice Competition 2015, was semi-finalist at the International Singing Competition in Marmande (France), semi-finalist in the Ningbo International Vocal Competition (China), and finalist and winner of Second Prize, Audience Award, and an Audition for Regio de Torino in Spazio Music (Orvieto, Italy) 2009 and 2014. Suzanne received the Award for a Canadian at the George London Competition in New York in 2012, as well as the Encouragement Award in 2010. She received two Hariclea Darclée Michael Buruiana awards, two Jacqueline Desmarais Foundation awards, and both the Audience Appreciation and First Encouragement Awards at the Regional MET Auditions Competition in Seattle, WA. 

In concert, Suzanne has been heard with the San Francisco Opera Orchestra, Orchestre Metropolitain du Grand Montréal, Ensemble Caprice, Orchestre Symphonique de Montréal, Orchestre Symphonique des Jeunes de Montréal, Orchestra London, Symphony Nova Scotia, Newfoundland Symphony, Teplice Symphony, Czech Republic, and Victoria Symphony.

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Nina Scott-Stoddart

"Performer, director, producer and educator Nina Scott-Stoddart is a passionate advocate for making performance accessible to people of all ages and backgrounds. Originally from Toronto, Nina moved to Lunenburg, NS in 2002. In Toronto Nina co- founded Opera Anonymous, which produced over 20 well-reviewed works in its eight year history. "Since relocating to Lunenburg, Nova Scotia, in 2002, Nina founded Maritime Concert Opera, which is enjoying a successful eleventh season with over 21 productions to date.…Read More

“Performer, director, producer and educator Nina Scott-Stoddart is a passionate advocate for making performance accessible to people of all ages and backgrounds. Originally from Toronto, Nina moved to Lunenburg, NS in 2002. In Toronto Nina co- founded Opera Anonymous, which produced over 20 well-reviewed works in its eight year history.
“Since relocating to Lunenburg, Nova Scotia, in 2002, Nina founded Maritime Concert Opera, which is enjoying a successful eleventh season with over 21 productions to date. Nina directed opera for a number of groups in Toronto, and since moving to NS has worked for Opera Nova Scotia, Dalhousie Opera Workshop, Acadia University’s Singing Theatre Production Ensemble and DGM Productions version of RENT.

In 2005 she founded Halifax Summer Opera Workshop, and has stage directed HSOF’s productions of Cosi fan tutte, Don Giovanni, Handel’s Giulio Cesare and Menotti’s The Consul, Floyd’s Susannah, Offenbach’s Les contes d’Hoffmann and Orpheus in the Underworld, Britten’s A Midsummer Night’s Dream and Sondheim’s A Little Night Music as well as overseeing all production details for all shows for the first seven years. For MCO Nina has directed Amahl and the Night Visitors, and for the Yorkshire Opera Workshop she has directed Dido and Aeneas and Gilbert and Sullivan’s Iolanthe.

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Andrew Tees

Baritone Andrew Tees is one of the most dynamic singers of his generation. Blessed with a rich baritone, he is at home whether singing opera, oratorio, pops, or music theatre. On the operatic stage Tees has performed for companies such as the Canadian Opera Company, Pacific Opera Victoria, Cleveland Opera, Opera Lyra Ottawa, Edmonton Opera, Manitoba Opera, Vancouver Opera, Opera Ontario and Opera York, singing roles such as the title roles in both Nozze di Figaro and Don Giovanni(Mozart), Silvio in I Pagliacci (Leoncavallo), Escamillo in Carmen (Bizet), Sonora in La Fanciulla del West (Puccini), Marcello in La Boheme (Puccini), ,Danilo in The Merry Widow(Lehar), Monterone in Rigolett , Figaro in Barber of Seville, the title role in Puccini’s Gianni Schicchi, among others.…Read More

Baritone Andrew Tees is one of the most dynamic singers of his generation. Blessed with a rich baritone, he is at home whether singing opera, oratorio, pops, or music theatre.

On the operatic stage Tees has performed for companies such as the Canadian Opera Company, Pacific Opera Victoria, Cleveland Opera, Opera Lyra Ottawa, Edmonton Opera, Manitoba Opera, Vancouver Opera, Opera Ontario and Opera York, singing roles such as the title roles in both Nozze di Figaro and Don Giovanni(Mozart), Silvio in I Pagliacci (Leoncavallo), Escamillo in Carmen (Bizet), Sonora in La Fanciulla del West (Puccini), Marcello in La Boheme (Puccini), ,Danilo in The Merry Widow(Lehar), Monterone in Rigolett , Figaro in Barber of Seville, the title role in Puccini’s Gianni Schicchi, among others.

A frequent guest of Maritime Concert Opera, Andrew is looking forward to singing Tonio in I Pagliacci this season. His other roles for them include Scarpia (Tosca), Marcello (Boheme), Escamillo (Carmen), Germont (Traviata), For Toronto’s Opera by Request Andrew has performed Golaud in Pelleas et Melisande as well as Wotan in RheingoldDie Walkure & Siegfried. While a member of the Canadian Opera Company’s Ensemble Studio Tees made frequent appearances on the main stage. He won praise for the as Tarquinius (Rape of Lucretia), Donald in Billy Budd, Sonora in La Fanciulla del West, as well as Fiorello in Il Barbiere di Siviglia. While with the COC he covered many roles including Marcello, Belcore, Don Giovanni, Figaro, Billy Budd, and Krusina. With the COC Ensemble he sang Papageno in their Magic Flute tour and Peter in their Hansel and Gretel tour. Since leaving the Ensemble Studio Andrew has returned to the COC to sing several roles including the Mill Hand in Lady McBeth of Mtstensk and Marquis D`Aubigny in La Traviata.

This spring Andrew performs Tevye in the Westben Festival’s Fiddler on the Roof. He was a swashbuckling Pirate King for Cleveland Opera. Andrew won rave reviews as Private Willis for Toronto Operetta Theatre’s Iolanthe. His other Gilbert and Sullivan roles include Pooh bah (Mikado) and Giuseppe (The Gondoliers) both for Montreal’s Savoy Society. Andrew played Old Bill in Rogers and Hammerstein with Hart for Hamilton’s Theatre Aquarius. He played Karl Magnus for Second Company’s A Little Night Music, other theatrical roles include Sky Masterson (Guys and Dolls) Lun Tha (The King and I) Maximillian (Candide). For Bravo Television he recorded an Evening with Cole Porter, while his film credits include John Masterson in Film 4’s True Blue and Polar Bear in Masato Harada’s Rowing Through. For Ensemble Tryptych Andrew has sung tributes to the music of Frank Sinatra, Bing Crosby and Stephen Sondheim.

Andrew’s engaging and natural ease with an audience makes him a favourite on the pops stage. He has sung pops with the Toronto Symphony, the National Arts Center Orchestra, Canadian Opera Company Orchestra, Windsor Symphony, Oakville Symphony, Thunder Bay Symphony, Hamilton Philharmonic, Oshawa Symphony, and Guelph Symphony to name but a few.

No stranger to debuting new works, Tees has premiered Ian McAndrew’s Cassandra for Amphion Opera. He sang the role of the unprincipled Oil Executive Walter Swenson in Isa Suarez’ Carpe Diem for Bravo Television. He played Gandalf in Dean Burry’s The Hobbit with the Canadian Children’s Opera Chorus. For the Stratford Summer Music Festival he depicted a tyrannical Claudius in the Premier of Mark Richard’s Hamlet. He was a Madrigalist in Henze’s Venus und Adonis for the Canadian Opera Company, a role he repeated at Amsterdam’s Concertgebou. He made a sympathetic Stash in the North American premiere of And the Rat Laughed by Israeli composer Ella Milch-Sheriff.

Andrew revisits Mendelsohn’s Elijah this spring with the Georgian Bay Concert Choir. Passionate about oratorio, Andrew has had the pleasure of singing with many choirs and orchestras across the country. He has received praise for his interpretation of Verdi’s Requiem, Orff’s Carmina Burana, Handel’s Messiah, Saul, and Solomon Brahms’ Requiem, Durufle’s Requiem, Mendelssohn’s St Paul, Faure’s Requiem. He has sung several works of Haydn: The CreationThe Seasons, Mass in a Time of War and the Lord Nelson Mass. Andrew has performed the haunting Five Mystical Songs as well as the Fantasia on Christmas Carols, both by Vaughan Williams. He has performed as soloist in Beethoven’s Ninth Symphony and Mass in C. He has also sung the Jean Gilles’ Requiem and Howard Goodal’s Eternal Light Requiem.