Click here for more information and to get your copy of the album. REVIEWS: “A cogent introduction to an auspicious new voice. Munger not only explores rare Mozart repertory and performs it very well; she also wrote her own erudite and perceptive program notes.” - Opera News "Marie-Eve Munger’s new recording is a tour de force of scholarship and artistry. …and shaped them with shimmering virtuosity, all the while revealing in a young composer of astonishing accomplishment. […] Amid the pensive sentiments are contrasting episodes of fierce emotions and vocal pyrotechnics sung to the literal heights by Munger, a coloratura soprano who savors every challenging passage even as she caresses the dulcet phrases. She collaborates with the vibrant period-instrument ensemble Les Boréades de Montréal, as if on a mission - which of course, she most fervently is." – Gramophone "Marie-Eve Munger, qui a conçu cet ambitieux programme, le défend avec aplomb. Dès son premier air, la métaphore maritime lui permet d’abattre ses cartes et sa Constanza virtuose s’impose. Le charme, la coquetterie, l’ardeur juvénile sont là. Mais, c’est bien évidemment, dans les airs d’Aspasia et de Giunia que la soprano peut montrer l’étendue de ses moyens. La voix est longue, atteignant facilement les notes les plus élevées, le phrasé est rigoureux, et la technique suffisamment sûre, pour se lancer dans d’étourdissantes vocalises et affronter des feux d’artifices de notes piquées, trilles et autres ornements; et l’urgence des récitatifs ne lui échappent pas." – Opéra Magazine "Munger has an exquisite control of her light and clear soprano voice, and she responds keenly to the words and to shifts in harmony. I would say that she is among the most accomplished coloratura sopranos around right now. And among the best educated and most literate: she wrote the detailed and perceptive booklet-essay…" – Artfuse "Munger, already known as a skilled and musical Mozart interpreter, continues to impress… Throughout Maestrino Mozart, Munger’s voice is warm, her technique is flawless and the coloratura light and agile. Her attentive musicological research is shown in the intelligent and careful consideration with which she brings Mozart’s various characters and stories to life… Maestrino Mozart not only please Mozart enthusiasts, it is worthy of both discovery and further performance." – Whole Note "But this young Canadian soprano sings with such verve, musicality and technical accomplishment that I was quite stunned. Where she impressed most of all was in the three arias from Mitridate ; in Pallid‘ombre her intensive dramatic singing is a revelation. Glorious singing! Every Mozart fan should invest in this disc without delay." – Musicweb International "Munger’s soprano has bloomed and taken on added shades and allure. As the goddess of constancy, what sounded in 2012 like a virtuous, creamy tone has gained some heat and body… There’s never a dearth of Mozart recital albums, but Munger’s is a winning combination of curatorial intelligence and artistic conviction." – Van Magazine 12th on the 2022 list of favorite Canadian classical albums "Munger meets its challenges without batting an eye… A bonus: Munger's notes on the repertoire are fun and enlightening." – CBC "… this CD shows not only that Mozart was already a great composer at a young age, but also that Munger has a real Mozart voice. With a warm core and silvery contours, she shines with technical solidity and precision, agility and the power of her projection. The lightness of the coloratura is particularly impressive. In addition, there is an unerring creative imagination that gives character to the figures with many nuances and colors." – Pizzicato Luxembourg More information: For her second collaboration on the ATMA Classique label, soprano Marie-Eve Munger releases Maestrino Mozart, an album devoted to Wolfgang Amadeus Mozart’s rarely-heard arias composed between the ages of 10-16. Maestrino Mozart, out September 16, 2022, features Munger alongside Les Boréades de Montréal and conductor Philippe Bourque. It presents a program curated to contradict any assumption that Mozart’s earliest works are merely simple or juvenile through sparkling performances of a varied mix of repertoire, from the most charming pastoral to the most difficult bravura arias, and through dramatic and emotionally powerful works such as Mitridate and Lucio Silla. ​ “My own journey into this repertoire began at the start of my career, when I was lucky enough to be offered a role in Il sogno di Scipione in New York. I had thought I knew the composer a little, but quickly realized my ignorance when I learned that Mozart had written no fewer than eight dramatic works before he reached the age of 17! My curiosity was piqued. During the last few years, I have collected what I thought to be his most exceptional arias and recitatives for soprano, written between the ages of 10 and 16. I hope to take the audience on a musical journey to try to gain some insight into the development of this incomparable phenomenon.”

"This production was blessed with a trio of powerhouse leads, with Eleni Calenos’s Tosca winning our affections and admiration for her vocal focus (especially on the haunting aria “Vissi d’arte” (“I lived for art”)" – Santa Barbara Independent

"Michael Mayes, as Duke Bluebeard, expressed unconditional love and realness throughout his entire performance. His lush tone variety and flawless register shifts were magnificent. Mayes brought a lightness to Bluebeard as he cared for his sick wife but did not shy away from the bitter truth of being a caregiver. He let loose and expressed the frustration of his sorrowful monotony." – Operawire " From a musical standpoint, Mayes and Bullock both deserve top honors. While Bluebeard’s Castle lacks the wide ranging vocal virtuosity of more bombastic works, it is nevertheless an endurance match for the two leads who deliver the entirety of the sung material without rest for over an hour. The result was a performance that leaned heavily on measured restraint and an almost conversational vocal delivery that opened up to embrace larger dynamics only at the most critical of moments. That attention to subtlety also served to emphasize the newly emergent sentimental side of this unique production. . . At a brief talkback session after the performance, Mayes (joined by Bullock, Evans and Higgins) discussed his vision for “opera with a conscience,” the practice of making opera relevant to contemporary societal concerns. In tying Bluebeard’s Castle into the increasingly pressing matter of dementia, Mayes and company undoubtedly succeeded on that front." – Arts ATL

10.12.22 | CanvasRebel We were lucky to catch up with John Riesen recently and have shared our conversation below. John, thanks for taking the time to share your stories with us today We’d love to hear about a project that you’ve worked on that’s meant a lot to you. Last month, at the end of August, I had the great pleasure of joining a group on America’s Got Talent to perform for millions of people on national TV. Every step of the way was surreal, and like living out a dream! Together with tenor Daniel Emmet, and counter-tenor Patrick Dailey, the 3 of us sang the famous opera aria, “Nessun Dorma”, while our faces were transformed into the faces of Terry Crews, Simon Cowell, and Howie Mandel. The group was Metaphysic, who ended up taking 4th in the finals of America’s Got Talent... Continue reading

Elizabeth Askren 's TEDx talk is live and received 3k+ views in its first 24 hours! Comments from Elizabeth: ""Why Classical Music is the Wave of the Future" is the most urgent message I've ever written, and it's made with love for EVERYONE - #CEOs , #musicians , #politicians , #teachers , #artists , #techies , #parents , #administrators , #scientists , #students , #volunteers and so many more. In this TEDxZorilor Talk, I explore the ways in which you can use classical music to combat today's toxic combination of isolation, confusion, threatened ecology, polarized societies and virtual escapism. I can't wait to hear your feedback, and welcome conversations on how to Analog your Life!"

“Except that jealousy and art and passion are forever intermingled in celebrated singer Floria Tosca’s (Karen Slack) personality . . . It’s a game between the two, an affectionate squabbling that feels like a ritual. There’s real magnetism between Slack and Pomeroy, so much so that when Scarpia finally breaks Tosca and she forlornly sings the aria Vissi d’arte, you can’t help but be drawn in, as the Jubilee audience was on Saturday night, scattered shouts of “brava” erupting after. . . this is Floria’s gambit, and Slack is a wonder in the role. Any capsule review of her namesake opera will make it sound like a very bitter Ingmar Bergman going for broke; luckily there are many moments of humour and lightness, especially between Tosca and Cavardossi as they flirt, bicker and tenderly exchange vows of love.” – Edmonton Journal “Painter Mario Cavaradossi (David Pomeroy) and singer Floria Tosca ( Karen Slack ) are captivating to watch. . . Slack's Tosca is a force to be reckoned with, simultaneously portraying a woman in love and a fierce opponent to malevolent police chief, Baron Scarpia (Peter Barrett). Slack's emotive soprano voice especially shines in Tosca's soaring arias and in her heartfelt duets with Pomeroy.” – Broadway World “The piece is a showcase for soprano Karen Slack who brings extraordinary vocal skills, charm, and pathos to the role.” – OperaGene

Arizona Opera "The terrific mezzo-soprano Audrey Babcock goes by “Toledo,” a nickname from her commanding officer that stuck. She’s a loner, she tells the wounded soldier, the only girl in a family of military men whom she followed into the service and to the frontline. And while she puts on a tough facade, she’s deeply moved and impacted when her fellow soldiers sacrifice their lives during an enemy attack to save hers." – Arizona Daily Star Opera Carolina "Mezzo-soprano Audrey Babcock exuded intensity as Staff Sergeant First Class Toledo, steely and tough as her nickname, which figures into the boot camp segment of her aria." – Art on My Sleeve

"Perfectly cast in the title role, that of the wealthy young widow Hanna Glawari, was soprano Susannah Biller. Her Hanna was confident and bright comedically, appropriately sadder-but wiser in the ways of romance. Not surprising, though, one could barely wait for her vocal numbers which treated the audience to a deliciously attractive mid-range that soared and a beautiful clarity in her high notes. As noted previously, her “There lived a Vilja, a maid of the woods” was simply hypnotic. … partner in a romantic affair is the handsome and insistent Count Camille de Rosillon, sung by tenor John Riesen." – Arts Knoxville

"Flora Hawk brought a brightly textured, pealing soprano to Amelia, and proved herself a delightful actress." – Opera News

"Many, no doubt, realized they had just witnessed the best performance of the centuries’ old masterpiece they had ever seen. There is something that simply “feels right” about the entire vibrant production. . . Stephanie Havey directs the entire production in a manner that allows for no weak spots. The period costumes are delightful, as are the wigs, make-up, set designs, lighting – everything comes together as a well planned, well rehearsed, perfectly grouped ensemble, full of excellent individual accomplishments. . . As the comical pair of Dr. Bartolo and Marcellina, Ricardo Lugo and Helene Schneiderman were other singers making their local debuts. Both had the voices and comedic acting skills the roles require, and a bit more to make them shine brighter than usual. . . So if you think you’ve heard all there is to hear in Le Nozze di Figaro , you’d be doing yourself a favor by not missing this top-notch production." – On Stage Pittsburgh

“The other characters, Lawrence the lighthouse keeper, Tallen the pub owner, and Harvey, Lawrence's brother-in-law, were perfectly seaworthy as sung by Daniel Belcher, Paul Groves, and Luke Sutliff.” – Houston Press “Lawrence, the lighthouse keeper (Daniel Belcher)... brought dimension and fine voices to their supporting roles.” – Arts and Culture Texas

“The second surprise came from lead man Tyler Nelson, who, as Tamino, delivered his first lines in such a soft-spoken manner that my heart sank. Then he began to sing, asking the gods to deliver him from the demon, and my fear vanished with the pure, ringing – yes, heroic – voice of his tenor.” – Orlando Sentinel “Along with a stellar cast including. . . acclaimed tenor Tyler Nelson as Prince Tamino” – Park Ave Magazine