缅北强奸

Mezzo-soprano Simone McIntosh (MMus 鈥�17) won the second annual 听Wirth Vocal Prize in 2017. Born in Vancouver, McIntosh first received her Bachelor of Music in Opera from the University of British Columbia, and later completed her Master of Music here at Schulich with Dominique Labelle. Noted for her 鈥渟heer vocal agility and lovely rich sound鈥� (Vancouver Sun), she has appeared as a soloist with several orchestras across Canada, including the Vancouver Symphony Orchestra, the Canadian Opera Company, and the Windsor Symphony Orchestra. In addition to the听Wirth Vocal Prize, McIntosh has triumphed in several competitions, such as the COC Ensemble Competition in 2016 and the Ottawa Choral Society New Discoveries Competition in 2018. In 2017, McIntosh was listed as one of CBC鈥檚 鈥�30 Hottest Classical Musicians Under 30鈥�. Since leaving 缅北强奸, McIntosh has undertaken several opportunities in developing her career. She is currently an Adler Fellow at the San Francisco Opera (SFO) and is听a recent graduate of the Canadian Opera Company鈥檚 Ensemble Studio. We spoke听with Simone over email to see what she has been up to since winning the Wirth Vocal Prize and graduating from the Schulich School of Music.

Where are you currently based?

San Francisco as an Adler Fellow at the San Francisco Opera.

How has winning the Wirth Vocal Prize helped launch your career as a singer?

It was a huge part in me being able to undertake projects that really helped my development as an artist, and not have to be concerned about how I was going to make rent every month. An example being that I could go to Songfest in LA, and work with some of the best art song interpreters in the world. While I was there I performed a piece by John Harbison, who then hired me to perform the whole 50 minute work with chamber orchestra in Boston. That would not have been possible (or significantly more difficult) had I not had the means to attend Songfest.

What has been the most surprising thing about post-graduate life as a singer?

The transition into the professional world has been exciting and a huge learning opportunity. I've been fortunate enough to be a part of two young artist programs at the Canadian Opera Company and at San Francisco Opera that make for a smoother transition to being a full freelance opera singer. One thing I do miss from 缅北强奸 is the incredible team at 缅北强奸. Between my teacher Dominique Labelle, Patrick Hansen, Stephen Hargreaves and the person who inspired me to love art song, Michael McMahon, among so many other incredible educators, I have received such an incredible education and was thoroughly prepared for the professional and artistic challenges that were presented to me in my years after I graduated 缅北强奸. There is truly something inspiring being at 缅北强奸 and I look back at my degree with great fondness.

What is a moment from your time at Schulich that you will always remember, and why?

I think one of my favourite memories of something I did was when Opera 缅北强奸 did Bluebeard's Castle as a part of the B!nge festival. It was an amazing experience working on one of my favourite operas with Patrick, and being surrounded by six other very different experiences all within the span of 48 hours. I was blown away by some of the incredible art my colleagues were performing that same weekend, and thought that the ambitious festival was a huge success.

Which upcoming roles/performances are you most looking forward to?

One performance that's coming up this March in San Francisco that I can't wait to remount is Olivier Messaien's "Harawi". I am fully obsessed with this 50 minute art song cycle, and am thrilled to be performing it again! Messaien takes you on a wild journey into a very different sound world, and tells an abstract story akin to Tristan and Isolde. Other exciting performances are a feature with Chamber Music Society of San Francisco in performing the Respighi piece "Il tramonto" and Faur茅's "La bonne chanson". I'll also be heading to Toronto in late April for a new oratorio "Considering Matthew Shepherd" with Pax Christi. Exciting things this year!

What roles, projects, or milestones are on your wish list for the new decade?

I have been wanting to learn the woman in Schoenberg's Erwartung for years, and I'm hoping at some point that I can make that happen. I would also love to be working with more composers in 2020 and create some new Canadian content. Lastly, I would love to make a big move across the pond once I am finished my contract in San Francisco. I can't wait for a whole new decade of learning!

The fifth edition of the听Wirth Vocal Prize听will be taking place this听Sunday, February 9, 2020听at听2:30pm听in听Pollack Hall. Unable to attend in person? This event听will be听听on our YouTube channel!