Tracy Cantin, who played Elektra’s sister, absolutely stole every scene she was in. It was more than just her glistening, bright voice—it was the emotive and descriptive passion that simply exuded from every line that she sang. Coupled with her very convincing and engaged physical performance, Tracy Cantin was the absolute highlight of the entire evening.
Soprano Tracy Cantin, as Elektra’s younger sister Chrysothemis, was making her Canadian opera debut. What a splendid voice she has, essentially lyrical, but with the power to effortlessly soar over Strauss’ heavy orchestration. She matches that with strong character acting, with such telling touches as the subtle cradling of her arms early on, long before we hear of
her obsession of being a mother.
Tracy Cantin used her clear, powerful and sumptuous soprano in “Chi il bel sogno di Doretta” from Puccini’s La Rondine. This role suits her voice like a velvet glove! Cantin and Puccini are a perfect fit!
Ryan Opera Center alumna Tracy Cantin as Brunnhilde is a powerful-voiced soprano and wonderful comedian
OK, maybe that didn’t actually bring events to a halt. But this did: soprano Tracy Cantin’s entrance from somewhere at the back of the room, Lyric’s intimate rehearsal hall, singing the Valkyrie Brünhilde’s famous battle-cry aria “Ho jo to ho!” Whoa, the genuine article had just arrived – a huge, ringing, glorious voice. Cantin is an alumna of the Lyric’s Ryan Opera Center,
and a stunning credit to the program she is.
CHICAGO ON THE AISLE
Tracy Cantin, a recent alumna of Lyric Opera’s Ryan Opera Center, who not only possesses a spectacular voice, but has the exuberant comic chops for this work, and sets it on fire.
The cast consists of a half dozen flawlessly funny Second City veterans and a pair of operatic singers, soprano Tracy Cantin and bass Jonah D. Winston, so accomplished onstage that until they let loose with the megavoices you can't distinguish them from the sketch and improv masters.
Soprano Tracy Cantin is already a fully formed singer who has it all – agility, power and dazzling coloratura. She infused drama and urgency into the duet, ‘Soli noi siamo,” from Gaetano Donizetti’s “Lucrezia Borgia,” providing a fiery conclusion to the first half. And if that were not enough, she returned for a recitative and aria from Charles Gounod’s “Romeo and Juliet,” nailing them as well.
Canadian soprano Tracy Cantin swept audiences with her
gentle rendition of 'Song to the Moon'
HIGHLAND PARK LANDMARK
Duets from the Donizetti opera "Lucrezia Borgia" demonstrated the shining professional potential of Tracy Cantin, a third-year [Ryan Opera Center] soprano, and Richard Ollarsaba, a second-year bass-baritone . . Cantin is a singer who has what opera people call the entire package – vocal and physical allure, with interpretive intelligence and stage presence to boot.
Cantin inspired a torrent of applause for her lustrous account of
Juliette's Act 4 aria from Gounod's "Romeo et Juliette."
Tracy Cantin summoned a full, gleaming laser-beam of sound, and just the right stoic poise, for the finale [of Danielpour's Darkness in the Ancient Valley].
Soprano Tracy Cantin is a veteran of power and artistry in the Ryan program, and her 'Allerseelen' (All Soul’s Day) and 'Frühlingsfeier' (Spring Festival)
brought down the house barely a quarter of the way into the evening.
Canadian soprano Tracy Cantin was spellbinding in Cressida’s recitative and aria from William Walton’s rarely presented 1954 “Troilus and Cressida”, a total performance vocally, physically, emotionally.
Cantin, a Canadian-born singer of poise and musicality, threw herself into an aria from Walton's
"Troilus and Cressida"
with such magnetic intensity as to win a roaring ovation.
I feel especially compelled to praise Tracy Cantin as the maid Berta:
so great was her finesse and projection... certainly a name to watch from now on!
Bryn Terfel opened the vocal section with stentorian command,
finding a worthy challenge in Tracy Cantin's mobile soprano.
SYDNEY MORNING HERALD