Andrew Greenwood, Baritone
“Another discovery was the Amonasro of Andrew Greenwood. The young baritone from Vancouver’s voice has a seductive texture. His focused but nevertheless round sound had sufficient power and at the same time creamy elegance. He was able to manipulate Aida with an extremely refined and beautiful vocal sound.” Das Opernglas, February 2011.
Recent engagements include: the role of Amonasro in Aida for the Stadttheater Hildesheim, and the Stadttheater Wolfsburg, Germany; Frank in Die Fledermaus for Vancouver Opera; Zuniga in Carmen and The Doctor in Samuel Barber’s Vanessa for Pacific Opera Victoria; the title role in Rigoletto for the Stadttheater Hildesheim; the roles of Prince Yamadori and The Imperial Commissioner in Madama Butterfly for Vancouver Opera; the title roles in Macbeth, and Nabucco, Enrico in Lucia di Lammermoor, and Germont in La Traviata for Vancouver’s Opera Pro Cantanti; the role of the Emperor in Der Kaiser von Atlantis for City Opera Vancouver; the role of Count Almaviva in Le nozze di Figaro for Opera Kelowna and for the 2006 Okanagan Vocal Arts Festival; Marcello in La bohème for UBC Opera, the 2005 Okanagan Vocal Arts Festival, and for Vancouver Island Opera; Figaro in Il barbiere di Siviglia for Vancouver Island Opera; Danilo in The Merry Widow for Burnaby Lyric Opera; and guest appearances with UBC Opera in the title roles of Falstaff and Eugene Onegin.
Additional Canadian credits include appearances with: Pacific Opera Victoria as King Alonso in Hoiby’s The Tempest, as both Morales and El Dancaïro in Carmen, Angelotti in Tosca, Monterone in Rigoletto, and Baron Douphol in La Traviata; Burnaby Lyric Opera as Figaro in The Barber of Seville, Dandini in Rossini’s Cinderella, Malatesta in Don Pasquale, and Peter in Hansel and Gretel; and UBC Opera as John Proctor in The Crucible, Smirnov in William Walton’s The Bear, and Peter in Hansel and Gretel. Andrew has also appeared with other opera companies in the Lower Mainland, such as Opera Breve, Western Concert Opera, and Modern Baroque Opera.
Also in demand as a concert and oratorio singer, Mr. Greenwood frequents such works as Carl Orff’s Carmina Burana, Handel’s Messiah, Mendelssohn’s Elijah, Mahler’s Lieder eines fahrenden Gesellen, Beethoven’s Choral Fantasy and Symphony No. Nine, Dvorák’s Stabat Mater, Saint-Saëns’ Christmas Oratorio, the Bach Passions, as well as the Requiems of Verdi, Mozart, Brahms, Fauré and Duruflé. Some of the organizations he has sung with include: Virginia’s Opera Roanoke Orchestra, the Vancouver Symphony, the Victoria Symphony, Vancouver Cantata Singers, the Prince George Symphony, the Vancouver Bach Choir, Festival Vancouver, the West Coast Symphony, the Kamloops Symphony, Sinfonia of the North Shore, the Chilliwack Symphony, the Okanagan Festival Singers, the Fraser Valley Symphony, the Vancouver Philharmonic Orchestra, and the Vancouver Island Symphony.
In 2001 Andrew performed the role of John Proctor in the Czech Republic premiere of The Crucible, by Robert Ward. He then went on to debut the roles of Escamillo in Carmen and Germont in La Traviata at the Prague State Opera. Additional European credits include: the roles of Marcello in La bohème for Opera Studio de Genève, Switzerland, and The Ferryman in Benjamin Britten’s Curlew River in Lausanne, Switzerland and Cuenca, Spain.
Jonathan Gagné, Tenor
Jonathan Gagné is a young lyric tenor who completed a master’s degree at McGill’s Schulich School of Music. He was a finalist at the CMC and recipient of a second prize at the “Relève musicale de Québec” competition.
At the Opéra de Québec, he sang the roles of “André Nault” (Louis Riel), “Borsa” (Rigoletto), and “Abdallo” (Nabucco). With other houses, he has been “The Philistine messenger” (Samson et Dalila) at the Opéra de Rimouski, as well as the “First priest” (Die Zauberflöte) and “Ruggiero” (La liberazione di Ruggiero) at Opera McGill. As for sacred music, Jonathan sang as a soloist in both Bach’s Magnificat and first Christmas Cantata in Saint-Hyacinthe, and in Mozart’s Requiem with Anima Musica, in Montreal. The young tenor also had the honour to be one of the soloists of the “Brigade lyrique” during the 2019 Festival d’opéra de Québec.
Most recently, Jonathan made his debut as “Rinuccio” in a critically acclaimed Gianni Schicchi by Puccini, in Vancouver, and sung “Lippo Fiorentino” in Opera McGill’s production of Street Scene by Kurt Weil.
In April 2022, he was the featured opera singer in a wildly successful variety show named “Les Carnavals du monde” in his hometown of Québec City.
This year, the young tenor will be “Strephon” in Iolanthe with the North Shore Light Opera Society, “Tamino” in The Magic Flute with the Crescendo Opera Society, and a soloist with the Vivaldi Chamber Choir.
Hailed as “sublime, with a beautiful resonant soprano full of colour” (Opera Canada), lyric soprano Robin Hahn has accrued credits all over the world, from Europe to New York to Disneyland. Previous performances include a toured production of Così fan tutte in the Netherlands; concerts across Germany singing excerpts as Violetta in La traviata and Antonia in Les contes d’Hoffmann with the Thüringer Symphoniker; and a Canadian national tour as a soloist with the Chinese Radio Broadcasting Orchestra. Her wide variety of past roles include Mother (Amahl and the Night Visitors); Tebaldo (Don Carlo); Lauretta, Nella and Ciesca (Gianni Schicchi); Musetta (La bohème); Frasquita (Carmen); and Norina (Don Pasquale). In the musical theatre arena, Robin’s previous roles include Laurey in Oklahoma!; Mrs. Nordstrom in Sondheim’s A Little Night Music; Meg in the Little Women musical (CTC Award winner, Best Supporting Actress in a Musical, 2015) and the soprano cover for the Music of the Night concert tours across BC and Ontario, performing favourites by Andrew Lloyd Webber. She is a winner of the Metropolitan Opera competition’s Encouragement Award 2015, and was a monetary award winner again in 2021.
Hahn is also an acclaimed stage director, with productions including Gilbert and Sullivan’s Iolanthe, Patience, Così fan tutte, Hansel and Gretel, Don Pasquale, Dido and Aeneas, and La serva padrona, which was hailed as “a masterpiece of controlled mayhem” (Review Vancouver). She will next direct The Magic Flute with Crescendo Operatic Society. In 2011, she co-founded Opera Mariposa, Canada’s only 100% openly disability-led and -run opera company, and has since become a respected disability advocate within the operatic community. She is also a fast-growing YouTuber and content creator, and has been awarded the Industry Catalyst Grant from CreativeBC and the City of Vancouver supporting her work creating fun, educational videos about opera and disability.
Moriah Wax is originally from Los Angeles, CA. She holds an MMUS in Opera Performance from The University of British Columbia and a BMUS in Vocal Arts from The University of Southern California.
She has performed with groups such as Vancouver Opera, USC Thornton Opera, UBC Opera, The Lee Strasberg Theater in Hollywood, Musiktheater Bavaria, Operafestival di Roma, G&S Society of UBC, North Shore Light Opera Society, Heroic Opera, and Westben Arts Festival Theatre.
Previous roles include Chancellor (Iolanthe), Knusperhexe (Hansel und Gretel), Jack’s Mother (Into The Woods), Waltraute (Die Walkure) Fillipyevna (Eugene Onegin), Mother (The Consul), Hippolyta (A Midsummer Night’s Dream), Cornelia (Giulio Cesare), Agricola (Eine Nacht in Venedig), Lady Toodle (The English Cat), Florence Pike (Albert Herring), and Mad Margaret (Ruddigore).