Elizabeth Veilleux, mezzo-soprano

Photography: Marc-Antoine Jean

Born in St-Georges-de-Beauce (Québec, Canada), mezzo-soprano Elizabeth Veilleux holds since 2012 her Master’s Degree in Classical Singing, which she obtained at the Université Laval. In the same year, she received the Patricia Poitras scholarship for obtaining the best grade at her final exam and was mentioned on the Superior Studies’ Roll of Honor. In 2010, she entered the Canadian Music Competition where she finished second in her category. She studied and still studies with her long-time teacher Patricia Fournier.

Elizabeth made her professional debuts in Europe during the summer of 2013 where she played the role of Flosshilde in a dutch avant-garde production of Richard Wagner’s Das Rheingold. The shows took place on a specially adapted boat accosting in various cities along the Rhine. She received the support of the Canadian Arts Council for this occasion.

Previously, she had participated in Opera NUOVA where she worked with directors Kelly Handerek and Kim Mattice Wanat and conductors Timothy Vernon and Rosemary Thomson. She had the chance to play the roles of Ježibaba (from Antonín Dvořak’s Rusalka), Dryade (from Richard Strauss’s Ariadne auf Naxos) and Florence Pike (from Benjamin Britten’s Albert Herring).  The mezzo-soprano also sang the role of the Dritte Dame in a production of Wolfgang Amadeus Mozart’s Die Zauberflöte at the Accademia Europea Dell’Opera, directed by Timothy Nelson and conducted by Simone Luti. She also played many times in the Université Laval’s Opera Workshop, singing the roles of Madame Flora (Gian Carlo Menotti’s The Medium) as well as Zita and La Zia Principessa (Giacomo Puccini’s Gianni Schicchi and Suor Angelica), under the direction of Jacques Leblanc and the musical direction of Michel Ducharme. Finally, she had the pleasure to work with director Carol Castel on the role of Olga in excerpts from Piotr Ilyich Tchaikovsky’s Eugene Onegin and with Fanny Gilbert-Collet for the role of Tituba in Robert Ward’s opera The Crucible.

Passionate about contemporary music, she is part of the Ensemble Lunatik’s founding members. This flourishing ensemble from Québec works in the new music area and aims at inaugurating on stage the productions of up-and-coming composers. She participated in the creation of the works of Ariane Nantel, Marie-Pier Brasset, Patrick Giguère, Arnaud Korth and Bin Li. In 2012, in order to celebrate the hundredth anniversary of the creation of Arnold Schönberg’s Pierrot Lunaire, the mezzo-soprano, accompanied by the Ensemble Lunatik, performed the piece in its entirety.

Since December 2012, she participates actively in the Chœurs de l’Opéra de Québec. Recently, we heard her in the quartet of choristers serving as a choir in the 2014 production of Maurice Ravel’s L’Enfant et les Sortilèges as well as in the Brigade Lyrique during the 4th Festival d’Opéra de Québec. She has also taken part in the Concert Romantique de la Relève, the Concert Anniversaire Verdi-Wagner and in Wagner à l’Apéro, all of which were produced by the Tempêtes et Passions organization.

During the last season of the Opéra de Québec, she performed the role of Manon in F. Lehár’s La Veuve Joyeuse as well as the Shepherd in G. Puccini’s Tosca. For the next season, she will be seen as the Third Lady in W. A. Mozart’s Die Zauberflöte.

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“Mezzo-soprano Elizabeth Veilleux also distinguished herself by singing, with a velvety voice, the Traüme lied, from the Wesendonk Lieders. Sensitivity and emotion tainted this remarkable performance.”

Daniel Turp on Wagner à L’Apéro, Blogue Lyrique, 09-08-2014

“Really beautiful singing can be heard on this evening very often: [...] the bustling Rhine-daughters – Simone van Lieshout, Ellen van Beek and Elizabeth Veilleux – do so in their solos and as a trio.”

Opernnetz.de, 05-07-2013

“Elizabeth Veilleux, mezzo-soprano, upheld the vocal part with aplomb.”

Justine Pomerleau on the Pierrot Lunaire, Impact Campus, 20-11-2012

“[As Ježibaba], Elizabeth Veilleux had the [expected] charisma as empowerer and destroyer […]”

Bill Rankin, Opera Canada, Fall 2011, Volume LII

Agenda

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