"Stephanie Tritchew as Stephano brought all the necessary playful comedy and vocal elan needed for her solo, a memorable spot in the production."
"Stephanie Tritchew was fun, and even coquettish, in the trouser role of Stéphano—a remarkable success, in what can come off as an awkwardly-inserted mezzo-soprano role."
"Stephanie Tritchew is Rosina incarnate, a spicy, likable mix of girlish and old-soul, and with all the street smarts that help free Rosina from her house-arrest-type life with Dr. Bartolo. Hers was the best singing of the night; I haven't seen Tritchew in a role like this before, and it was exciting to hear the crystal-clear coloratura and fun abandon of Rossini's writing fit her like a glove."
"Rosina, the fireball beauty who’s caught the Count’s eye as well as her guardian Doctor Bartolo’s, is performed by mezzo-soprano Stephanie Tritchew. In “Una voce poco fa,” she shines in both voice and her admission of love for Lindoro, while still holding on to what independence she has."
"Mezzo-soprano Stephanie Tritchew totally lived up to expectations. A true mezzo, she sang with solid, attractive tone and brought out the vixen-like quality of Rosina. While her lowest notes could use a bit more solidity, she possesses a fine and free upper register, and her show-stopping “Una voce poco fa” was scintillating."
"Stephanie Tritchew is an attractive Rosina. She moves well and handles the intricacies of the big arias with great assurance."
"Mezzo-soprano Stephanie Tritchew appears as Rosina, singing with great warmth and luminosity, strength and centeredness. Rossini’s glorious Una voce poco fa (“The voice I heard just now”) is given gorgeous expression, but it is her tripping, double quick coloratura duet with Figaro, Dunque io son (“Then it is I”), that truly impresses. Together, Tritchew and Kirby dazzle."
"This is a solid cast, and particularly exciting are Ms. McIntosh and Ms. Tritchew, two alumnae of Calgary Opera’s Emerging Artist Development Program and both young singers to watch."
"Stephanie is a young vocal artist of impeccable musicality, innate sensitivity and passionate presence."
"Stephanie gives an outstandingly mature performance as an old woman... who is now losing her faculties."
"Mezzo Stephanie Tritchew and bass-baritone Giles Tomkins gave voice to [Mabel Bell's] parents most impressively."
"Fine performances from all four singers with... Stephanie Tritchew flirtatiously displaying her considerable charms..."
"Stephanie Tritchew fit in as Mercedes as if she had been singing the role all along."
"Her glorious mezzo-soprano both soars and plumbs her extensive range with ease and agility."
"Stephanie Tritchew came close to stealing the show as Nancy. She has a lovely voice and found an emotional depth in the role..."
"Mezzo Stephanie Tritchew was beautifully tragic and not-quite-right, and we were immediately 'on her side'."
"Stephanie Tritchew as Lucienne... sang and acted with remarkable confidence and energy."
Mezzo-soprano Stephanie Tritchew is a graduate of the Yulanda M. Faris Young Artist Program at Vancouver Opera and the Emerging Artist Program at Calgary Opera. She holds an Opera Diploma from the University of Toronto Opera School where she studied under the tutelage of Wendy Nielsen, as well as a BMus and MMus from the University of Western Ontario.
Operatic roles include: Lucienne (Die tote Stadt), The Child (L’enfant et les sortilèges), Mercédès (Carmen), Madeleine Audebert (Silent Night), Nancy (Albert Herring), Mrs. Grose (Turn of the Screw), and Cherubino (Le nozze di Figaro). On the concert stage, Stephanie has performed the Bach Mass in b minor and Handel’s Messiah with Chorus Niagara, and was a Sidgwick Scholar with the Orpheus Choir of Toronto.
Stephanie is a contemporary music enthusiast and was a semi finalist in the 2014 Eckhardt Gramatté competition. She is also a member of The Bicycle Opera Project, a company that aims to bring Canadian contemporary opera to communities across Ontario.
Stephanie was a member of the Gerdine Young Artist Program at the Opera Theatre of Saint Louis for the 2016 and 2017 seasons. During her time there, she performed Butterfly’s Aunt in Madame Butterfly, covered Grandma and Mae in The Grapes of Wrath and covered the Mystic Blindwoman in the world premiere of Shalimar the Clown. She also performed in two “Center Stage” concerts with Maestro Stephen Lord and the St. Louis Symphony.
Stephanie’s 2017 season saw her debuts with Edmonton Opera as the Third Maid in Elektra and with Tapestry Opera as Birgitta in Bandits in the Valley. She also performed the role of the Union Organizer in the Canadian premiere of Sweat with The Bicycle Opera Project.
Most recently, Stephanie covered Olga in Eugene Onegin at Vancouver Opera, sang The Friend in Requiem for a Lost Girl with the Vancouver Opera Festival, and debuted with the Vancouver Symphony Orchestra under the baton of Maestro Bramwell Tovey. This season, she makes a company and role debut performing Rosina in Il barbiere di Siviglia with Opera 5, and returns to Calgary Opera where she will appear as Stéphano in Roméo et Juliette.
February 1, 4, 7, 2020
Cherubino
Edmonton Opera
Edmonton, AB, Canada
More InfoMay 9, 2020
Alto Soloist
Regina Symphony Orchestra
Regina, SK, Canada
More InfoJune 5-9, 2019
Julia/Mother
Buddies in Bad Times Theatre
Toronto, ON, Canada
More InfoNovember 14, 15, 16, 2019
Mother
Opera Kelowna
Kelowna, BC, Canada
More InfoFebruary 2018
Molly/Nephythis/Tahamet
Vancouver Opera in Schools
Vancouver, BC, Canada
More InfoMay 4, 6, 2018
Friend
Vancouver Opera
Vancouver, BC, Canada
More InfoMay 13, 2018
Alto Soloist
Vancouver Symphony Orchestra
Vancouver, BC, Canada
More InfoDecember 9, 2018
Alto Soloist
Quinte Symphony and the Belleville Choral Society
Belleville, ON, Canada
More InfoMay 20, 26, June 1, 3, 7, 11, 14, 24, 2017
The Aunt
Opera Theatre of St. Louis
St. Louis, MO, USA
More InfoMay 27, 31, June 9, 15, 17, 21, 25, 2017
Granma/Mae (cover)
Opera Theatre of St. Louis
St. Louis, MO, USA
More InfoRequiem For A Lost Girl is based on a true story about a friend I lost to the street when I was 15 years old. In the span of six months, she found herself homeless, addicted to drugs and working in the sex trade to survive.
Her training is rooted in opera and classical music, yet she uses her skills to... “This flare of social activism in art is awesome,” Tritchew says.
From cycling across the east coast of Canada with The Bicycle Opera Project to taking the more formal stages of Calgary Opera and Opera Theater of Saint Louis, rising mezzo-soprano Stephanie Tritchew is a versatile, smart young artist.
By ripple effect, Stephanie Tritchew, also from the Emerging Artists Program, was parachuted into the role of Mercedes, virtually without stage preparation... Tritchew fit in as Mercedes as if she had been singing the role all along.
Shadow Box is not to be missed, and I'll tell you about a few of my highlights. Cecilia Livingston's The Yellow Wallpaper is an eerie story of a woman's struggle with mental illness, and her husband who struggles to understand her. Mezzo Stephanie Tritchew was beautifully tragic and not-quite-right, and we were immediately 'on her side.'
The smaller parts, sung by Stephanie Tritchew, Robert Clark, Aaron Dimoff, David Diston, and Kevin Meyers — all from the Emerging Artists Program — were also sung with conviction and were dramatically well integrated into the performance as a whole. Alain Coulombe was a strongly sung, entirely credible French General.
Special mention should be made of the young singers who together comprised the theatrical players. Local singers, at least for the moment, they worked beautifully together to create the special world of fantasy in Paul’s mind. In brief mention, they included Chelsea van Pelt as Juliette, Stephanie Tritchew as Lucienne, Kevin Myers as Gaston and Victorin, Jason Ragan as Count Albert — all of whom sang and acted with remarkable confidence and energy.
Stephanie Tritchew came close to stealing the show as Nancy. She has a lovely voice and found an emotional depth in the role that seemed almost out of place in this somewhat caricature like comedy but which was, nonetheless, very affecting. The small orchestra sounded terrific too and the whole performance was more than competently directed by Leslie Dala.
