Frédérique Vézina​

Soprano, Voice teacher, Co-director of the France-Canada Academy of Vocal Arts (FCAVA)

Celebrated for her warm voice and sense of dramatic immediacy, soprano Frédérique Vézina has distinguished herself on concert and opera stages in Canada and abroad. Following her Voice Studies at McGill University, in Montreal, she is invited to join the Canadian Opera Company’s Ensemble Studio in 2002. Subsequently, she becomes a member of the Juilliard Opera Centre at the world-renowned Juilliard School, in New York. The importance of her work alongside important mentors and leaders in the fields of opera, artsong and stagecraft are undeniably at the heart of her teaching today.

Frédérique Vézina enjoyed a significant platform from a young age, singing notable roles such as Mimì (La Bohème), Tatyana (Eugen Onegin), Ellen Orford (Peter Grimes), Contessa (Le nozze di Figaro), Donna Elvira (Don Giovanni), Fiordiligi (Così fan tutte), Micaëla (Carmen), Governess (The Turn of the Screw), Wellgunde (Das Rheingold) and the Merry Widow. In 2010, she was privileged to become composer John Estacio’s first Lillian Alling in the world premiere of his opera of the same name.

Throughout her career, Frédérique Vézina has had the pleasure of collaborating with renowned conductors, such as Richard Bradshaw, James Conlon, Hans Fricke, Jacques Lacombe, Kent Nagano, Bernard Labadie, and Yannick Nézet-Séguin, to name a few.

Today, she is passionate about passing on her knowledge and experience to others. Her teaching journey began in 2010 at Western University and has continued, since 2013, at the University of Toronto, where she is a valued member of the voice faculty. She also enjoys serving as masterclass technician and adjudicator for other educational institutions, music festivals and competitions. Frédérique Vézina’s approach focuses on an intrinsic awareness of the body as instrument in order to offer true autonomy and mastery to singers. Technique at the service of unbound artistry and expression.
Stemming from a time when singing was often taught abstractly, she is dedicated to making the principles of vocal technique more transparent and concrete.

In addition, her work with singers strives to uncover profound and meaningful expressivity rooted in the intimate personalization of text and character.
Frédérique Vézina regularly contributes to the Canadian cultural magazine, Opera Canada.
Outside of her work you may find her cheering on her children in their many endeavours or planning decadent feasts with her friends.

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