Canada's premier coloratura soprano Tracy Dahl makes her Pacific Opera Victoria Debut in April 2012, performing the title role in Donizetti's Maria Stuarda.
With her 2006 debut at La Scala as Zerbinetta in Ariadne auf Naxos, Ms. Dahl took another milestone in a career that has brought her together with such opera houses as the Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Santa Fe Opera, Canadian Opera Company, and the Théâtre du Châtelet in Paris, to name a few. In 2009 she was awarded the prestigious Opera Canada Ruby Award.
Highlights of 2011/12 include two trips to Australia with the Melbourne and Sydney symphonies, works by Bach and Mozart with the Vancouver Symphony, and the title role of Maria Stuarda with Pacific Opera Victoria. During the summer she returns to the Opera Theatre of St. Louis for the role of Cheshire Cat in Unsuk Chin's opera Alice in Wonderland.
In the 2010/11 season Dahl portrayed the quirky Violet Beauregard in the world première of The Golden Ticket at the Opera Theatre of St. Louis, where she'll return again in the summer of 2012. She also appeared with the Vancouver Symphony.
Dahl's 2009/10 season started with Gilda in Rigoletto at Edmonton Opera, followed by Vancouver Opera's Golden Anniversary Concert and Gala and the role of Madame Mao in the Canadian première of Nixon in China. On the orchestra front, she appeared with the Vancouver Symphony in Mahler's 8th Symphony, returned to Monterey Symphony for an evening of opera arias and sang selections from Nixon in China with the Phoenix Symphony.
During 2008/09, Dahl portrayed Zerbinetta in Ariadne auf Naxos with Calgary Opera and Cunegonde in Candide with Manitoba Opera. She also performed oratorio works with the Winnipeg Symphony and the Portland Symphony.
Other highlights included Zerbinetta in Ariadne auf Naxos with Vancouver Opera, Gilda in Rigoletto with Calgary Opera, the title role of Lucie de Lammermoor with Boston Lyric Opera and Arizona Opera, and Mme Mao in Nixon in China with Houston Grand Opera, Colorado Opera and Portland Opera.
Her many notable debuts at major opera houses include Adele in Die Fledermaus at the Metropolitan Opera (she later returned as Zerbinetta and as Florestine in the world première and revival productions of The Ghosts of Versailles); Olympia in the San Francisco Opera production of Les Contes d'Hoffmann opposite Placido Domingo (she returned as Oscar in Un Ballo in Maschera and Lucia in Lucia di Lammermoor); and Amor in the Los Angeles Music Center Opera staging of Orpheus in the Underworld. She was also heard as Despina in Così fan tutte with Dallas Opera; and Eurydice in Orpheus in the Underworld with Michigan Opera Theater and Houston Grand Opera. Dahl was Gretel in Hansel and Gretel with the Cleveland Opera and appeared as Servilia in New York City Opera's production of La Clemenza di Tito.
Dahl has performed with every major Canadian orchestra. Other orchestral engagements have included a New Year's Eve Gala concert with the Philadelphia Orchestra under David Zinman and appearances with the Atlanta Symphony Orchestra during the Atlanta '96 Olympics Arts Festival. Dahl performed with the American Symphony Orchestra in the world première of David Del Tredici's Child Alice at Carnegie Hall. She appeared with the San Francisco Symphony in Handel's Messiah, and with the Saint Louis Symphony under Leonard Slatkin. She also performed with maestro Slatkin at the Hollywood Bowl, joined the Tonhalle Orchestra/Zurich under Zinman for a gala New Year's Eve concert, and made her United Kingdom debut with the Royal Scottish National Orchestra.
Her discography includes A Disney Spectacular with the Cincinnati Pops (Telarc), Glitter and Be Gay with the Calgary Philharmonic (CBC), A Gilbert and Sullivan Gala with the Winnipeg Symphony Orchestra (CBC), and Love Walked In, a Gershwin collection with the Bramwell Tovey Trio (Red Phone Box Company).
a voice filled with sunshine, rainbows and laser light
Dahl … is to coloratura what white is to rice.
When she courses out onto even the biggest opera stage she immediately commands attention with her barely contained energy and the uniquely charismatic beauty of her voice... As for her singing, there is never any shortage of coloratura sopranos in opera. But where pure, well-tuned, characterful, and seemingly easy acrobatics through two and a half octaves are required, Dahl is among a relative few who can do it all superlatively well.