Betty Waynne Allison

Betty Waynne Allison, Soprano

Pacific Opera Victoria
First Lady in The Magic Flute

February, 2017

Betty Waynne Allison returns to Pacific Opera Victoria in February 2017 as the First Lady in Mozart's The Magic Flute – a role she has performed with Edmonton Opera. A former POV chorister, Betty participated in Pacific Opera Victoria's 2009 Resident Artist Program and made her POV mainstage debut as Annina in Verdi's La traviata. In 2011 she came to international attention in the role of Mary in Pacific Opera Victoria's world première of Mary's Wedding, a new Canadian opera by Andrew MacDonald and Stephen Massicotte. In 2014 she performed the roles of Freia and Wellgunde in POV's production of Wagner's Das Rheingold, and in 2016 she returned as Helena in A Midsummer Night's Dream

Recent engagements include Elizabeth in the Canadian Opera Company Ensemble's school tour of Second Nature; Alice in Verdi's Falstaff with L'Opéra Théâtre de Metz Métropole; the title role in Floyd’s Susannah with Florentine Opera; Queen Elizabeth I in Britten's Gloriana with Voicebox Opera in Concert; Rosalinde in Die Fledermaus and the First Lady in The Magic Flute with Edmonton Opera; Miss Jessel in The Turn of the Screw and Anna in #UncleJohn for Against the Grain Theatre.

Betty grew up in Ladysmith, B.C. and attended the University of Victoria, graduating with degrees in both music and education. She joined the Canadian Opera Company Ensemble Studio in 2006.

Leading assignments in Ensemble productions included Fiordiligi in Così fan tutte, Donna Elvira in Gazzaniga's Don Giovanni, and Mona in the world premiere of James Rolfe's Swoon. On the mainstage she covered and performed a wide range of roles. Included among these are the High Priestess(Aïda), Donna Anna (Don Giovanni), Annina (La traviata), Luisa Miller (Luisa Miller), Turnspit (Rusalka), Freia (Das Rheingold), Marguerite (Faust), the Countess (Le Nozze di Figaro), Tatyana (Eugene Onegin), and Amelia (Simon Boccanegra).

Other engagements include the Countess (Le Nozze di Figaro) with the Centre for Opera Studies in Sulmona Italy, and the title role in The Cunning Little Vixen at the Banff Centre.

On the concert stage, she has performed Mahler's Symphony No. 8 for the Brott Festival and Brahms' Requiem for the Winnipeg Symphony and Kitchener Waterloo's Grand Philharmonic Choir. Ms. Allison has also appeared on the concert stage in such works as Handel's Messiah, Haydn's Die Schöpfung, Dvoøàk's Te Deum , Vivaldi's Gloria, and Mozart's Requiem.

Betty represented Canada in the Stella Maris Vocal Competition, and she was a regional finalist at the Metropolitan Opera National Council Auditions in Pittsburgh, a Silver Medal winner in the Czech Slovak International Competition, received the Grand Prize at the Ottawa Choral Society New Discovery and West Palm Beach Opera competitions and is a laureate of Jeunes Ambassadeurs Lyriques.


As Mary, the soprano Betty Waynne Allison coped brilliantly with the demands of a role that kept her on stage from beginning to end. Completely believable as a demure yet strong-willed young lady, she sang throughout with bright, cleanly focused tone and hit her high notes – many appearing unprepared – squarely on pitch.
Bernard Jacobson, Opera, Review of Pacific Opera Victoria's world première of Mary's Wedding

Fate and time stopped when Betty Waynne Allison sang "Ain't it a pretty night" and, later, "Trees on the mountain." Allison possesses a big voice ... a luscious sweetness ... intoxicating darker timbres and elegant legato... Allison made both songs deeply moving as well as beautiful ... This was her first Susannah, but Allison already owns the role.
Tom Strini, Third Coast Digest review of Florentine Opera's production of Susannah, 2012

Betty Waynne Allison gives a performance of great theatrical presence and vocal sophistication. Gifted with a commanding dramatic soprano, Allison, essentially omnipresent in all three acts, more than surmounts the daunting vocal challenges of the role. There is a dignity and grace in this voice overlaid with a robust athleticism capable of pivoting from soft sentiment to steely purpose on the edge of an emotional dime. The BC-based singer's Elizabeth is as tender as she is imposing, as vulnerable as she is triumphant, Allison's clear unaffected instrument slicing to the core of the Queen's anguish. It is a remarkable achievement.
Opera Going Toronto review of Britten's Gloriana, 2013


December, 2016