Miriam Khalil

Miriam Khalil, Soprano

Pacific Opera Victoria
Marzelline in Fidelio
Soprano Soloist in Ayre

October 2018


As a participant in Pacific Opera Victoria's 2012 Resident Artist Program Miriam Khalil made her POV mainstage debut as Frasquita in Carmen. She returned in 2014 as Susanna in The Marriage of Figaro. In 2018, Miriam performs the role of Marzelline in Pacific Opera's production of Fidelio and is also the soloist in performances of Golijov's Ayre, with Aventa Ensemble.

Praised for her stage presence and her distinctive vocal tone, Lebanese-Canadian soprano Miriam Khalil is described as a skilled, versatile artist with a signature warm lyrical voice by Musical Toronto, dark, dangerous and alluring by Opera Going Toronto, and praised for making her fine soprano express every emotion with exactness and feeling by the Globe and Mail.†

Miriam's 2018/19 season includes Mahler's Rückert-Lieder (Thunder Bay Symphony Orchestra), Mimi in La bohème (Canadian Opera Company), and a Gala Operetta evening with the Victoria Symphony.

During the 2017/18 season, she made her Washington DC debut with UrbanArias as Mamah Cheney in Daron Hagenís opera Shining Brow and her Fargo-Moorhead Opera debut in the title role of Handelís Alcina. She joined Against the Grain Theatre in their Handel workshop for Bound, and most recently was featured in a special project for the Vancouver Symphony premiering music by Bramwell Tovey, among others. She also returned to the Banff Centre for the Arts and Creativity to sing Eurydice in Orphée+ by Gluck/ Berlioz and was heard for the Rockport Music Festival in Vermont in Ayre, a work that also marked her South American debut in Buenos Aires, where she gave the Argentinian première. She has performed Golijovís acclaimed song cycle to critical acclaim in Banff, Alberta, Ottawa and Toronto, Ontario and it has become her signature piece.

Miriam is a graduate of the prestigious Canadian Opera Company Ensemble Studio, the Steans Institute for Young Artists (Ravinia) and the Britten-Bears Young Artist Programme in England. While in her last year of the COC Ensemble Studio, she advanced to the semi-finals of the Metropolitan Opera Council auditions and represented the Great Lakes Region on the Met stage, during which she was featured in the documentary film The Audition. She is a recipient of multiple awards and grants from the George London Foundation, the Canada Council for the Arts, Ontario Arts Council and the Metropolitan Opera National Council Audition Scholarships.

The Ottawa native has appeared on numerous opera stages across Canada and Europe, including a stint at the renowned Glyndebourne Festival Opera in the United Kingdom. Notable roles include Mimž in La bohème (Minnesota Opera, Opera Hamilton and Against the Grain Theatre); Musetta in La bohème (Edmonton Opera); Donna Elvira in Don Giovanni (Opera Tampa and Against the Grain Theatre/The Banff Centre/Ottawa International Chamber Music Festival); Mélisande in Pelléas et Mélisande (Against the Grain Theatre); the Governess in The Turn of the Screw (Against the Grain Theatre); Cleopatra in Giulio Cesare (Glyndebourne Festival Opera, U.K.); Almirena in Rinaldo (Glyndebourne Festival Opera, U.K.); and Susanna in Le nozze di Figaro (Pacific Opera Victoria, Opera Lyra Ottawa and Against the Grain Theatre).

Equally at home on the concert stage, Miriam has been a frequent recitalist in Ontario, Quebec, New Brunswick and Nova Scotia. She has performed oratorios, song cycles and opera galas with orchestras across Canada including Symphony Nova Scotia, Victoria Symphony, Thunder Bay Symphony, Hamilton Philharmonic Orchestra and Sudbury Symphony.

She is a proud founding member of the Dora Mavor Moore Award-winning chamber opera company Against the Grain Theatre (AtG). With vision and dedication, AtG explores innovative ways of presenting opera to new and familiar audiences. Miriam is delighted to help shape one of the most important opera companies in Canada (Calgary Herald).


 

Khalil ... is a mesmerizing, gorgeous presence in the piece. Khalil's voice is operatically trained, but emanates from a Christian Arab soul, so all the various elements of Ayre's wild range find a home somewhere in her emotional and cultural makeup.
Robert Harris, The Globe and Mail, review of Ayre

Khalil has a gorgeous, romantic, arching sound that immediately commands the ear. Hers is truly a beautiful and distinctive voice.
Paula Citron, Opera Canada

September 2018