R.U.R. A Torrent of Light

Michael Hidetoshi Mori is an artist and opera director known for genre-defying work. His bold productions include RUR: A Torrent of Light (MCANA 2023 Best New Opera), Forbidden with Persian classical and hip hop artists, and Shanawdithit, a landmark Indigenous-led opera. He has collaborated with punk band Fucked Up and led tech-driven innovations like cue-able wearable-tech. A two-time recipient of Canada’s highest award for opera direction, he also co-founded the Women in Musical Leadership program. Michael is General Director of Tapestry Opera, a board director of Opera America and the past chair of the Association for Opera in Canada

Spencer Kryzanowski is a passionate crossover artist working as a conductor, music director, répétiteur, and vocal coach in both musical theatre and opera.

Spencer is the assistant conductor and pianist for Edmonton Opera; a staff member in the University of Toronto Opera department; resident music director for Good Mess Opera Theatre; and resident music director for Pop Goes the Opera in Edmonton, Alberta. On top of these regular positions, Spencer maintains a busy freelance schedule.

As a conductor and music director, Spencer has worked on numerous opera and musical theatre productions across Canada. His recent opera credits include Wagner’s Die Walküre (Edmonton Opera), Bartok's Bluebeard's Castle (Edmonton Opera), Strauss Jr's Die Fledermaus (Edmonton Opera), Puccini's Il tabarro (Pop Goes the Opera), Massenet's Cendrillon (UofT Opera), Hank and Gremlin (Good Mess Opera), and La bohème (Mercury Opera). Spencer's recent musical theatre credits include Newsies, Mean Girls: The Musical, and Beauty and the Beast with Bravo Academy.

Spencer's recent répétiteur credits include Guerrero's El huésped del sevillano with Toronto Operetta Theatre, Nino Rota's Il cappello di paglia di Firenze, and a comedic triple-bill of Hindemith's Hin und zurück, Offenbach's Monsieur Choufleuri, and Douglas Moore's Gallantry. Other credits include Humperdink's Hänsel und Gretel with Berlin Opera Academy; Copland's The Tender Land; Rossini's Il barbiere di Siviglia; Puccini’s Suor Angelica & Gianni Schicchi; and Tchaikovsky's Eugene Onegin. Spencer had the pleasure of workshopping Melancholia, an opera based on the Lars von Trier film, by Mikael Karlsson and Royce Vavrek in 2023 for the Royal Swedish Opera. Additionally, Spencer assisted as a répétiteur and vocal coach in a workshop of Indians on Vacation by Ian Cusson and Royce Vavrek in 2024 as part of a collaboration with Against the Grain Theatre and Edmonton Opera.

Gregory Oh tends to wander the genres, appearing in places from the legendary Berlin techno club Berghain to Lincoln Centre. He conducted RUR A Torrent of Light (Nicole Lizée/Nic Billon) for which he received the 2022 Dora Mavor Moore award for Outstanding Musical Direction, as well as The Cave (Tomson Highway/John Millard) and Bearing (Michael Greyeyes/Signal Theatre) for the Luminato Festival, and the recording Ride the Wind with Roscoe Mitchell and the Montreal-Toronto Jazz Orchestra. On piano he premiered Scott Good’s Hands of Orlac with the London Symphonia and Kitchener-Waterloo Symphony, toured Rwanda and the UK with Neema Bickersteth and Century Song (Volcano), and was featured as conductor and pianist at the Shanghai New Music Festival and the Beijing Modern Music Festival. He teaches at the University of Toronto and Toronto’s Dance Arts Institute and programs Summer Music in the Garden at Harbourfront Centre.  

Nick Puckett explores the near-future of the built environment through new tools and technologies that alter the process and product of design. He is an Associate Professor in the Digital Futures Program at OCAD University, where he also serves as Co-Director of the Social Body Lab. He is the founding director of Puckett Research & Design, a practice that develops interactive environments spanning software, robotics, biological agents, chemical engineering, and material behaviour.
His work has been exhibited internationally at venues including the Venice Architecture Biennale, Shenzhen Biennale of Urbanism & Architecture, International Biennial of Contemporary Art of Seville, Art Institute of Chicago, ZKM Museum, FRAC Centre, and the United Nations Climate Change Conference.

Nathan is a Toronto based Projection and Lighting Designer and New Media Artist. Recent theatre credits include Orpheus in the Underworld (Projection and Lighting Design, Toronto City Opera), Parelios (Projection Design, Opera5), Canuck Cantatas (Projection and Lighting Design, Against the Grain), Copperbelt (Associate Lighting Design, Soulpepper), Rogers V. Rogers (Video Design, Crows Theatre & touring production), Tapestry Briefs (Lighting Design, Tapestry Opera), Feed-Back (Co-Projection Design, The Bentway), Octet (Video Design, Crows Theatre); Natasha, Pierre, and the Great Comet of 1812 (Video Design, The Royal Alexandra Theatre); The Tender Land (Projection Design, Al Green Theatre), Reina (Lighting Design, Buddies In Bad Times Theatre), Shedding Skin (Associate Lighting Design, Buddies In Bad Times Theatre), and Die Zauberlote. Recent installation/exhibition credits include Try To Forget (Artist, St. Anne’s Anglican Church, Long Winter); After The Flood (Co-Artist, Charles Street Video); Love Across Distance (Co-Artist, The ArQuives, Nuit Blanche 2024).

CAMERON ANDERSON (Scenic Design) is an internationally acclaimed American scenographer and has designed extensively at the world's leading theatre and opera companies. She recently won the Billie Tsien Rome Prize in Design, one of the most prestigious awards an American artist can receive. Recent projects include The Light in the Piazza at Opera Theater of St. Louis, popstar Charlie Puth's North American and international tours, Leonora (Chicago Opera Theater), the world premiere opera RUR: A Torrent of Light (Tapestry Opera, Toronto), which won the Best New Opera in North America award (MCANA), and the past two full seasons at The Academy of Vocal Arts in Philadelphia. Other recent highlights include West Side Story (Kilden Performing Arts Center, Norway, Vancouver Opera), and Simon Boccanegra (Teatro Colon, Argentina), Byhalia Mississippi (The Kennedy Center), The Niceties (Manhattan Theatre Club), Yerma, Becoming Cuba, and Sweat (Huntington Theater), Fille du Regiment, The Consul, Vinkensport, The Merry Widow, and Rocking Horse Winner  (Opera Saratoga), and Photograph 51 (South Coast Repertory). Select opera credits include Glimmerglass Festival, San Francisco Opera, Seattle Opera, Central City Opera, Minnesota Opera, Gotham Chamber Opera, and On Site Opera. Select Off-Broadway credits include Roundabout Theatre Company, Playwrights' Horizons, New Georges, LAByrinth Theater Company, Naked Angels, Ars Nova, and Brooklyn Academy of Music. Upcoming projects include Falstaff at The Minnesota Opera, the full season of operas at The Academy of Vocal Arts, and Orlando Paladino at The Curtis Institute. cameronanderson.net

Adam Tindale is an electronic drummer and digital instrument designer. He is an Associate Professor of Human-Computer Interaction in the Digital Futures Initiative at OCAD University. Adam performs on his E-Drumset: a new electronic instrument that utilizes physical modeling and machine learning with an intuitive physical interface. He completed a Bachelor of Music at Queen’s University, a Masters of Music Technology at McGill University, and an Interdisciplinary Ph.D. in Music, Computer Science and Electrical Engineering at the University of Victoria.

Kate Hartman is the Co-Director and Founder of Social Body Lab (est. 2010) - a creative research group dedicated to exploring body-centric technologies. Working between Toronto and New York, Hartman is Associate Professor in Digital Futures at OCAD University, Adjunct Instructor in the Tisch School of the Arts at New York University, and Director of ITP Camp - an innovative creative technology summer program for grown-ups.

As an artist, designer, and researcher, Hartman probes the nuances and awkward bits of human and more-than-human social interactions. Through wearable technologies and electronic textiles, Hartman explores new possibilities for expressivity, tactility, and embodiment. Hartman delivered a main stage TED talk about her social wearables projects which has since garnered over one million views. Her work is included in the permanent collection of the Museum of Modern Art in New York.

Hartman is the author of the recently published book "Make: Wearable Electronics, 2nd edition" (2025) which is used widely by independent artists and designers and also as a textbook in university wearable technology courses internationally.

Working primarily in opera for 30 years, Lesley stage manages regularly for the Canadian Opera Company and the Glenn Gould School, at the Royal Conservatory of Music.  She has also enjoyed working with Tapestry Opera, Edmonton Opera, Against the Grain Theatre, Opera Columbus, the Canadian Children’s Opera Company, and the University of Toronto Opera School.

Some of her favourite credits include: Eugene Onegin, Don Pasquale, Fidelio, Tosca, Pomegranate, Die Walkure, Salome, Traviata (COC); Dialogues des Carmelites, Flight, Rinaldo, The Magic Flute, Svadba, Cendrillon (GGS); Die Fledermaus (Edmonton Opera); Figaro’s Wedding, Kopernikus, A Little Too Cozy (Against the Grain Theatre); Orphée (AGT/Opera Columbus/Banff Centre); Gould’s Wall, Shanawdithit (Tapestry Opera); The Queen In Me (Amplified Opera/Nightwood Theatre).

Lesley is thrilled to be back at The Banff Centre this summer, as stage manager for The Handmaid’s Tale.

Tkaronto-born mezzo soprano Emma Yee (she/her) is an active interdisciplinary musical artist based in Tiohtià:ke. This season, Emma is assistant directing and stage managing The Medium (Opera McGill), directed Riders to the Sea (Opera McGill), and assistant stage managed Come Closer (Opera 5). Other technical theatre credits include directing The Sapphic Passion (Sapphonix Collective) and stage-managing Dialogues des carmélites (Opera McGill), An Inspector Calls (Motyer-Fancy Theatre), and PRÉCIPICE (Tintamarre). Emma is also an active performer across opera, musical theatre, and choral scenes. Performance highlights include Cordelia in Falsettos (Contact Theatre), Bianca in The Rape of Lucretia (Opera McGill), various roles in Elegies (Opera 5), Serse in Serse (Halifax Summer Opera Festival), Sorceress in Dido & Aeneas (Opera McGill), and alto soloist in Messiah (Christ Church Cathedral). Emma is informed by her role as a performer-scholar, with a publication in Nota bene titled “Liberatory Praxis in Operatic Rehearsal Processes,” a talk at the McGill Graduate Music Symposium titled “Trains, Drones, and Continued Routes of Coloniality in Opera,” and research related to music and colonialism, music and politics, and operatic power structures. 
www.emmayee.ca/home

Nicholas Skene is a Latvian Canadian operatic stage manager and director based in Toronto, Ontario. He is currently completing his B.Mus. at Western University, where Nicholas produces and directs his own productions, including most recently, a production of Euripides’ Bacchae with the classics department. The production had a cast of over 30 performers—including actors, singers, dancers, instrumentalists, and original music by composition student Pauline Boers.
Nicholas started going to the opera when he was nine years old through a ticket program at the COC, but he didn’t work on an opera production until he joined the Canadian Children’s Opera Company in 2017. Nicholas performed in COC productions of Tosca, Turandot, and Hansel and Gretle, working with established Canadian and international talent like Joel Ivany and Robert Wilson. He originated the role of Marcel in the COC-commissioned opera Fantasma, written by Métis Canadian composer Ian Cusson. The CCOC fostered an appreciation for new and Canadian opera, which still drives
Nicholas to work on the cutting edge of an ancient artform. To keep track of everything Nicholas is up to, including his production of Sophocles’ Oedipus Rex in 2027, follow his instagram: @nicholaselliottskene

Soprano Christina Bell is in demand across North America for Concert, Opera, and Oratorio.  She recently made her debut with Toronto City Opera in the title role of Susannah and sang the role of Paquette in Candide with the North York Concert Orchestra.  A graduate from University of Toronto with a Diploma in Operatic Performance, Christina sang the roles of Mrs. Baggett in Footsteps in Campbell House, Lady with a Cake Box in Dominick Argentos’ Postcard from Morocco, Lady Billows in Brittens’ Albert Herring, Donatella in Encouters, as well as being a part of Last Days, a new production with Tim Albery and David Fallis.  

Over the years Christina has attended the Mainstage/Ensemble Programs at Opera on the Avalon, The Centre for Opera Studies in Italy, Halifax Summer Opera Festival, St. Andrews Summer Opera Workshop.  Other recent operatic performances include Countess in Le nozze di Figaro, Vitellia in La Clemenza di Tito, Liliana in Miracle Flight 571 with the Hamilton Philharmonic Orchestra, Portia in Le marchand de Venise, Cousin Hebe from Gilbert & Sullivans’ HMS Pinafore, Mrs.Grose in The Turn of the Screw, Fiordiligi in Così fan tutte, Helena in Brittens’ A Midsummer Night’s Dream. 

Christina has been a member of the Canadian Opera Company Chorus since 2015 and when she is not on a stage, she can be found exploring her passion for arts administration and management.  She is the Opera & Public Events Administrator at the University of Toronto and in 2023 took on the role of the Company Manager for the Banff Centre: Opera in the 21st Century & Interplay Programs.

Serbian-Croatian-Canadian mezzo-soprano Maria Milenic “displays a rich, full sound” (LudwigVan Toronto). Originally from Newmarket Ontario, Maria is a sought-out artist who has performed in Canada, Italy, Germany, and beyond. She is a current member of Calgary Opera’s McPhee Young Artist Development Program. Her season included singing the role of Cio Cio San’s Mother in Puccini’s Madama Butterfly, Mother/Grandmother in Barab’s Little Red Riding Hood, as well as Sandman in Humperdinck’s Hansel and Gretel. A University of Toronto alum, Maria holds a double major in both voice performance and French language studies. She is also a graduate from the Glenn Gould School at the Royal Conservatory, having completed an Advanced Artist Diploma. Maria is a multidisciplinary artist who is regularly involved in contemporary opera. One of her highlight roles includes Minskwoman in Dove’s Flight, performed on the Koerner Hall stage. She has also been a featured artist in the 21C Festival, where she had the honour of premiering Chaya Czernowin’s piece The Habekhi (The Crying), written for mezzo-soprano, ensemble, and electronics, during which she gave a “remarkable performance with weird outwardly sounds somewhere between singing and crying” (Operaramblings). Last year, Maria was a finalist in the Homage to Maria Callas international competition and was a special prize award winner. 

James Coole-Stevenson, baritone, has impressed audiences in a number of operatic roles thanks to his “sensitivity and nuance”. Currently living and working as a musician in Toronto, he strives for authenticity in each performance. 
In 2024, James had his professional debut as Ping and the Mandarin in Puccini’s Turandot, through the Gate City Bank Fargo-Moorhead Young Artist Program. There he fostered a love for Puccini, and developed serious interest in the role of outreach as a tool to educate and introduce people to opera. With his newfound desire to broaden Opera’s reach, James had the honor of participating in Manitoba Opera’s Digital Emerging Artist’s Program, where he worked with several industry talents to create a video project tracing his Newfoundland heritage through the lens of traditional folk songs collected by Maud Carpeles and Ralph Vaughan-Williams. James is currently a Rebanks Fellow at the Royal Conservatory of Music. Performing as Gianni Schicchi and Slook in the Glenn Gould School's production of Gianni Schicchi and La cambiale di matrimonio, James showed “an honest and engaging performance in even the most outrageous scenes”. 
 

Ashley Schneberger is a mezzo-soprano from Cochrane, Alberta, recognized for her expressive performances and commitment to artistic growth. She holds a Master of Music in Vocal Performance from the University of Manitoba, where she studied with Tracy Dahl, and a Bachelor of Music from the University of Lethbridge under the guidance of Dr. Janet Youngdahl.
Ashley has performed a wide range of repertoire with companies including Little Opera Company of Winnipeg, Good Mess Opera Theatre, Manitoba Underground Opera, and NUOVA Vocal Arts. With the University of Manitoba Opera Theatre, her roles have included Augusta Tabor (The Ballad of Baby Doe), Madame de la Haltière (Cendrillon), and Ottone (L’incoronazione di Poppea). Internationally, she has performed with Chicago Summer Opera.
Concert highlights include Alto Soloist in Handel’s Messiah and A Traditional Christmas with the Winnipeg Symphony Orchestra, as well as Berlioz’s Les nuits d’été and Bach’s St. John Passion. A recipient of multiple awards, Ashley was a finalist in the National CFMTA Voice Competition, earning the Best Musical Diversity prize for Ian Cusson’s Where There’s a Wall. She maintains a private voice studio and is passionate about arts education. Upcoming engagements include revisiting Madame de la Haltière (Cendrillon) with Comic(book) Opera and participation in the Banff Centre Summer Opera program in 2026.

Wallis Lucas is a dynamic soprano and passionate advocate for new works. Recent and upcoming credits (asterisk denotes world premiere) include workshops at the Banff Centre for Performing Arts, Time to Act* (Pittsburgh Opera), The Magic Flute (Stafford Opera Troupe), Sirens vs. Amazons* (Thousand Bridges Opera), The Marriage of Figaro (Opera de Metro), Naughty Marietta (Opera Project Columbus), The Last Five Years (Steel City Cabaret), Agnus Teaches Acting* (New Hazlett Theatre), La donna del lago (Resonance Works), Alcina (Carnegie Mellon University). This season, she also received an Encouragement Award at the Minnesota District Laffont Competition.
Wallis holds a Bachelor of Music from Furman University and a Master's from Carnegie Mellon university. She also completed a performance certificate at CMU, where she developed and premiered new chamber and orchestral pieces alongside student composers. A Georgia native, Wallis was a state champion 2-baton twirler three years in a row. 
@wallissoprano | www.wallislucas.com

Canadian tenor Graeme Linton centres his work on storytelling through music. His diverse interests, from early music, art song repertoire, and Romantic opera to contemporary works, have been shaped by his Graduate Diploma and Bachelor of Music in Voice and Opera from McGill University and his Master’s degree in Vocal Performance with a concentration in Staged Voice from the University of Victoria. His academic development has been grounded in performance across choruses, operatic productions, and solo recital.
Recent performances include appearances at the Banff Centre as Nick in Poul Ruders’ The Handmaid’s Tale, and with Opera Kelowna as Giuseppe in Verdi’s La Traviata. Symphonic works include Mahler’s Symphony No. 2 Resurrection and Ravel’s Daphnis et Chloé with the Montreal Symphony Orchestra, and Puccini’s Messa di Gloria as soloist with the University of Victoria Symphony. Other appearances include the Evangelist in Bach’s Weihnachts-Oratorium with the Victoria Philharmonic Choir, the Usher in Verdi’s Rigoletto with Pacific Opera Victoria, and as Bill in Jonathan Dove’s Flight at Opera Nuova. This season includes Aeneas in Purcell’s Dido and Aeneas with the Victoria Philharmonic Choir, and appearances with Pacific Opera Victoria in Puccini’s Tosca and Gluck’s Orphée et Eurydice.
Outside of music, Graeme works as a rock climbing instructor and ACMG-certified coach, and remains active in the Vancouver Island climbing community

Sloane Ryan is a soprano from Ogdensburg, New York. Sloane recently completed her first year with University of Toronto Opera where she is pursuing her Master of Music in Opera Performance, studying under Wendy Neilsen. At University of Toronto, Sloane has portrayed Poeta in Donizetti’s Viva la Mamma, Lucia in Britten’s The Rape of Lucretia, and Medea in the world premiere of With the telling comes the magic: Tales from antiquity to present day. She earned her Bachelor of Music in Classical Voice Performance from the Steinhardt School of Education, Culture, and Human Development. During her time at NYU, Sloane performed the role of Krysia in Heggie’s Two Remain. She also covered the role of Roselinde in Strauss’s Die Fledermaus. Other credits include The Sandman in Hänsel und Gretel and a Knabe in Die Zauberflöte.

Praised for being "fully formed musically and dramatically" (Opera Canada), Canadian soprano Kelsey Ronn is a versatile vocalist known for her euphonious tone, florid coloratura, and warm timbre. She performs actively as a soloist, competitor, and operatic vocalist throughout Canada, the United States and Europe.
This season, Kelsey was engaged with Calgary Opera's McPhee Artist Development Program, where she made several role debuts including Kate Pinkerton and the Aunt in Madama Butterfly, the title role in Little Red Riding Hood and Berta in Il Barbiere di Siviglia.
Last season, she charmed audiences as The Squirrel in Nino Rota’s The Witty Squirrel and was appointed the Norina (Cover) in Calgary Opera’s production of Don Pasquale. 
A sought-after performer, Kelsey is an alumna of Opera Kelowna's VOSI Program and L'Institut canadien d'art vocal in Montreal, QC. She holds degrees from the University of Manitoba (BM) where she was mentored by Tracy Dahl and McGill University (MM) where she studied under Joanne Kolomyjec and Dominique Labelle.
She brings a passion for acting to every role she embodies and is dedicated to sharing her voice with the world through performing and teaching.

Canadian soprano Olivia Haramis holds degrees in Voice Performance from both McGill University and Wilfrid Laurier University. Recent performance highlights include Zora in Ana Sokolović’s chamber opera, Svadba (Opera McGill), Musetta in Puccini’s La Bohème (Festival Ljubljana), Fauré’s Requiem (Les Muses Chorale), Jesse Maker’s Devolving Songs (McGill University), Handel’s Messiah (Menno Singers), Daniel Regnier’s Évangéline (Opera from Scratch), Poulenc’s Gloria (Laurier Choirs), Anne in Livingston’s Singing Only Softly (Opera Laurier), Baby Doe from Moore’s The Ballad of Baby Doe (Opera Laurier), Blanche from Poulenc’s Dialogues des Carmélites (Opera Laurier), Ophélie from Thomas’ Hamlet (Opera Laurier), and Christina Campbell in the world premiere of Canadian composer Stephanie Martin’s The Llandovery Castle (Opera Laurier). A dedicated and versatile artist, Olivia is a recipient of numerous awards and scholarships, including a McCall MacBain Regional Award and an RCM National Gold Medal. In addition to her work as a performer, Olivia maintains an active private studio in Cornwall, Ontario, where she teaches voice, violin, and piano to students of all ages. She also serves as the Director of Music at St. John’s Presbyterian Church.

Tarané is a soprano who recently completed her Bachelor of Music in Voice at the University of Victoria, where she studied with Benjamin Butterfield. Originally from Iran, she moved to Canada in 2017 to pursue advanced musical training and has since developed a strong focus on opera and art song.
In early March 2026, she presented her graduation recital, marking an important milestone in her artistic development. She has also gained professional stage experience as a chorus member with Pacific Opera Victoria, most recently in Puccini’s Tosca, where she worked alongside leading artists in a fully staged production.
Alongside performance, Tarané is interested in the expressive relationship between text, colour, and sound in music. She also enjoys visual design and often creates her own concert gowns, bringing together her interests in artistry and presentation.
She looks forward to continuing her studies in a Master’s program beginning in September and is excited to further develop her artistry and collaborative skills at the Banff Summer Opera Program.

Ella Jeon is a Korean Canadian Soprano entering her fourth year of undergraduate Opera Performance studies at the University of British Columbia. This past summer, Ella participated in both the Highlands Opera Studio and the Mediterranean Opera Studio and Festival (MOSF). As an Independent Study Participant at Highlands, Ellarefined her techniques with the renowned faculty, including Nathalie Doucet, John Fisher, and Craig Rutenberg. She also jumped into the role of Olga in The Merry Widow under the baton of Kamna Gupta and the direction of Richard Margison. During her time at MOSF, she performed the role of Musetta in La bohème in public performances under the baton of Leonardo Catalanotto and the direction of Lyne Fortin.
Ella began performing with UBC Opera in 2024 under the direction of Nancy Hermiston. She recently performed Pamina as an understudy in Die Zauberflöte and understudied Cleopatra in Giulio Cesare. She also participated in Kurt Weill’s Street Scene and Gilbert and Sullivan’s H.M.S. Pinafore. Ella will be continuing her studies with Krisztina Szabó in her upcoming year at UBC.

Soprano Leandra Dahm is currently based in Toronto. This season, she completes her Artist Diploma at the Glenn Gould School where she studies with Stephanie Bogle.
2025/26 entails exciting debuts for Leandra. In February, she performs in recital with colleagues from the GGS at the Richard Bradshaw Ampitheatre (COC). In March, she makes her anticipated Koerner Hall and role debut as Lauretta in Gianni Schicchi (GGS). In April, she performs Golijov’s Three Songs for Soprano with string orchestra (21C Music Festival). This past November, she sang the role of Rita in the staged premiere of Dean Burry’s radio opera Baby Kintyre (GGS). 
An avid concert singer, she has performed with Stratford Summer Music, Toronto Summer Music, Tapestry Opera, Ottawa Chamberfest and the Thirteen Strings Orchestra. She was a finalist in the Corcoran Concerto Competition (GGS), performing Berg’s Sieben frühe Lieder. She is a former Sidgwick Scholar with the Orpheus Choir of Toronto, where she was a soloist in Coleridge-Taylor’s The Atonement, in its first orchestral performance in over 100 years, as well as at Roy Thompson Hall in Poulenc’s Gloria. She is a graduate of the University of Toronto and has further trained as a fellowship recipient at SongFest and Toronto Summer Music.

Alexandra Baird is a mezzo-soprano from Chilliwack, British Columbia. A graduate of the University of British Columbia Opera Program, she has performed in opera scenes, recitals, and concert productions throughout British Columbia. Passionate about both performance and education, Alexandra currently teaches voice. In addition to her teaching career, she remains an active performer and is committed to developing her artistry through continued training and collaboration. Alexandra is particularly interested in storytelling and exploring innovative approaches to opera performance. Alexandra is excited to continue growing as a performer, educator, and artist.

Wearable design technology was developed by the Social Body Lab. Founded in 2010, Social Body Lab is an art, design, and research lab at OCAD University in Toronto, Canada that explores body-centric technologies in the social context.

www.socialbodylab.com