Summer Opera 2026

American tenor and voice teacher Jason Ferrante has been praised by Opera News for "singing up a stylish storm" and by the Sarasota Herald Tribune as "one of the best voices I have heard"  In the past two seasons, he has been heard as Beadle Bamford in a new production of Sweeney Todd with Opera Omaha, Don Basilio and Don Curzio in Le Nozze di Figaro in his debut with Virginia Opera and Knoxville Opera, the Fourth Jew in Salome in his debut with Tulsa Opera and a debut with the Palm Beach Symphony as tenor soloist in Mozart's Requiem conducted by Gerard Schwarz. He has performed over 80 roles on the operatic stage and has appeared as a soloist with major orchestras including the Boston, Detroit, Chicago, Juilliard and National Symphony Orchestras. In addition to his two-decade stage career, Ferrante has become one of the most in-demand voice teachers in the opera world, teaching professionals who appear on the stages of the world and teaching singers in training programs at the opera companies of Minnesota, Pensacola, Nashville, Portland, Wolf Trap, Arizona and Brevard. He is a regular judge for the Metropolitan Opera Laffont Competition and leads the classical voice discipline for YoungArts.   

A recipient of the 2022 Sphinx Medal of Excellence, celebrated American soprano Karen Slack has garnered international renown for her artistic ver-satility, charisma and entrepreneurial endeavors. She has received critical acclaim for her dynamic and passionate performances in both lead operatic roles and on the concert stage, and as a sought-after collaborator who is known as a leader and advocate, as a curator and artistic advisor, and for her ground-breaking approach to engagement. 

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.

Banff Centre 2026 Spring/Summer AHèctor Parra is a Catalan composer living in Paris since 2002. Member of the French Academy in Rome – Villa Médicis in 2021-22, he has premiered a hundred works around the world, commissioned by institutions such as the Philharmonie de Paris, the Louvre Museum, the Munich Biennale, the Gran Teatre del Liceu, The Grand Théâtre de Genève, the Elbphilharmonie, the Cologne Philharmonie or the Guggenheim Museum in New York. From 2013 to 2023 he was composer-in-residence at the Huddersfield Contemporary Music Festival, the Barcelona Auditorium, the Palau de la Música in Barcelona, the Orchestre National de Lille and the Staatstheater Stuttgart. He has premiered eight operas with great public and critical success and which have had librettos by the writers Marie NDiaye, Händl Klaus, Fiston Mwanza Mujilla or Pier Paolo Pasolini/Calixto Bieito. The staging has been carried out by Bieito himself, by Milo Rau or Mariame Clément among others. He has been awarded the Grand Prix de l’Academie Charles Cros 2024, the Opera XXI Award 2023, the National Culture Award of Catalonia 2017, the Ernst von Siemens Composition Prize 2011, the 2007 Donald Aird Memorial Award of San Francisco and the 2005 Tremplin Prize of the Ensemble Intercontemporain and IRCAM, among others. His works are published by Durand/Universal Music Publishing Classical and by Editorial Tritó. Official website: hectorparra.netrts Program Info Session

After her studies of literature and art history at the École Normale Supérieure in her hometown Paris, Mariame Clément lived in the U.S.A. and in Berlin, where she did her first internships at the Staatsoper Unter den Linden.

She made her directing debut in 2004 with Rossini's Il Signor Bruschino and Puccini's Gianni Schicchi in Lausanne. She has worked in Athens (Le Comte Ory), Tel Aviv (Il Viaggio a Reims), Santiago de Chile (Lulu), Oviedo (Il Barbiere di Siviglia), Sevilla (Agrippina), Nuremberg (Le Nozze di Figaro), Essen (Le Grand Macabre, Salome), Strasbourg (La Belle Hélène, Werther, Platée, Der Rosenkavalier, La Calisto), Antwerp/Ghent (Giasone, Agrippina, Armida), Graz (Faust, Die Zauberflöte), at the Theater an der Wien (Castor et Pollux, The Fairy Queen), in Glyndebourne (Don Pasquale, Poliuto, Il Turco in Italia, Don Giovanni, Le Nozze di Figaro), at the Opéra national de Paris (Hänsel und Gretel, Cendrillon), at the Royal Opera House (L'Étoile), at the Théâtre des Champs-Élysées (Il Ritorno d'Ulisse in patria), at the Semperoper Dresden (Die verkaufte Braut), at the Bregenz Festival (Don Quichotte), at the Santa Fe Opera (Carmen), at the Volksoper in Vienna (Die Lustige Witwe), and at the Staatsoper Berlin (Roméo et Juliette).

In 2014 she created Philippe Hurel's opera, Les Pigeons d'argile, at the Théâtre du Capitole in Toulouse. In 2016, she staged the French premiere of Wagner's second opera, Das Liebesverbot, at the Opéra national du Rhin. Her production of Barkouf in the same theatre in 2018 was the first performance since 1860 of this newly rediscovered major piece by Offenbach.

With Roberto Devereux in June 2024, she completed a Donizetti trilogy at the Grand Théâtre de Genève which began with Anna Bolena in 2021 and continued with Maria Stuarda in 2022.

She made her debut at the Salzburg Festival in the summer of 2024 with Les Contes d'Hoffmann.

Further projects will take her, among other places, to Frankfurt, Copenhagen, Lausanne, Paris, Chicago and Bregenz.

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.

Emma Hammond (she/her) is a west coast based stage manager who has been working in theatre and opera for over 10 years. She thrives on being calm under pressure, pastries, and calling perfect cues. Emma has worked with a variety of companies such as: Vancouver Opera, Pacific Opera, City Opera, The Firehall, Ruby Slippers, Sticks and Stones, Theatre Under the Stars, Theatre Replacement, and The Cultch. 

Coming up next for Emma is working on Rigoletto at Vancouver Opera. She would like to thank Justin for his love, support, and for always pretending to be impressed when she says “places” in real life.