Rebecca Cuddy returns to sing with Amici Chamber Ensemble, one of Canada’s finest and most distinguished chamber music ensembles, in Diasporic Bridges singing works by Christos Hatzis and Roberto Sierra.

‘Music is not only a cultural experience which bonds group members together, it also crosses borders and boundaries between different social and ethnic identities to shape new ones.’

Rebecca Cuddy joins the Toronto Symphony Orchestra for their school concert series exploring the work of and working with living composers. Featuring works by Ian Cusson.

Rebecca Cuddy joins the Toronto Symphony Orchestra for their school concert series exploring the work of and working with living composers. Featuring works by Ian Cusson.

Rebecca Cuddy joins the Toronto Symphony Orchestra for their school concert series exploring the work of and working with living composers. Featuring works by Ian Cusson.

Rebecca Cuddy joins Symphony New Brunswick on a tour of the province as Alto Soloist for Mozart’s Requiem in D minor, K. 626

Rebecca Cuddy joins Symphony New Brunswick on a tour of the province as Alto Soloist for Mozart’s Requiem in D minor, K. 626

Rebecca Cuddy joins Symphony New Brunswick on a tour of the province as Alto Soloist for Mozart’s Requiem in D minor, K. 626

From Confluence Concerts:

The celebrated Kwagiulth and Stó:lo First Nations, English, Irish and Scottish mezzo-soprano curates a special program asking the question, “What is classical Indigenous music?”

With mezzo-soprano Marion Newman, mezzo-soprano Rebecca Cuddy, baritone Evan Korbut, pianist Gordon Gerrard and composer Ian Cusson.

Pre-concert talk at 7:15 p.m.
Join us for a special talk-back after the show

Heliconian Hall
35 Hazelton Avenue, Toronto

Click here for tickets

From Confluence Concerts:

The celebrated Kwagiulth and Stó:lo First Nations, English, Irish and Scottish mezzo-soprano curates a special program asking the question, “What is classical Indigenous music?”

With mezzo-soprano Marion Newman, mezzo-soprano Rebecca Cuddy, baritone Evan Korbut, pianist Gordon Gerrard and composer Ian Cusson.

Pre-concert talk at 7:15 p.m.
Join us for a special talk-back after the show

Heliconian Hall
35 Hazelton Avenue, Toronto

Click here for tickets

From Soundstreams: “In this double-bill, discover the world’s first music theatre works sung and narrated in the Indigenous languages Cree and Sami, and rooted in those traditional legends from Canada and the Nordic countries. These cross-cultural odysseys examine how we live on earth, how we pass to the land of the dead, and the consequences of love and sacrifice.”

Rebecca will appear as a member of the Vocal Ensemble in this production.

From Soundstreams: “In this double-bill, discover the world’s first music theatre works sung and narrated in the Indigenous languages Cree and Sami, and rooted in those traditional legends from Canada and the Nordic countries. These cross-cultural odysseys examine how we live on earth, how we pass to the land of the dead, and the consequences of love and sacrifice.”

Rebecca will appear as a member of the Vocal Ensemble in this production.

From Soundstreams: “In this double-bill, discover the world’s first music theatre works sung and narrated in the Indigenous languages Cree and Sami, and rooted in those traditional legends from Canada and the Nordic countries. These cross-cultural odysseys examine how we live on earth, how we pass to the land of the dead, and the consequences of love and sacrifice.”

Rebecca will appear as a member of the Vocal Ensemble in this production.

From Soundstreams: “In this double-bill, discover the world’s first music theatre works sung and narrated in the Indigenous languages Cree and Sami, and rooted in those traditional legends from Canada and the Nordic countries. These cross-cultural odysseys examine how we live on earth, how we pass to the land of the dead, and the consequences of love and sacrifice.”

Rebecca will appear as a member of the Vocal Ensemble in this production.

From Soundstreams: “In this double-bill, discover the world’s first music theatre works sung and narrated in the Indigenous languages Cree and Sami, and rooted in those traditional legends from Canada and the Nordic countries. These cross-cultural odysseys examine how we live on earth, how we pass to the land of the dead, and the consequences of love and sacrifice.”

Rebecca will appear as a member of the Vocal Ensemble in this production.

‘Contraries: a chamber requiem tells the story of a little boy and his quest to relearn his gifts. After escaping the grip of a tyrannical schoolmaster, he embarks on a journey to fulfill his heroic destiny and transform into a sacred being.’

Rebecca will appear with Unsettled Scores in ‘Contraries: A Chamber Requiem’ as the Golden Fish-Boy at the Celebration of Nations on September 7th, 2019.

Rebecca will make her Highlands Opera Studio debut in Suor Angelica singing multiple roles, A Novice, 2nd Chorus, 2nd Lay Sister

Rebecca will appear as Melanie in ‘The Chair’ (2019) Attalah/Abracen

‘After her best friend dies in a tragic accident, Melanie returns to school locked in a world of her own thoughts and numb to the well wishes of her peers. The opera explores grief in adolescence, and how we choose to move on from those we've lost.’

Rebecca will make her Highlands Opera Studio debut in Suor Angelica singing multiple roles, A Novice, 2nd Chorus, 2nd Lay Sister

Rebecca will appear as Melanie in ‘The Chair’ (2019) Attalah/Abracen

‘After her best friend dies in a tragic accident, Melanie returns to school locked in a world of her own thoughts and numb to the well wishes of her peers. The opera explores grief in adolescence, and how we choose to move on from those we've lost.’

Rebecca will sing Dreitte Dame in Berlin Opera Academy’s production of Die Zauberflote

Rebecca will sing Dreitte Dame in Berlin Opera Academy’s production of Die Zauberflote

Rebecca will appear as Kwe/Spirit Chorus in Tapestry Opera’s new Indigenous Opera ‘Shawnadithit’.

Directed by Yvette Nolan and Michael Mori

From Tapestry Opera: Shanawdithit, the inspiration behind this opera,  was a Beothuk woman who lived to her late twenties in the early 19th Century. When she died in St. John’s, Newfoundland, in 1829, she was believed to be the last of her people, having spent the last year of her life in the house of William Cormack, a historian who returned to England shortly before Shanawdithit’s death. While in Cormack’s house, Shanawdithit created ten drawings of her life and land, detailing her village’s interactions with the settlers, their way of life, and maps of the River Exploits. These drawings form the basis for the libretto and the work of the artistic collaborators. Artists from many disciplines and Nations collaborate to give life to Shanawdithit’s own voice and reclaim the story from the colonial narrative that has defined it.

Collaboratively interpreted by Indigenous artists from across Canada, including Aria Evans, Michelle Olson, Jerry Evans, Meagan Musseau, and Lori Blondeau, led by librettist Yvette Nolan and composer and Newfoundlander Dean Burry, these drawings ask us to acknowledge the ways that stories are told, who gets to tell them, and how they are heard. Shanawdithit is a work unlike anything in opera.

Artwork by Patrick Hunter

Rebecca will appear as Kwe/Spirit Chorus in Tapestry Opera’s new Indigenous Opera ‘Shawnadithit’.

Directed by Yvette Nolan and Michael Mori

From Tapestry Opera: Shanawdithit, the inspiration behind this opera,  was a Beothuk woman who lived to her late twenties in the early 19th Century. When she died in St. John’s, Newfoundland, in 1829, she was believed to be the last of her people, having spent the last year of her life in the house of William Cormack, a historian who returned to England shortly before Shanawdithit’s death. While in Cormack’s house, Shanawdithit created ten drawings of her life and land, detailing her village’s interactions with the settlers, their way of life, and maps of the River Exploits. These drawings form the basis for the libretto and the work of the artistic collaborators. Artists from many disciplines and Nations collaborate to give life to Shanawdithit’s own voice and reclaim the story from the colonial narrative that has defined it.

Collaboratively interpreted by Indigenous artists from across Canada, including Aria Evans, Michelle Olson, Jerry Evans, Meagan Musseau, and Lori Blondeau, led by librettist Yvette Nolan and composer and Newfoundlander Dean Burry, these drawings ask us to acknowledge the ways that stories are told, who gets to tell them, and how they are heard. Shanawdithit is a work unlike anything in opera.

Artwork by Patrick Hunter

Rebecca will appear as Kwe/Spirit Chorus in Tapestry Opera’s new Indigenous Opera ‘Shawnadithit’.

Directed by Yvette Nolan and Michael Mori

From Tapestry Opera: Shanawdithit, the inspiration behind this opera,  was a Beothuk woman who lived to her late twenties in the early 19th Century. When she died in St. John’s, Newfoundland, in 1829, she was believed to be the last of her people, having spent the last year of her life in the house of William Cormack, a historian who returned to England shortly before Shanawdithit’s death. While in Cormack’s house, Shanawdithit created ten drawings of her life and land, detailing her village’s interactions with the settlers, their way of life, and maps of the River Exploits. These drawings form the basis for the libretto and the work of the artistic collaborators. Artists from many disciplines and Nations collaborate to give life to Shanawdithit’s own voice and reclaim the story from the colonial narrative that has defined it.

Collaboratively interpreted by Indigenous artists from across Canada, including Aria Evans, Michelle Olson, Jerry Evans, Meagan Musseau, and Lori Blondeau, led by librettist Yvette Nolan and composer and Newfoundlander Dean Burry, these drawings ask us to acknowledge the ways that stories are told, who gets to tell them, and how they are heard. Shanawdithit is a work unlike anything in opera.

Artwork by Patrick Hunter

Rebecca will appear as Kwe/Spirit Chorus in Tapestry Opera’s new Indigenous Opera ‘Shawnadithit’.

Directed by Yvette Nolan and Michael Mori

From Tapestry Opera: Shanawdithit, the inspiration behind this opera,  was a Beothuk woman who lived to her late twenties in the early 19th Century. When she died in St. John’s, Newfoundland, in 1829, she was believed to be the last of her people, having spent the last year of her life in the house of William Cormack, a historian who returned to England shortly before Shanawdithit’s death. While in Cormack’s house, Shanawdithit created ten drawings of her life and land, detailing her village’s interactions with the settlers, their way of life, and maps of the River Exploits. These drawings form the basis for the libretto and the work of the artistic collaborators. Artists from many disciplines and Nations collaborate to give life to Shanawdithit’s own voice and reclaim the story from the colonial narrative that has defined it.

Collaboratively interpreted by Indigenous artists from across Canada, including Aria Evans, Michelle Olson, Jerry Evans, Meagan Musseau, and Lori Blondeau, led by librettist Yvette Nolan and composer and Newfoundlander Dean Burry, these drawings ask us to acknowledge the ways that stories are told, who gets to tell them, and how they are heard. Shanawdithit is a work unlike anything in opera.

Artwork by Patrick Hunter

Rebecca will appear as Kwe/Spirit Chorus in Tapestry Opera’s new Indigenous Opera ‘Shawnadithit’.

Directed by Yvette Nolan and Michael Mori

From Tapestry Opera: Shanawdithit, the inspiration behind this opera,  was a Beothuk woman who lived to her late twenties in the early 19th Century. When she died in St. John’s, Newfoundland, in 1829, she was believed to be the last of her people, having spent the last year of her life in the house of William Cormack, a historian who returned to England shortly before Shanawdithit’s death. While in Cormack’s house, Shanawdithit created ten drawings of her life and land, detailing her village’s interactions with the settlers, their way of life, and maps of the River Exploits. These drawings form the basis for the libretto and the work of the artistic collaborators. Artists from many disciplines and Nations collaborate to give life to Shanawdithit’s own voice and reclaim the story from the colonial narrative that has defined it.

Collaboratively interpreted by Indigenous artists from across Canada, including Aria Evans, Michelle Olson, Jerry Evans, Meagan Musseau, and Lori Blondeau, led by librettist Yvette Nolan and composer and Newfoundlander Dean Burry, these drawings ask us to acknowledge the ways that stories are told, who gets to tell them, and how they are heard. Shanawdithit is a work unlike anything in opera.

Artwork by Patrick Hunter

Rebecca will appear as Kwe/Spirit Chorus in Tapestry Opera’s new Indigenous Opera ‘Shawnadithit’.

Directed by Yvette Nolan and Michael Mori

From Tapestry Opera: Shanawdithit, the inspiration behind this opera,  was a Beothuk woman who lived to her late twenties in the early 19th Century. When she died in St. John’s, Newfoundland, in 1829, she was believed to be the last of her people, having spent the last year of her life in the house of William Cormack, a historian who returned to England shortly before Shanawdithit’s death. While in Cormack’s house, Shanawdithit created ten drawings of her life and land, detailing her village’s interactions with the settlers, their way of life, and maps of the River Exploits. These drawings form the basis for the libretto and the work of the artistic collaborators. Artists from many disciplines and Nations collaborate to give life to Shanawdithit’s own voice and reclaim the story from the colonial narrative that has defined it.

Collaboratively interpreted by Indigenous artists from across Canada, including Aria Evans, Michelle Olson, Jerry Evans, Meagan Musseau, and Lori Blondeau, led by librettist Yvette Nolan and composer and Newfoundlander Dean Burry, these drawings ask us to acknowledge the ways that stories are told, who gets to tell them, and how they are heard. Shanawdithit is a work unlike anything in opera.

Artwork by Patrick Hunter

Beethoven’s ode to nature is paired with a dramatic musical work by composer Neil Weisensel and librettist Suzanne Steele about Louis Riel’s lost years and his desire for ‘the heart of the north’ - the homeland.

Rebecca sings Kwe/Spirit Chorus in ‘Shawnadithit’ composed by Dean Burry and text by Yvette Nolan. Directed by Michael Mori and Yvette Nolan. In partnership with Tapestry Opera Opera on the Avalon and Native Earth Performing Arts.

From Native Earth: "𝗦𝗵𝗮𝗻𝗮𝘄𝗱𝗶𝘁𝗵𝗶𝘁" by Yvette Nolan (libretto) & Dean Burry (music) is a multidisciplinary opera piece about the last recorded surviving member of the Beothuk Nation in Newfoundland. The workshop production features Marion Newman, Aria Evans, Clarence Frazer and Rebecca Cuddy alongside co-director Michael Mori. (Tapestry Opera Opera on the Avalon)

PANEL DISCUSSION: "𝗕𝗲𝘆𝗼𝗻𝗱 𝗕𝘂𝘁𝘁𝗲𝗿𝗳𝗹𝘆: 𝗔𝗯𝗮𝗻𝗱𝗼𝗻𝗶𝗻𝗴 𝘁𝗵𝗲 𝗲𝘅𝗼𝘁𝗶𝗰 𝗳𝗼𝗿 𝗮 𝗿𝗲𝗽𝗿𝗲𝘀𝗲𝗻𝘁𝗮𝘁𝗶𝘃𝗲 𝗼𝗽𝗲𝗿𝗮 𝗼𝗳 𝘁𝗼𝗱𝗮𝘆" featuring Indigenous and culturally diverse opera artists.

Rebecca is proud to be one of the 10 Finalists for L’Atelier Lyrique de L’Opéra de Montréal. She will join them for their Gala concert on November 14th. For more information visit https://www.operademontreal.com/en/events/talent-2018