About 1,300 aspiring opera artists applied to be part of the Merola Opera Program for the coming season. Of that mountain of submissions, 28 are invited to participate in the multi-week program which takes place in San Francisco.
Of those 28 candidates, six are Canadian — the highest representation of any nation. The remaining Merola 2025 artists come from China, Malaysia, New Zealand, and South Korea, and across the United States.
We asked the six Canadians — many of whom are also recent graduates of the Canadian Opera Company’s Ensemble Studio Program — about this next important step in their careers. The discussion is divided into two groups to give each the space to express their thoughts. You’ll find Part II here.
The Merola Opera Program is one of the oldest such training programs in the world. It was founded in 1957, and its name comes from the first general director of the San Francisco Opera, Gaetano Merola.
While the organization works with San Francisco Opera, it operates independently as a nonprofit organization.
From its beginnings, its grown into one of the most widely respected professional opera training programs in the world for emerging singers, coaches, accompanists and stage directors. Its alumni includes artists like Karen Slack, Zheng Cao, Joyce DiDonato, Susan Graham, Noah Stewart, Rolando Villazón, and Quinn Kelsey, among many others.
Soprano Charlotte Siegel is a recent grad of the COC’s Ensemble Studio program, which led to roles in several productions, including Musetta (La Bohème), Donna Elvira (Don Giovanni), and Anna (Nabucco), among others. She’s also appeared as a soloist with orchestras across Canada. Charlotte is also co-managing director of the Marigold Music Program, a Toronto-based non-profit improving access to music education for underrepresented youth.
What made you decide to apply for the Merola Opera Program? What do you hope to gain from it — do you have specific goals at this point in your career?
Merola has been the dream program for me ever since hearing about it during my undergrad at University of Toronto. After researching the program and realizing how many alumni I recognized and looked up to, I decided I wanted to audition. Merola brings in world class singers, coaches, and industry professionals, and I knew I wanted a chance to learn from them. My goal is to soak up as much information as possible from all the various highly qualified faculty, continue to work on my technique, artistry, stagecraft, and of course have fun working with new colleagues from around the world at such an incredible opera house! I am beyond thrilled for this summer!
You are one of 28 chosen from a large number of applicants — nearly 1,300. Do you have a sense of why — where your strength was in your video submission? Was there anything special you did to prepare for it?
I can only speak about my preparation. I always use the summer to focus on audition repertoire, but this time I focused on repertoire I really loved, instead of what I thought the panel would want to hear. I think I am finally at a point where I can trust my technique enough to let the character lead. When I find myself trapped in a technical dialogue during a performance, I’m almost always unhappy with how I perform. This is of course the never-ending quest of a performer, balancing technique and performance. As I get older and understand my voice better, now my only goal in performance is to trust the work, let go and have fun! It seems simple, but it’s incredibly difficult! My Merola audition was a personal win for me, because it was the closest I’ve been to letting go in a long time and set the new standard for me. I’m excited to keep working in this way!
Why do you think so many Canadians were chosen — six, or more than 20% of the participants this year? Do you feel like there’s a supportive environment for opera in Canada?
Yes, I think there is a very supportive environment for Canadian opera artists within the young artist spaces. I recognize that I’m one of the very lucky few people who have been able to receive the amazing opportunity of being paid to work on my craft. I was and continue to be surrounded by a highly qualified team invested in my development. As someone who is now freelancing, I have a deeper understanding of the challenges faced by freelance artists. It’s hard to find time and energy to practice after a long workday or choose between lessons and groceries. With lots of arts funding being cut in Canada, making getting grants and financial support even more competitive, it’s a scary time to be a young opera singer. I’m very grateful that I get to go to Merola and continue to receive this type of extensive training, but it’s a wonderful question to ask because we need to remember the importance of supporting young artists of all stages, both in and outside institutions.
Tenor Wesley Harrison comes from Windsor, Ontario, and earned a Master’s degree in Opera and Voice performance from McGill University. A COC Ensemble Studio member, he’s performed a number of roles with the company, including Schoolmaster/Mosquito (The Cunning Little Vixen), and Abdallo (Nabucco).
What made you decide to apply for the Merola Opera Program? What do you hope to gain from it — do you have specific goals at this point in your career?
I’m currently finishing my second year as a young artist at the Canadian Opera Company and about to set foot on the next stage of my career. While exploring what direction to go in, I knew I wanted to apply to Merola. I’ve seen some incredible growth from other singers who went through the program, and I wanted the same for myself!
You are one of 28 chosen from a large number of applicants — nearly 1,300. Do you have a sense of why — where your strength was in your video submission? Was there anything special you did to prepare for it?
I’m very grateful to be accepted into the program! I know it’s such a large pool of singers they must choose from. I’ll never know for certain what goes on in a panelists’ mind, so I try to take comfort in that and make the art / choices that I want in an audition. My hope is that this makes a more genuine and interesting performance. My hypothesis on why I was chosen is maybe they saw this in the audition room.
Why do you think so many Canadians were chosen — six, or more than 20% of the participants this year? Do you feel like there’s a supportive environment for opera in Canada?
I don’t know how it happened, but I’m so thrilled to have friends and colleagues I already know along for the ride this summer!
Pianist Brian Cho earned a Bachelor of Musical Arts and a Master’s in Collaborative Piano from Western University. He won first place in the 2023 Marilyn Horne Song Competition, and he’s also the co-founder and head coach of the Can of Soup Collective, a non-profit dedicated to making opera more accessible to wider audiences.
What made you decide to apply for the Merola Opera Program? What do you hope to gain from it — do you have specific goals at this point in your career?
I applied for the Merola Opera Program because it seemed like a great opportunity to learn and grow in a supportive and exciting environment. I’ve always admired how Merola brings together talented people to collaborate, and I thought it would be a wonderful way to challenge myself and improve as a repetiteur. My main goal is to gain more experience with different repertoire and deepen my understanding of opera. At this point in my career, I’m just looking to keep improving and to connect with others who share the same passion.
You are one of 28 chosen from a large number of applicants — nearly 1,300. Do you have a sense of why — where your strength was in your video submission? Was there anything special you did to prepare for it?
I’m honestly not sure what exactly made my submission stand out, but I tried to focus on what I enjoy most about being a repetiteur: servicing the music so it comes to life in a way that feels organic. I attempted to remain focused on staying grounded and tried to capture the essence of the music without overthinking it. For preparation, I made sure to practice regularly and stay relaxed, just so I could approach the video with a clear mind and give it my best shot.
Why do you think so many Canadians were chosen — six, or more than 20% of the participants this year? Do you feel like there’s a supportive environment for opera in Canada?
I think the strong representation of Canadians in this year’s program speaks to the growing vibrancy of the opera scene in Canada. There is an increasing recognition of the talent coming out of Canadian conservatories and training programs, and the Canadian Opera Community is incredibly supportive and nurturing. Organizations like the Canadian Opera Company and the Vocal Arts Festival provide excellent opportunities for emerging artists, and there’s a real sense of collaboration across the country. As a Canadian myself, I’ve been fortunate to experience this supportive environment, and it has encouraged me to continually grow in my career. The Canadian opera community seems to foster a sense of camaraderie that translates into success at international competitions and programs like Merola.
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