A Message from the Artist
My Journey as a Soprano
From the onset of my operatic career at the age of seventeen, it was evident that I was a dramatic singer in the making. Having a voice of considerable size, I was too young to sing the repertoire that I was destined to sing. The solution to this challenge was to sing roles that would build healthy vocal technique, build stage experience, and lead me to gain life experience so essential to the dramatic repertoire.
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My early years were spent training and performing extensively with the Canadian Opera Company under the direction
of Lotfi Mansouri and also with many other Canadian companies and symphonies. Dramatic voices do not sing their
respective repertoire early in their careers due to the physical demands on the voice. It can take years before getting
to the stage in the dramatic roles, aware of this I knew that patience was required on my part.
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I studied and performed varied repertoire until my voice developed physically. During this time I explored future
dramatic roles, studied languages, appeared in two movies, sang at events, and much more. The repertoire that I
sang earlier in my career and that transitioned through various vocal categories and styles reflects the versatility that I
would come to embrace. Alongside singing, I taught voice in my private voice studio while at the same time raising a
family of four children.
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I studied and performed varied repertoire until my voice developed physically. During this time I explored future
dramatic roles, studied languages, appeared in two movies, sang at events, and much more. The repertoire that I
sang earlier in my career and that transitioned through various vocal categories and styles reflects the versatility that I
would come to embrace. Alongside singing, I taught voice in my private voice studio while at the same time raising a
family of four children.
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Many life obstacles were presented along my path to the opera stage. Amongst the numerous challenges were two
serious car accidents, both on the way to sing in operas, a miscarriage that hospitalized me during an opera contract
away from home, gallbladder surgery two weeks before singing a tour of Britten’s War Requiem, but the most serious
life-changing event was yet to come. Just as I began to launch into the dramatic repertoire my husband had a sudden
critical health crisis that required my full attention for a few years following. Our family was in crisis and I couldn't
pursue my goals until my husband recovered.
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During my time away from performing I continued to teach, practice, and learn and coach new repertoire, often going
to the conservatory very late at night to practice. I never gave up hope, I was determined that one day I would be able
to resume the career that I had worked so hard to achieve.
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When deciding to launch in the dramatic repertoire I consulted and coached extensively with Wagner experts
including Wagnerian diva soprano Jane Eaglen, Eric Wiemer (Chicago Lyric Opera), Klaus Sallmann (Berlin
Staatsoper), and more. They all concluded that I am a true hochdramatische soprano and should specialize in the
most challenging dramatic roles of Wagner and Richard Strauss. My successful USA debut marked my arrival as a
true dramatic soprano in the role of Turandot and was soon followed by concert performances Brünnhilde in Die
Walküre, Siegfried, and Götterdämmerung. There is no doubt that my years of intensive study of Wagner and Strauss
roles with top experts in Germany and the USA, along with my extensive previous performing experience has
prepared me for the dramatic roles that I know embody.
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The numerous life trials provided lessons of strength and stamina, and tough circumstances taught me how to focus
and move forward, no matter what. Significantly, those experiences provided insight into the complex and deep
characters of the dramatic roles that lay ahead. All of these experiences, both in life and in music, were instrumental
to my development and got me to the operatic stage as a hochdramatische soprano.
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About Susan
Critically acclaimed Susan Tsagkaris has emerged as one of Canada’s foremost dramatic sopranos. Celebrated for her powerful high notes, voluptuous tone, extensive range, and mastery of niche dramatic repertoire, Susan is a true artist with a passion for music.
Susan triumphed in her American debut of the role of Turandot in Pucciniʼs Turandot with St. Petersburg Opera Co., Florida. Having received a generous Ontario Art Council/ Chalmerʼs award, Susan recently returned from a month of intensive coaching in Europe, for the role of Elektra (R.Strauss) with world renowned Wagner/Strauss expert Klaus Sallmann (the Berlin Staatsoper). Previously, Susan prepared the entire role of Isolde with Klaus and returned to Berlin where she recorded Wagner and Strauss repertoire with him.
Susan’s career is expanding internationally both in Europe and the USA. With family and a residence in Europe Susan looks forward to working there. In addition to her training in Berlin, Susan developed her dramatic repertoire through extensive mentoring from acclaimed opera coaches Eric Weimer (the Lyric Opera of Chicago) and Jane Eaglen (Wagnerian soprano).
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Susan continually challenges herself to grow and evolve. Endorsed and coached by Wagnerian Diva, Jane Eaglen, Susan is focusing on the Wagnerian roles of Isolde and Brünnhilde (all three Ring operas), Elektra and Turandot. Eaglen invited Susan to attend the Wagner Intensive in Cleveland, Ohio where she performed Wagner excerpts in the roles of Brünnhilde from Die Walküre and Götterdämmerung, and as Isolde from Tristan und Isolde. This led to recognition and a scholarship from the Wagner Society of Ohio. While in Ohio, Susan was featured in a Deutsche Welle TV special which commemorated the bicentennial of Wagner’s birth and aired across Europe.
Susanʼs natural musical talent is shown by her success and ability to sing across a wide range of musical styles. Recognized for her outstanding musicianship, she successfully sight read the role of Brünnhilde on a moments notice when the soprano in a concert production of Wagnerʼs Siegfried suddenly fell ill. She also performed Brünnhilde in a concert version of Götterdämmerung in Toronto. A versatile artist, Susan participated in the Toronto International Art Festival Luminato in Rufus Wainwright’s internationally acclaimed opera Prima Donna, directed by Tim Albery. Film appearances include her portrayal of Opera Singer in the motion picture Johnny Mnemonic starring Keanu Reeves and Opera Singer in the CBC television movie Under the Piano starring Teresa Stratas and Megan Follows.
Having performed alongside numerous Canadian Symphonies, her notable performances include; Verdi’s Requiem with both Masterworks Oakville and Niagra Symphony/Chorus Niagra, Britten’s War Requiem with McGill Orchestra, Beethoven’s 9th Symphony with Symphony Nova Scotia, Boris Brott Festival and Kitchener/Waterloo Symphony, Handel’s Messiah with Symphony Nova Scotia, and Saffi in the Gypsy Baron with Symphony Nova Scotia. Other accomplishments include the soprano in Richard Fanshawe’s African Sanctus at the North York Centre for the Performing Arts. Moreover, Susan sang her premier performance of Wesendonck Lieder with Euphonia in Toronto before traveling to Europe where she performed in concerts in both France and Belgium.
Her extensive range, thrilling sound, and emotionally powerful delivery have proven to go unnoticed. Early in her career, Susan was honoured to perform alongside Ben Heppner in the final duet from Andrea Chenier, in addition to Wagner arias at an Opera Canada gala. Excitement shown by the audience was an early indication that Susan was destined for the specialized hoch dramatische soprano niche.
Susan has lent her voice to many notable Canadian opera companies, in performances such as; Konstanze in Pacific Opera’s Die Entführung Aus Dem Serail. Calgary Opera’s productions include Verdi’s Rigoletto and Nabucco, Bizet’s Carmen, Rossini’s La Cenerentola, Humperdinck’s Hansel und Gretel and Menotti’s Amahl and the Night Visitors. Susan appeared in Toronto Opera in Concert’s (Voicebox) productions of La Wally as Wally, L’Arlesiana as Vivetta, and Der Vampire as Janthe.
Lotfi Mansouri first discovered Susan and invited her to join the Canadian Opera Company Ensemble. She appeared in numerous mainstage/touring productions throughout Ontario and internationally in roles such as; Mimi in La Boheme, Despina in Cosi FanTutte, Polly Peachum in The Beggar’s Opera, Jessie in The Little Mahagonny Songspiel, and Clorinda in La Cenerentola. Susan appeared in numerous other Canadian Opera Company productions including Salome, La Traviata and Boris Goudonov.
Susan graduated from the University of Calgary with a Bachelor of Music and attended two seasons in the opera division at the Banff Centre for the Arts. Along side her operatic singing, Susan mentors and teaches a number of up-and-coming Canadian opera singers.