Canadian Opera Company’s Ensemble Studio Competition is one of the most anticipated events in Canada’s opera world. Now in its 12th year, the competition is more fierce, and with higher monetary prizes at stake. The biggest incentive, however, is a coveted invitation to join the COC Ensemble Studio, Canada’s leading career development program for emerging opera artists.
This year, the seven finalists were selected from 117 applicants and 60 live auditions throughout the country. For the first time in recent memory, the finalists represented every voice type—two sopranos, one mezzo-soprano, two tenors, one baritone and a bass.
Each finalist sang their chosen aria in front of a live and live-streamed audience, accompanied by the COC orchestra. Just like in Canada’s Got Talent, the audience voted for their favourite artist who would be awarded the Audience Choice Prize.
Marci Ien hosting COC’s Ensemble Studio Competition (2025). Photo: Michael Cooper
The panel of judges included renowned Hollywood and Broadway vocal coach Elaine Overholt, Dean Artists Management Managing Director Morgan Reid, and three COC artistic leads: Ensemble Studio Director Dorian Cox, Artistic Operations & Planning Director Roberto Mauro, and Ensemble Studio Head of Music, Liz Upchurch.
The evening was hosted by Marci Ien, a celebrated journalist, author and politician. There was a special tribute to living tenor legend Ben Heppner, whose international career was launched after his time with the COC Ensemble Studio from 1982-84. Coincidentally, he also hosted this same competition in 2014 and 2019.
Nikan Ingabire Kanate at COC’s Ensemble Studio Competition (2025). Photo: Michael Cooper
Also honoured was the late Canadian soprano Erin Wall, who passed away too soon at the age of 45 in 2020. The newly established Erin Wall Prize is given to Centre Stage’s Third Prize winner.
The evening opened with the COC Orchestra playing a spirited rendition of the overture of Mozart’s La clemenza di Tito, led by Music Director Johannes Debus. New this year, the orchestra is projected on screen, providing a rare chance for the audience to see the musicians up close.
Soprano Nikan Ingabire Kanate from Ottawa was the clear winner of the evening, taking home the First Prize of $12,500 and $3,000 Audience Choice Prize. Kanate is currently pursuing her Master of Music in Opera at the Curtis Institute. Her “Depuis le jour” from Charpentier’s Louise was a fine showcase of her mature technique and gleaming tone. Her high notes show excellent dynamic control, and her performance was a fresh bouquet of colours.
Camila Montefusco at COC’s Ensemble Studio Competition (2025). Photo: Michael Cooper
Second Prize ($8,000) went to Brazilian-born, Montreal-based mezzo Camila Montefuso, a current resident artist with L’Atelier lyrique de l’Opéra de Montréal. Her “Parto, parto” from La clemenza di Tito was a suitable choice for her dark mezzo instrument, the presto passages at the end of the aria showcasing her versatile range from a D to a high Bb.
Taking home the $5,000 Erin Wall Prize was Canadian-American baritone Søren Pedersen, currently pursuing his Artist Diploma at Cincinnati College-Conservatory of Music. His choice of aria was “Largo al factotum” from Rossini’s The Barber of Seville, a crowd-pleaser that requires a great amount of theatricality. Although Pedersen lacks vocal power at times, his high notes are resonant, and his animated acting makes him as good a Figaro as many that have graced the COC stage. His effervescent on-stage personality made his performance the most entertaining of the evening. Although I did not think he would necessarily land in the winner’s circle, my vote went to him.
Søren Pedersen at COC’s Ensemble Studio Competition (2025). Photo: Michael Cooper
It came as a surprise that soprano Sarah Anderson-Caulfield did not go home with a prize. She has a unique instrument that is dark in the low ranges, but with a silvery top. Her technically-secure delivery of “Lo vidi, e’l primo palpito” from Verdi’s Luisa Miller, one of the more difficult arias chosen by a competitor, required the repeated execution of high Cs that were delivered with precision and beauty.
The remaining competitors—bass Onur Hilaloglu, and tenors Jacob Abrahamse and Jackson Allen—all deserve accolades for their fine performances. Everyone went home happy with a $1,000 Career Development Prize.
The only disappointment of the night was the cancellation of Anna-Sophie Neher. The former Ensemble Studio soprano was scheduled to perform, but had fallen ill. After seeing her outstanding performance of Euridice in the COC’s current run of Orfeo ed Euridice, I looked forward to hearing her again. Instead, the COC Orchestra stepped in to play the overture to Strauss’ Die Fledermaus, which was no less thrilling. It was especially inspiring to see Debus’ energetic conducting on-screen, and the special way he connects with his orchestra.
It was an exhilarating night of vocal fireworks from our country’s next generation of opera stars. The future is bright for Canada’s operatic world.
More on Canadian Opera Company’s 2025-26 season can be found here.
