Canadian soprano Jacqueline Woodley has been praised for her fearless versatility, changing styles fluidly from early music to contemporary, from opera to art song. Recent performances include her Montreal Symphony Orchestra debut under Kent Nagano; the roles of Adele (Die Fledermaus) and Papagena (Die Zauberflöte) with Edmonton Opera; appearances at the Vancouver Early Music Festival and the Ottawa International Chamber Music Festival with Les Voix Baroques; a soprano and trumpet programme for Clavecin en Concert and La Fête de la Musique de Mont-Tremblant; and Handel’s Messiah for groups such as the National Arts Centre Orchestra, Aradia Ensemble and in a staged version for Against the Grain Theatre.
Sought after for her “exceptional talent” in performing modern works, Jacqueline created the role of Milice-Bride in the première of Ana Sokolovic’s opera Svaba-Wedding with Queen of Puddings Music Theatre, as well as subsequent Canadian and European tours and the American premiere of the work with Philadelphia Opera. Other acclaimed performances of contemporary music include works by György Kurtág, Kaija Saariaho and Judith Weir.
An alumna of the Canadian Opera Company Studio, she performed and covered several main stage roles, among which were Olympia (Contes d’Hoffmann), Amore (Orfeo ed Euridice), First Priestess (Iphigénie en Tauride), Lace Seller (Death in Venice), and she was heard as Iris in Semele and as a “deliciously sexy” Papagena in Die Zauberflöte in the Ensemble performances.
Possessing a strong affinity for concert works, Jacqueline has recently sung Bach’s Saint John Passion, Orff’s Carmina Burana, Fauré and Mozart’s Requiem, Mahler’s Symphony No. VIII, Mercure’s Cantate pour une joie, Haydn’s Creation, Pärt’s Stabat Mater, Villa-Lobos’ Bachianas Brasileiras No. 5, I-II, and Vaughan Williams’ Dona Nobis Pacem.
Upcoming performances include Svadba for the San Francisco Opera, Cherubino in Le nozze di Figaro and Waldfogel in Siegfried for the COC, Bach and Finzi for Ottawa’s Thirteen Strings and Messiah for Symphony Nova Scotia and in Montreal. Last season highlights include the premiere of Scottish composer John Harris’ M’dea Undone (libretto by Marjorie Chen, co-production by Toronto’s Tapestry Opera and Scottish Opera); a solo recital of Mozart, Schubert and Strauss in Québec; a recording of Canadian composer Norbert Palej’s music with Canadian Art Song Project; and Belinda in Dido and Aeneas at the Vancouver Early Music and Ottawa International Chamber Music Festivals.
Jacqueline holds a master’s in opera from McGill University.