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Soprano, Singing Teacher, co-director of the France-Canada Vocal Arts Academy (F-CAVA), co-director of the Académie Francis Poulenc
Celebrated for her warm voice and dramatic instinct, soprano Frédérique Vézina has made her mark on international concert and opera stages. After completing her studies at McGill University in Montreal, she joined the Ensemble Studio of the Canadian Opera Company in 2002. Building on this success, the internationally renowned Juilliard School welcomed her into its opera program. These formative years alongside leading masters of lyrical art and stage performance now lie at the heart of her teaching.
Frédérique Vézina quickly gained significant visibility through standout roles such as Mimì (La Bohème), Tatyana (Eugene Onegin), Ellen Orford (Peter Grimes), Contessa (Le nozze di Figaro), Donna Elvira (Don Giovanni), Fiordiligi (Così fan tutte), Micaëla (Carmen), Governess (The Turn of the Screw), Wellgunde (Das Rheingold), and the Merry Widow. In 2010, composer John Estacio entrusted her with the title role of his new opera, making her his Lillian Alling at the world premiere.
Throughout her career, Frédérique Vézina has had the privilege of collaborating with renowned conductors, including Richard Bradshaw, James Conlon, Hans Fricke, Jacques Lacombe, Kent Nagano, Bernard Labadie, and Yannick Nézet-Séguin, to name but a few.
Today, she is passionate about sharing her knowledge and experience. Her teaching career began in 2010 at Western University and has continued since 2013 at the University of Toronto, where she is a valued member of the faculty. She also enjoys participating in masterclasses and adjudicating for other educational institutions, music festivals, and competitions. Frédérique Vézina’s approach focuses on an intrinsic awareness of the body as an instrument, in order to provide singers with true autonomy and mastery — technique in service of art and boundless expression.
Coming from an era when singing was often taught in abstract terms, she is dedicated to making the principles of vocal technique more transparent and concrete.
Furthermore, her work with singers strives to uncover deep and meaningful expressivity rooted in the intimate personalization of text and character.
Frédérique Vézina is a regular contributor to the Canadian cultural magazine Opera Canada.
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