You recognize the saying, “A great man is difficult to seek out”? Add the phrase ‘tenor,’ and also you’ll describe Zack Rioux to a T — pun supposed.
At 28, which is a really younger age for an opera singer, Zachary Rioux — Zack to his pals — is displaying nice promise, and for good motive. Blessed with a golden tenor voice, boyish attractiveness, stable coaching, potent communicative energy, and an innate want to point out the opera world what he can do, his future is vivid certainly.
I’ve been following his improvement for some years. A graduate of the Glenn Gould Faculty the place I first heard him in masterclasses, Rioux went on to hone his instrument on the Academy of Vocal Arts in Philadelphia. Massively profitable in competitions, he received prizes at Neue Stimmen, the Berlin Worldwide Music Competitors, and the Vienna Worldwide Music Competitors, to call a couple of. I recall how spectacular his Tamino was on the Glenn Gould Faculty’s Die Zauberflöte in 2019. He even turned heads as an impossibly younger Cavaradossi in Tosca for Toronto Metropolis Opera, albeit with piano accompaniment. It nonetheless confirmed off a voice of clarion magnificence coupled with an endearing stage persona.
Quick ahead to final July in Munich, after I attended a efficiency of Parsifal on the Bayerische Staatsoper. I used to be there primarily to catch the good Canadian baritone Gerald Finley as Amfortas. Think about my shock after I found that the supporting function of Vierter Knappe was taken by none aside from Zachary Rioux. It turned out that he was a member of Bayerische Staatsoper’s Opernstudio, a prestigious coaching floor for up-and-coming younger singers.
I went on his YouTube web page for a fast refresher. Amongst his video clips was a 2022 live performance look on the Internationale Meistersinger Akademie, a summer season program run by famend Canadian soprano/pedagogue Edith Wiens. Rioux’s Flower Music from Carmen revealed a gorgeous, vivid, ringing tenor, used with style and musicality, demonstrating in no unsure phrases that Mr. Rioux is prepared for prime time.
Given our serendipitous Munich encounter, I rapidly organized an interview, discovered a quiet spot within the opera home for just a little catching up. The interview was later accomplished over the cellphone.
Zachary Rioux: The Interview
Nice to see you doing so nicely, Zack! Let’s begin from the start — inform us about your early upbringing. The place’s hometown for you? Do you come from a musical household?
I used to be born in Grand Falls, New Brunswick, right into a household of musicians — principally rock and folks musicians — so I grew up loving traditional rock. I first began studying guitar on the age of 4, and by seven, I took my first singing classes.
Singing classes at seven? Wow… Who was your voice trainer?
I began finding out voice with Myriam Poitras, and when she moved away three years later, I continued classes together with her mom, Léola Dionne. As a child, I often competed in music festivals, singing hymns and artwork songs. I usually did nicely, typically putting on the provincial degree in my age group.
Sounds such as you already knew what you needed to do in life.
I wasn’t really obsessed with it. At one level in my teenage years, I even thought-about quitting. I used to be additionally very energetic in sports activities as a child as a result of I needed to attempt the whole lot. On the time, nobody, together with me, had any concept that I might ever think about a profession in singing. In actual fact, the one motive I used to be put in voice classes was in order that I’d have the choice to play guitar and sing in a band if I needed to. That modified after I was 15 or 16. Léola’s different daughter, Chantal Dionne — who can be an opera singer — prompt that I apply to the Orford Music Academy, a weeklong summer season program. I imagine I used to be the youngest singer to ever attend. At Orford, I had the chance to work with François Le Roux, Sanford Sylvan, and Richard Turp. I feel they might inform initially that I wasn’t completely positive about pursuing singing, however one thing clicked by the tip. It was like a change flipped, and I noticed this was what I needed to do.
When did you begin to critically ponder a profession in opera?
At the moment, I knew nearly nothing about opera. I utilized to a couple music faculties throughout Canada and ultimately selected to attend the Glenn Gould Faculty on the Royal Conservatory of Music in Toronto for my undergraduate diploma, the place I studied with Dr. Joel Katz.
What’s loopy is that I don’t suppose I had ever even watched a full opera earlier than I used to be in a single! In my first yr, I sang within the refrain for Mozart’s Lucio Silla, placed on by Opera Atelier. Even then, I nonetheless had moments of doubt about whether or not I actually needed to be a singer. However as I continued in my research, I grew to become increasingly more sure that I used to be destined to be an opera singer.
Because you’re a tenor, I need to ask — do you’ve got a favorite tenor? A task mannequin?
I’ve a number of! For my part, Franco Corelli is the best Italian tenor of all time. I used to hearken to him consistently, although I’ve realized to not try to replicate his method. His voice was so distinctive that it possible wouldn’t work for anybody else.
I additionally like Mario Del Monaco — his voice was like a trumpet! Some criticize him for pushing an excessive amount of, however his voice at all times rang, his vibrato was clear, and I’m positive he might at all times be heard behind any corridor. I additionally like Giuseppe Giacomini — each time I hear a recording of him, I’m speechless. And I need to embrace arguably the best Canadian tenor of all time, Jon Vickers. Not simply due to his immense expertise, however as a result of his voice is the one mine has been in comparison with most frequently. If I can have even half the profession he had, I’d be extremely comfortable!
Nicely, as somebody who had the great fortune of listening to all 4 reside and in particular person, I can say you’ve got good style. You’re nonetheless within the early levels of a profession, so I wish to ask you – what are your dream roles, roles that you just hope to sing some day?
At this level in my profession, I’m centered on the total lyric and younger spinto tenor repertoire. Rodolfo is an ideal instance of the place my voice is true now. Different roles I’d like to carry out at this stage embrace Pinkerton, Macduff, Werther, Lensky, and the Prince in Rusalka. Wanting forward a couple of years, I hope to tackle Des Grieux (Manon Lescaut), Maurizio, Pollione, Cavaradossi, Erik, Radamès, and Don José.
That feels like a very good plan. I’m glad that you just’re going to attend a bit earlier than tackling Cavaradossi on the mainstage. All the time be conscious of ‘an excessive amount of, too quickly.’ What are your plans for subsequent season?
I’ve really loved my time right here within the Bayerische Staatsoper Opernstudio. However after conversations with educated individuals within the enterprise, like Tobias Truniger (head of the Munich Opernstudio), Edith Wiens (head of Internationale Meistersinger Akademie), Brigitte Fassbaender, Anna Tomowa-Sintow, Margaret Honig and others, all of them really feel that what I want most for my improvement is stage expertise singing bigger roles. So subsequent season, I’ll be transferring on to give attention to guesting or doubtlessly in search of new Fest contracts in Europe.
I’ll additionally do competitions and function research, and dedicating extra time to creating my very own content material on social media. After working the Worldwide Meistersinger Akademie’s social media for 2 years, I’ve developed an actual curiosity in it! I actually loved working as IMA’s social media supervisor, however I needed to transfer on this season as I felt I wanted to speculate extra time into my profession.
And I perceive that now you’ve got skilled illustration. Congratulations!
Sure, since final season I’ve been represented worldwide by ArteMIS Opera, a European company run by Julie Martin du Theil and Alice Lapasin Zorzit.
What engagements do you’ve got developing?
[In] April, I’ll be singing Rodolfo in Manitoba Opera’s La Boheme. I’ll even have an expert function debut at a home in Switzerland, with an announcement to come back.
Fantastic that you just’re returning to Canada to sing Rodolfo subsequent month. Give us your ideas on singing this nice function.
Rodolfo is without doubt one of the most iconic tenor roles in all of opera, and it’s a task I’ve spent numerous hours engaged on over the previous few years. I first ready and carried out it whereas on the Academy of Vocal Arts in 2022, beneath the course of AVA’s music director, Christofer Macatsoris. It’s undoubtedly one of the daunting tenor roles — not solely due to its problem but in addition as a result of opera’s immense recognition. “Che gelida manina” is without doubt one of the most well-known arias within the repertoire, and with that comes a sure degree of strain.
Nevertheless, the surroundings at Manitoba Opera has made me really feel extremely snug. Everybody within the forged and manufacturing crew is so sort — all of us get alongside very nicely, and that’s precisely the kind of ambiance you need when making an expert function debut.
Have you ever labored with Manitoba Opera earlier than?
I’ve been wanting to work with Manitoba Opera for a while. I first appeared on their radar after I utilized for the inaugural Digital Rising Artists Program in the course of the pandemic. Since then, we’ve stored in contact, on the lookout for the suitable alternative, and I’m so grateful that the timing labored out for this manufacturing. I actually really feel that Rodolfo is the right function for me at this stage in my profession.
Thanks for talking with me — we’re now all caught up. Toi toi toi to you and everybody for a profitable Boheme opening night time!
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Joseph So is Professor Emeritus at Trent College and Affiliate Editor of Opera Canada.He’s additionally a long-time contributor to La Scena Musicale and Opera (London, UK). His curiosity in music journalism focuses on voice, opera in addition to symphonic and piano repertoires. He seems often as a panel member of the Massive COC Podcast.He has co-edited a e-book, Opera in a Multicultural World: Coloniality, Tradition, Efficiency, printed by Routledge (Taylor & Francis Group).
