Simone Osborne

Simone Osborne


Vocalists — Soprano

"It’s hard to explain. But something of a miracle occurred on the stage of Roy Thomson Hall Thursday night. Canadian soprano Simone Osborne was just wrapping up the final movement of Mahler’s Fourth Symphony…on Thursday, Osborne didn’t just sing that song, it’s as though she became the song, that hers was the voice that had created the entire symphony. It felt as though the 80-odd musicians on stage were somehow emanations of her and her musical presence, so thoroughly did she inhabit the music she was singing. Even though Osborne is on stage for a mere fraction of the symphony’s duration, it was as though she had been there the entire evening, as though we had been hearing her somehow make the symphony’s music." —Robert Harris, The Globe and Mail, November 10, 2015 - Mahler's 4th Symphony with the Toronto Symphony Orchestra

"Osborne’s Mad Scene was the tour-de-force it needs to be, beautifully sung, convincingly and quite passionately acted, a woman who still has the touch of the girl as she loses her reason." —Mark Morris, Edmonton Journal, April 19, 2015 - title role in 'Lucia di Lammermoor' at Edmonton Opera

"Simone Osborne shone and her voice soared as Nannetta, the Ford's daughter, as she was given one of the few real arias in the work, a third-act beauty which she delivered with grace and care." —Robert Harris, The Globe and Mail, October 4, 2014 - Nannetta in 'Falstaff' at the Canadian Opera Company

About

Canadian soprano Simone Osborne has been hailed as "a joy to hear" (Los Angeles Times) with "a sweet and clear sound, sensitive phrasing and gleaming sustained high notes" (New York Times). Ms. Osborne was one of the youngest winners of the Metropolitan Opera National Council Auditions and was a member of the Canadian Opera Company Studio Ensemble

Simone Osborne will return to the Canadian Opera Company for a very important project in the 2016-2017 season: the 50th Anniversary new production of Harry Somers’ Louis Riel as Marguerite Riel, helping to mark the . . .

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