the saying, “A great man is tough to search 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 exhibiting nice promise, and for good motive. Blessed with a golden tenor voice, boyish beauty, strong coaching, potent communicative energy, and an innate want to indicate the opera world what he can do, his future is shiny certainly.
I’ve been following his growth for some years. A graduate of the Glenn Gould College the place I first heard him in masterclasses, Rioux went on to hone his instrument on the Academy of Vocal Arts in Philadelphia. Vastly profitable in competitions, he gained prizes at Neue Stimmen, the Berlin Worldwide Music Competitors, and the Vienna Worldwide Music Competitors, to call just a few. I recall how spectacular his Tamino was on the Glenn Gould College’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 position 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 Tune from Carmen revealed a wonderful, shiny, 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 shortly organized an interview, discovered a quiet spot within the opera home for somewhat catching up. The interview was later accomplished over the telephone.
Zachary Rioux: The Interview
Nice to see you doing so effectively, 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 — largely rock and folks musicians — so I grew up loving basic 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 learning 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 frequently competed in music festivals, singing hymns and artwork songs. I typically did effectively, typically putting on the provincial stage in my age group.
Sounds such as you already knew what you wished to do in life.
I wasn’t really captivated with it. At one level in my teenage years, I even thought of quitting. I used to be additionally very energetic in sports activities as a child as a result of I wished to attempt all the pieces. On the time, nobody, together with me, had any concept that I might ever think about a profession in singing. The truth is, 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 wished to. That modified after I was 15 or 16. Léola’s different daughter, Chantal Dionne — who can also be an opera singer — recommended 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 believe they may inform at the beginning that I wasn’t totally certain about pursuing singing, however one thing clicked by the top. It was like a change flipped, and I noticed this was what I wished to do.
When did you begin to severely ponder a profession in opera?
At the moment, I knew nearly nothing about opera. I utilized to some music colleges throughout Canada and ultimately selected to attend the Glenn Gould College 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 wished to be a singer. However as I continued in my research, I grew to become an increasing number of sure that I used to be destined to be an opera singer.
Because you’re a tenor, I have to ask — do you have got a favorite tenor? A job mannequin?
I’ve a number of! For my part, Franco Corelli is the best Italian tenor of all time. I used to take heed to him always, although I’ve discovered to not attempt 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 all the time rang, his vibrato was clear, and I’m certain he may all the time be heard in the back of any corridor. I additionally like Giuseppe Giacomini — each time I hear a recording of him, I’m speechless. And I have to embody 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!
Effectively, as somebody who had the nice fortune of listening to all 4 stay and in particular person, I can say you have 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 targeted on the complete lyric and younger spinto tenor repertoire. Rodolfo is an ideal instance of the place my voice is correct now. Different roles I’d like to carry out at this stage embody Pinkerton, Macduff, Werther, Lensky, and the Prince in Rusalka. Trying forward just a few years, I hope to tackle Des Grieux (Manon Lescaut), Maurizio, Pollione, Cavaradossi, Erik, Radamès, and Don José.
That feels like an excellent plan. I’m glad that you just’re going to attend a bit earlier than tackling Cavaradossi on the mainstage. All the time be aware 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 growth is stage expertise singing bigger roles. So subsequent season, I’ll be shifting on to give attention to guesting or probably searching for new Fest contracts in Europe.
I’ll additionally do competitions and position research, and dedicating extra time to creating my very own content material on social media. After operating 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 have 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 have got developing?
[In] April, I’ll be singing Rodolfo in Manitoba Opera’s La Boheme. I’ll even have an expert position 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 position.
Rodolfo is likely one of the most iconic tenor roles in all of opera, and it’s a job I’ve spent numerous hours engaged on over the previous couple of years. I first ready and carried out it whereas on the Academy of Vocal Arts in 2022, below the course of AVA’s music director, Christofer Macatsoris. It’s positively probably the most daunting tenor roles — not solely due to its issue but additionally as a result of opera’s immense recognition. “Che gelida manina” is likely one of the most well-known arias within the repertoire, and with that comes a sure stage of strain.
Nonetheless, the setting at Manitoba Opera has made me really feel extremely comfy. Everybody within the forged and manufacturing workforce is so form — all of us get alongside very effectively, and that’s precisely the kind of ambiance you need when making an expert position debut.
Have you ever labored with Manitoba Opera earlier than?
I’ve been desperate to work with Manitoba Opera for a while. I first appeared on their radar after I utilized for the inaugural Digital Rising Artists Program through the pandemic. Since then, we’ve saved in contact, on the lookout for the proper alternative, and I’m so grateful that the timing labored out for this manufacturing. I actually really feel that Rodolfo is the right position 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 frequently as a panel member of the Large COC Podcast.He has co-edited a e-book, Opera in a Multicultural World: Coloniality, Tradition, Efficiency, printed by Routledge (Taylor & Francis Group).
