You recognize the saying, “A very good man is tough to search out”? Add the phrase ‘tenor,’ and also you’ll describe Zack Rioux to a T — pun meant.
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, strong coaching, potent communicative energy, and an innate need to indicate 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 College 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 gained prizes at Neue Stimmen, the Berlin Worldwide Music Competitors, and the Vienna Worldwide Music Competitors, to call a number of. 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 apart 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 fantastic, 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 shortly organized an interview, discovered a quiet spot within the opera home for slightly catching up. The interview was later accomplished over the cellphone.
Zachary Rioux: The Interview
Nice to see you doing so properly, 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 people 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 along with her mom, Léola Dionne. As a child, I repeatedly competed in music festivals, singing hymns and artwork songs. I usually did properly, typically inserting on the provincial stage in my age group.
Sounds such as you already knew what you wished to do in life.
I wasn’t actually obsessed with it. At one level in my teenage years, I even thought of quitting. I used to be additionally very lively 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’d ever contemplate a profession in singing. In reality, 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 — instructed 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 might inform in the beginning that I wasn’t fully positive about pursuing singing, however one thing clicked by the tip. It was like a swap flipped, and I noticed this was what I wished 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 some music faculties 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 12 months, 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 increasingly more sure that I used to be destined to be an opera singer.
Because you’re a tenor, I have to ask — do you might have 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 realized to not try to replicate his approach. His voice was so distinctive that it seemingly 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 positive he might 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 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!
Properly, as somebody who had the nice fortune of listening to all 4 dwell and in particular person, I can say you might have good style. You’re nonetheless within the early levels of a profession, so I need to ask you – what are your dream roles, roles that you simply 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 embrace Pinkerton, Macduff, Werther, Lensky, and the Prince in Rusalka. Trying forward a number of years, I hope to tackle Des Grieux (Manon Lescaut), Maurizio, Pollione, Cavaradossi, Erik, Radamès, and Don José.
That appears like a superb plan. I’m glad that you simply’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 actually 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 concentrate on guesting or doubtlessly looking 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 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 take a position extra time into my profession.
And I perceive that now you might have 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 might have developing?
[In] April, I’ll be singing Rodolfo in Manitoba Opera’s La Boheme. I’ll even have knowledgeable position debut at a home in Switzerland, with an announcement to come back.
Great that you simply’re returning to Canada to sing Rodolfo subsequent month. Give us your ideas on singing this nice position.
Rodolfo is among the most iconic tenor roles in all of opera, and it’s a job 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, underneath the course of AVA’s music director, Christofer Macatsoris. It’s undoubtedly one of the crucial daunting tenor roles — not solely due to its issue but in addition because of the opera’s immense reputation. “Che gelida manina” is among 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 snug. Everybody within the solid and manufacturing staff is so variety — all of us get alongside very properly, and that’s precisely the kind of ambiance you need when making knowledgeable position 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 best alternative, and I’m so grateful that the timing labored out for this manufacturing. I actually really feel that Rodolfo is the proper 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 evening!
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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 repeatedly as a panel member of the Huge COC Podcast.He has co-edited a guide, Opera in a Multicultural World: Coloniality, Tradition, Efficiency, printed by Routledge (Taylor & Francis Group).
