{"id":123871,"date":"2026-04-30T12:50:25","date_gmt":"2026-04-30T16:50:25","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=123871"},"modified":"2026-04-30T14:00:01","modified_gmt":"2026-04-30T18:00:01","slug":"interview-ensemble-studio-mainstage-tenor-michael-colvin-baritone-ben-wallace-talk-cocs-werther","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2026\/04\/30\/interview-ensemble-studio-mainstage-tenor-michael-colvin-baritone-ben-wallace-talk-cocs-werther\/","title":{"rendered":"INTERVIEW | From The Ensemble Studio To Mainstage: Tenor Michael Colvin & Baritone Ben Wallace Talk About The COC\u2019s Werther"},"content":{"rendered":"
\"L:
L: Tenor Michael Colvin (Photo: Eloise Campbell); R: Ben Wallace as Baritone Soloist, Messiah (G.F. Handel) – Grand River Chorus (Photo: Jason Freeze)<\/figcaption><\/figure>\n

The Canadian Opera Company will present Massenet\u2019s Werther after a three decade absence from the Toronto stage. Russell Thomas sings the role of Werther, with mezzo Victoria Karkacheva as Charlotte in the new production directed by Alain Gauthier<\/strong>.<\/p>\n

LV talked to tenor Michael Colvin<\/strong> and baritone Ben Wallace<\/strong>, who portray supporting roles in the opera. Both vocalists came to the Four Seasons Centre mainstage via the Canadian Opera Company’s Ensemble Studio, but decades apart.<\/p>\n

Werther: The Opera<\/h2>\n

Un amour impossible, obsession, and despair. Werther, by French composer Jules Massenet<\/strong>, tells the story of its titular character, a young man, a poet who develops a romantic obsession with Charlotte, a woman who is already pledged to marry another man. She promised her dying mother that she’d marry Albert, and she intends to keep her word.<\/p>\n

The opera based on a novel by Goethe, with a French libretto by \u00c9douard Blau, Paul Milliet and Georges Hartmann.<\/p>\n

As his obsession with Charlotte grows, the story sees Werther spiral into despair, and tragedy. Charlotte has feelings for him too, but a stronger sense of duty. It’s only when it’s too late that she confesses her love.<\/p>\n

It is, in short, a classic basis for an operatic tragedy.<\/p>\n

Massenet’s music was composed over a period of several years before its premiere in 1892, and includes gorgeous arias, preludes, and interludes. It’s dramatic and romantic in its nature, using several recurring themes that speak to the underlying emotions of the story.<\/p>\n

\"Tenor
Tenor Michael Colvin (Photo: Robert Workman)<\/figcaption><\/figure>\n

Michael Colvin, tenor<\/h2>\n

Irish-born, Canadian-raised tenor Michael Colvin has enjoyed a decades long international career. He’s made his name via roles such as the Duke of Cornwall in Reimann\u2019s Lear at Op\u00e9ra National de Paris, Teatro Maggio Musicale di Fiorentino and Salzburg Festival; Monostatos Die Zauberfl\u00f6te, Bardolfo Falstaff and Rodolphe in Guillaume Tell at Royal Opera House, Covent Garden; The Witch Hansel and Gretel and Monostatos Die Zauberfl\u00f6te at the Canadian Opera Company; Herod Salome, Bob Boles Peter Grimes, and Painter\/Second Client in William Kentridge\u2019s acclaimed production of Lulu for English National Opera. He’s been closely associated with ENO as well as the COC throughout his career.<\/p>\n

His professional career began when he joined the COC Ensemble Studio, in 1998 and just after completing university.<\/p>\n

Michael Colvin: The Interview<\/h3>\n

\u201cI was in the Studio Ensemble from 1998 to 2000,\u201d Colvin recalls. \u201cAnd then I sang at the COC for many years after that,\u201d he adds. \u201cI’ve been back \u2014 I think almost every year with gaps over the years.\u201d<\/p>\n

It\u2019s a valuable professional relationship he looks to maintain. \u201cThe Ensemble and those early years with the COC really launched my [career],\u201d he says.<\/p>\n

\u201cI live in Toronto, so that was a pretty easy choice. In this business we don\u2019t always get a chance to work at home,\u201d he explains.<\/p>\n

But, even far from home, the Canadian connection comes up often. \u201cThere’s so many fantastic Canadian opera singers. Everywhere I\u2019m singing, there’s always fellow Canadians. In all these foreign cities, there are colleagues you can hang out with.\u201d<\/p>\n

A Big Break<\/h3>\n

Richard Bradshaw<\/strong> became the artistic director of the COC in 1994, and was named the general director of the company in 1998, a position he held until his death in 2007.<\/p>\n

\u201cI was there during the Richard Bradshaw years,\u201d Colvin says, \u201cand Richard was famous for literally throwing singers on stage.\u201d<\/p>\n

In 1999, the COC presented The Barber of Seville, with Russell Braun as Figaro and Isabel Bayrakdarian as Rosina. Colvin had been slated to play the Officer, but Bradshaw called him in to take over the role of Count Almaviva instead.<\/p>\n

\u201cAs we got closer to the performances, it was clear that the tenor was struggling,\u201d Michael says. There were health issues involved. \u201cI’d been coaching it with Liz Upchurch,\u201d he recalls.<\/p>\n

\u201cI had memorized all of Act I. We got to the rehearsal before the dress rehearsal, and Richard said, okay, can you go on and sing Act I?\u201d<\/p>\n

Colvin obliged, and at the end of that rehearsal, Bradshaw told him he\u2019d be singing the role at the dress rehearsal. His dilemma \u2014 he didn\u2019t actually know anything beyond Act I off book. He turned to Liz Upchurch<\/strong>, the long serving head of music of the Ensemble Studio, for help. Together, they crammed the rest of the opera in time for dress rehearsal.<\/p>\n

\u201cLiz Upchurch and my colleagues basically saved my ass,\u201d he says. \u201cI ended up doing six of seven shows. That launched me. I sang Almaviva in the States after that.\u201d<\/p>\n

Lesson learned: \u201cIf you can cover an assignment, you make sure you know it inside and out,\u201d he says. \u201cIt was one of those situations where I got the chance. I got the chance to pull it out of my butt at the last second.\u201d<\/p>\n

The experience came in handy when he was covering Peter Grimes, and years later, at the English National Opera, was called upon to sing in a few of the performances.<\/p>\n

The Ensemble Studio gave him a solid base for the professional career he\u2019s built since then. \u201cI had a really wonderful and interesting experience,\u201d Michael says. \u201cThe great thing about the program is that they treat you like a professional. In the real world, you’re doing rehearsals at Paris Opera at 10 in the morning.\u201d<\/p>\n

He also points out the European success of Ensemble Studio alumni like Ambur Braid<\/strong>, Gordon Bintner<\/strong>, and Joel Allison<\/strong>.<\/p>\n

\u201cThere’s been a lot.\u201d<\/p>\n

Character Roles<\/h3>\n

\u201cI’ve graduated officially out of lead roles, and I’m full […] in character roles,\u201d Colvin says. \u201cThese roles I can sing without worrying about them at all.\u201d<\/p>\n

It\u2019s part of the trajectory of any singer\u2019s career. \u201cIt feels like an easy transition, as long as you’re singing healthily.\u201d<\/p>\n

As he points out, character roles play are a crucial component of operas in general. \u201cIf the character roles in the opera aren’t great, it can bring down the level of the show,\u201d he says. \u201cIt\u2019s all about the collaborative effort of the art form,\u201d he adds.<\/p>\n

\u201cMy thing with the opera career is that some of my favourite experiences happen in the rehearsal hall,\u201d he notes. \u201cI’m really loving being at this stage in my career. To be honest, I\u2019ve had more international success in that repertoire than I have with lead roles.\u201d<\/p>\n

Character roles, as he points out, can also be quite challenging. \u201cBob Boles in Peter Grimes is a ball breaker.\u201d<\/p>\n

Werther: Schmidt<\/h3>\n

He likens the role of Schmidt in Werther to to Verdi\u2019s Falstaff. In the story, Schmidt is a friend to Le Bailli (the Bailiff) and Johann.<\/p>\n

\u201cIf you look at the music, these guys are basically drinking buddies,\u201d he says. \u201cThey spend a lot of time philsophizing. You could almost see them sitting on the park bench out side the church.\u201d<\/p>\n

He notes that they are down to earth, everyday characters who contrast the other roles.<\/p>\n

\u201cI also feel like Schmidt, […] I think he fancies Charlotte as well.\u201d Schmidt and Johann are older characters than the leads. \u201cMaybe things have passed them by in life,\u201d Colvin says.<\/p>\n

\u201c[They are] fun characters to play.\u201d<\/p>\n

He\u2019ll be reunited with an old friend on stage \u2014 bass Alain Coulombe<\/strong>, who plays Johann.<\/p>\n

\u201cAlain and I were in the Ensemble together back in 1998, it’s almost like art imitating life,\u201d Michael says. \u201cIt’s going to be fun. It’s going to be very natural.\u201d<\/p>\n

\"Baritone
Baritone Ben Wallace in Simply Mozart, performed in the Richard Bradshaw Amphitheatre, Canadian Opera Company, 2026 (Photo: Karen E. Reeves)<\/figcaption><\/figure>\n

Ben Wallace, baritone<\/h2>\n

Baritone, conductor, pianist, and teacher Ben Wallace is a graduate of Wilfrid Laurier University, and is currently studying towards his Master\u2019s degree at the University of Toronto with none other than Alain Coulombe.<\/p>\n

He\u2019s also a current member of the Ensemble Studio, having joined in the 2025\/26 season.<\/p>\n

Ben has performed with Highlands Opera Studio, Toronto City Opera, UofT Opera, Opera Laurier, Southern Ontario Lyric Opera, and the Kitchener-Waterloo Symphony. He founded a chamber choir and orchestra in 2022 which has so far premiered four choral works by Canadian composer Justin Lapierre. Ben has also served as music director for several musical theatre productions.<\/p>\n

During summer 2026, Ben will be a resident artist at the Glimmerglass Festival, where he will cover the roles of Curly in Oklahoma! and Tommy McIntyre in Fellow Travelers.<\/p>\n

Ben Wallace: The Interview<\/h3>\n

\u201cI grew up listening to a lot of classical music,\u201d Wallace says. He was introduced to the art form by his mother and grandmother.<\/p>\n

\u201cI remember seeing Messiah, I think I was in grade two or three when I first went.\u201d It became an annual event. He also remembers seeing a production of The Magic Flute when he was a boy.<\/p>\n

\u201cMy first big role was the Pirate King,\u201d he recalls. It came in a production of Gilbert & Sullivan\u2019s The Pirates of Penzance. \u201cI got into musical theatre in high school.\u201d<\/p>\n

When he got to University, he studied piano at Laurier. \u201cDuring my first year, I made lots of friends with singers,\u201d he says. \u201cI’ve always been really drawn to the theatre.\u201d<\/p>\n

Shifting his focus to opera seemed a natural step.<\/p>\n

The Ensemble Studio Experience<\/h3>\n

Ben joined the Ensemble Studio in August 2025. \u201cIt’s been an absolute blast,\u201d he says. \u201cWe arrived here in August, and that meant moving to Toronto for me.\u201d He had been living in Guelph previously. \u201cI kind of hit the ground running in August.\u201d<\/p>\n

With about two weeks of Ensemble Studio training, he became involved in a full fledged opera production. \u201cI was plunged into my first opera.\u201d It came in the COC\u2019s production of Rom\u00e9o et Juliette. \u201cI was playing Paris. I didn’t have a huge number of lines, but it was my first opera.\u201d<\/p>\n

He notes that the Ensemble Studio training is comprehensive, and includes diction, breath, body work, and other aspects, along with singing.<\/p>\n

\u201cI was already getting used to these new trainers, and new ideas. Rom\u00e9o et Juliette was a fantastic first experience.\u201d He met singers he\u2019d only seen previously on stage, from the audience\u2019s perspective.<\/p>\n

After that first production, it was back to intensive training, along with concerts in the Richard Bradshaw Amphitheatre. The Ensemble Studio members presented a version of The Barber of Seville.<\/p>\n

\u201cAs a baritone, of course the Barber of Seville is one of my favourites,\u201d he says. He\u2019d performed it with the Highland Opera Studio previously. \u201cThat was probably a highlight of the year back in February.\u201d<\/p>\n

Wallace also covered Rigoletto early in 2026.<\/p>\n

Werther: Br\u00fchlmann<\/h3>\n

In Werther, Wallace plays the role of Br\u00fchlmann. While he\u2019s a minor character, Br\u00fchlmann plays a significant role in that he contrasts Werther\u2019s journey in his romance with K\u00e4thchen.<\/p>\n

\u201cThere are some fun scenes between Br\u00fchlmann and K\u00e4thchen,\u201d Wallace says. \u201cIn Act I, they’re totally in love, and totally oblivious.\u201d<\/p>\n

By Act II, though, he\u2019s broken off with K\u00e4thchen. \u201cIn Act II, K\u00e4thchen has left, and he’s hanging out with drinking buddies,\u201d Ben explains.<\/p>\n

But for Br\u00fchlmann, the split isn\u2019t a tragic calamity. \u201cHe’s been that joyful guy, totally oblivious to sorrow. Then we see him again, and he’s really upset.\u201d However, the emotion never reaches the dark depths of the titular character. He\u2019s a kind of foil to Werther\u2019s tragedy, while setting up the theme of love lost in the story.<\/p>\n

Wallace is enjoying working on Massenet\u2019s music. \u201cI would say that I’m a big fan of French opera.\u201d He points out that one of his first big roles at UofT was in the composer\u2019s Cendrillon, as Cinderella\u2019s father. \u201cGetting to learn Massenet for the first time was something I really enjoyed,\u201d he says.<\/p>\n

\u201cHe’s very specific with his instructions. Sometimes it can be daunting how much detail he gives,\u201d Wallace says. He\u2019s found much to love in Werther and Massenet. \u201cThe romantic beauty of his musical language,\u201d he mentions. \u201cHis approach to text.\u201d<\/p>\n

He points out that, while Cendrillon is based on a fairy tale, Massenet\u2019s opera emphasizes the psychology of the characters. \u201cWhen we think of the Disney Cinderella, we think of singing mice,\u201d he says. \u201cThere’s a lot of emotional depth. Of course, that is evident in a much bigger sense in Werther.\u201d<\/p>\n

Next Steps<\/h3>\n

\u201cI have so many goals in mind,\u201d says the young artist. \u201cReally what I\u2019m trying to do, as much as I can, is view these two years as an enormous gift.\u201d<\/p>\n

It\u2019s a chance to devote himself to vocal performance, and progress with the Ensemble Studio is constant. \u201cThere’s no shortage of new ideas that are presented to us,\u201d he says.<\/p>\n

Next season, he\u2019ll have a new slate of role assignments, including working on Ariadne auf Naxos, and covering roles, including in the premiere of Empire of Wild.<\/p>\n

\u201cThis summer I’ll be heading to the Glimmerglass Festival,\u201d he says. \u201cI’m very excited to have the opportunity to jump into various types of roles over the next year,\u201d he adds.<\/p>\n

\u201cThat’s the thing with opera. There are endless things to learn. As soon as you think that you’ve figured out your voice, something else will [come up],\u201d he says.<\/p>\n

\u201cProgress is anything but linear.\u201d<\/p>\n

Performances<\/h2>\n