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Catherine’s Latest News

Catherine Joins IMAGO for an exciting new project

I am undertaking another CD recording: a collection of sacred Christmas carols. This project, requires an arranger/producer to create varied instrumentation. I will be pulling on jazz and gospel influences for some of the tracks while remaining true to my classical roots. There will even be an a cappella piece for 8 voices!
In order to facilitate funding of this $50,000 project I have become an official IMAGO Project. IMAGO is a not for profit advocacy group that affirms “the artistic gift and encourages and facilitates creative initiatives in the arts that will make a positive contribution to the Canadian cultural landscape. It is their intent to promote high calibre artistic work across the spectrum of visual, written and performing arts.”  Funding covers studio time, musician fees, photography, licensing and a stipend during production.
My first CD recording (2013): ‘Songs Dear to My Heart’ sold well over 600 copies to date! The self-funded project is a collection of hymns and spirituals.
I would like your support for ’Sacred Christmas’.  A minimum $25 Tax Deductible donation may be forwarded in two ways. Send donations:
  1. Online at: http://imago-arts.org specify “Sacred Christmas” once you click on the Donate Button
  2. Make cheques payable to Imago “Sacred Christmas Project” and mailing them to:
Sacred Christmas
c/o Imago
630 Indian Rd.
Toronto, ON  M6P 2C6

 

Mark Morris, from the Edmonton Journal wrote:

The mezzo-soprano Catherine Daniel had an even more formidable task. As the understudy for Klytämnestra, she took over the role at fairly short notice, when Elizabeth Turnbull had to withdraw for health reasons. She pulled it off triumphantly, rather imperious in her stage presence, with a chilling range of vocal expression, colour, and often menace. Stepping in as an understudy can make a singer’s reputation, and that may well be the case here.

 


Randsman Artist Management

The life of an emerging artist is full of ups and downs. When I look back at my singing journey I see the improvements vocally. I also note how the hardships have refined my art and made me stronger.

I had been desiring Management for some time but circumstances (either timing or the wrong fit) did not allow for it to happen.

Management is necessary at a certain point in one’s career. managers are connected to auditions and negotiate contracts. It is often distressing to think of singing as a business—managers  think like that for you.  The best managers guide and protect their artists while promoting their strengths.

I was introduced to Peter Randman in February 2014 through Louis Menendez (I met Louis when I stepped in as Carmen in “La petite Carmen”). I was immediately taken with his extremely enthusiastic response to my singing. Peter is a very energetic person: he talks a mile a minute and will stand  up and shout when  something/someone moves him.  Although amusing, I find his passion to be one of his most endearing qualities.

I did not officially join his roster until the end of  September at our second meeting! I was extremely nervous that maybe he would hear me and say “thanks but no thanks!”

Peter was a tenor for 16 years before he transitioned into management. I feel the need to clarify the role of a manager  vs agent. An agent books gigs and auditions. A manager does this as well except  they are responsible for career planning and development. Everything from appropriate audition attire, make up,  to repertoire past—present-future to when to sing for which company and why.

Peter and I are currently working on my  new arias. I am ever so gently stepping into heavier repertoire! I feel as though the real work is just beginning.

You can visit my page on his website at: http://www.randsman.com/#!catherine-anne-daniel/cfkf.


Opera in Cottage Country

Richard Margison and his wife Valerie Kuinka were approached with a vision of bringing Opera to Haliburton. The Highlands Opera Studio was born and is in its eighth season.

I joined 18 other singers for a 5-week residency amongst beautiful lakes sunny skies.

The program included masterclasses, lessons and coachings. I performed in 5 different concerts and sang in the Anglican church where all rehearsals were held.

My main event was singing Popova in William Walton’s “The Bear”. This piece was challenging because of the rhythms and disjointed tonalities. On several occasions I simply had to use muscle memory to get my pitches. The piano part was simply no help at all.

The one-act opera featured 3 singers. I was joined by Matthew Gamble (the only American of the group), a baritone with gorgeous high notes and Nathan Keoughan , a bass-baritone with a flair for the dramatic.

The story was quite over the top. I loved singing my aria where I commented on my husband’s infidelity in comical ways. I also got to handle a real dueling pistol!

The Opera Studio reunited me with old friends and colleagues– some of whom I had not seen/heard in 7 years. Atelier alumni such as pianist Jérémie Pelletier and soprano Chantale Nurse were there.

Catching up with Christiane Riel, Chantal Lambert. Keith Lam and Justin Welsh were also highlights .

It was an honour to work with Richard, Wayne Strongman, and Maestro Daniel Lipton.

What struck me was the community of people surrounding the program: the volunteers who made our lunches everyday, the church members who attended every concert, master class and opera performances. The hosts who allowed us singers in their homes and took us out on their boats!

Many thanks to everyone who made Highlands Opera Studio a reality, especially Richard and Val.

 

Richard Margison and his wife, Valerie Kuinka

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