Tenor Wesley Harrison is a rising star in the opera world. A member of the Canadian Opera Company’s (COC) prestigious Ensemble Studio, he was named in 2023 as one of CBC’s “30 hot classical musicians under 30.” Academically qualified, he holds a Master’s degree in Opera and Voice Performance from McGill University, along with a Bachelor in Vocal Performance from Wilfrid Laurier University. And this fall, Harrison is gracing the stage of the Four Seasons Centre in Toronto, with performances in Beethoven’s Fidelio, conducted by Johannes Debus and directed by Matthew Ozawa; and Puccini’s iconic La Bohème, conducted by Jordan de Souza and directed by Katherine M. Carter.
Fidelio, Beethoven’s only opera, makes its return to the COC stage after 15 years. Inspired by a true story from the French Revolution, it centres on Leonore (performed by Miina-Liisa Värelä), whose husband Florestan (Clay Hilley) has been secretly imprisoned by his political rival, the villainous Don Pizarro (Johannes Martin Kränzle). To free him, Leonore disguises herself as a young man named Fidelio, and gains a job in the prison. As Fidelio, she earns the trust of the jailer Rocco (Dimitry Ivashchenko). She also unwittingly attracts the attention of his daughter Marzelline (Anna-Sophie Neher). In Fidelio, Wesley takes on the role of the First Prisoner, which he describes as carrying the thematic weight of transformation and renewal: “Prisoner One’s moment is one of absolute hope and promise – that has not been seen in that prison for a long time. He shares this hope with other prisoners, as they have not even seen natural light or fresh air in many years.”
Performances of Fidelio will alternate with the beloved La Boheme, which is set against the exhilaration and poverty of 19th-century bohemian Paris. Poet Rodolfo (Pene Pati, Kang Wang) falls in love with the fragile Mimì (Amina Edris, Jonelle Sills), while his painter friend Marcello (Joo Won Kang) reunites with his former flame Musetta (Charlotte Siegel). Jealousy plagues both couples, and they break up . . . until Mimì, deathly ill with tuberculosis, returns to Rodolfo, only to die in his arms. In La Bohème, Harrison portrays Parpignol, a local toy salesman bringing Christmas joy to the children of Paris.
To prepare for his roles in Fidelio and La Bohème, Harrison immersed himself in the text, meticulously considering and crafting each phrase, in order to add depth and emotion. Reflecting on his journey with the two operas, Harrison finds that “the biggest surprise of working on these two operas was in the organization of my own preparation. This was my first time having to learn two roles back-to-back, and I realized that I really had to create a timeline for myself, and be on top of it, to ensure everything ran smoothly.”
Harrison’s career stems not just from his passion for singing. It is also rooted in a passionate desire to tell diverse stories and provide a platform for underrepresented voices. “My pursuit of opera . . . comes from a place of love for the art form, as well as the goal of inclusion,” he shares. “I hope to inspire other queer people of color, and aid them in telling their stories through existing or new works.”
As a professional singer, he relishes the opportunity to explore a wide range of emotions that allow for vulnerability and should resonate with everyone. But the flipside of the joy of singing professionally is how overwhelmingly busy it sometimes seems: “There are some weeks where it seems you’re always in rehearsals or coachings, which can take a lot of energy.” Yet with a smile, he grants that the rewards outweigh the challenges: “It always feels worth it when you get to sing with your colleagues in that beautiful space!”
When asked about his favourite opera, he instantly volunteers Iolanta by Tchaikovsky: “I remember the production being so visually and musically captivating. When I saw this production, it was also my first time in France, so everything about the situation had me absolutely charmed.” And as we’re concluding our conversation, Harrison shares a delightful tidbit not found on his opera resume: “I was a barista for many years, and can make latte art. I still love to make little hearts or leaves in my lattes at home!”
It’s somehow perfect that the alchemical power of Harrison’s otherworldly voice and stage presence,roots in a human creativity that also relishes transforming simple coffee into a work of art.
Audiences should not miss the opportunity to witness Harrison’s dual roles Fidelio running until October 20, and La Bohème, running until October. Reserve tickets on coc.ca.
© Arpita Ghosal, SesayArts Magazine, 2023
