Catherine’s Latest News

Looking Ahead with excitement


As a singer it can be very easy to complain. The life I chose is not easy and it seems that with the economic state worldwide, opera companies are either folding or seriously cutting back on spending. There are more performers out there than ever before and competition is fierce. Every year I hear of more and more of my talented colleagues quitting altogether.

This business is strange. There are moments when I wish I could do something else but the stage calls me. I must believe that if I persevere doors will open for me.

It is with this spirit that I am looking forward to the season ahead.

In November 2015 I will be singing the “First Maid” in Strauss’ Elektra with Montreal Opera. Since my apprenticeship ended in 2010, Michel Beaulac (Artistic Director) has invited me back three times: the Galas in 2010 and 2014 and for a role in Porgy and Bess (January 2014). Mr. Beaulac has a great track record of supporting his past apprentices. I am honoured to be among them.

In January 2016, I will be in Edmonton singing Mercedes in Edmonton Opera’s production of Carmen. This will be the third straight season working in Edmonton (Madame Butterfly 2014, Magic Flute 2015) preceded by many outreach performances. I feel very fortunate to be able to sing at home. Not only does my family get to share in the fruits of their sacrifice but family friends and colleagues get to enjoy a night out with a personal touch.


Read about Catherine’s performance in the Montreal Opera Gala wir wieder gut from Ariadne Auf Naxos (photography by Yves Renaud)

Pour mes amis francophones:

Catherine wins the City of Brandon Prize – Listen to Catherine sing “Execution Songs” by Andrew Staniland

Watch Catherine’s interview on Breakfast Television!!

Catherine’s First Recording project is here!!!! Order through paypal to receive your very own copy. 

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:!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

Download Catherine’s CV