Sonny-Ray Day Rider (B.A., Music) is a Blackfoot composer, pianist, from the Kainai Blood Tribe. Sonny-Ray has a broad musical palate working with many genres.
Sonny-Ray is currently pursuing advanced studies (M.mus) in music composition at the University of Lethbridge. He shows great promise in the field, having accumulated a large breadth of significant creative projects as an emerging Blood (Blackfoot) artist in an impressively short time span. He also currently has a seat on the Indigenous Advisory Circle to the Library and Archives Canada and is past faculty alumni to the Banff Centre for Arts and Creativity.

Royce Vavrek is a Canada-born, Brooklyn-based librettist and lyricist who has been called “the indie Hofmannsthal” (The New Yorker) a “Metastasio of the downtown opera scene” (The Washington Post), “an exemplary creator of operatic prose” (The New York Times), and “one of the most celebrated and sought after librettists in the world” (CBC Radio). His opera “Angel’s Bone” with composer Du Yun was awarded the 2017 Pulitzer Prize for Music.

With composer Missy Mazzoli he wrote “Song from the Uproar,” premiered by Beth Morrison Projects in 2012, and subsequently seen in multiple presentations around the country. Their second opera, an adaptation of Lars von Trier’s “Breaking the Waves,” premiered at Opera Philadelphia, co-commissioned by Beth Morrison Projects, and directed by James Darrah to critical acclaim in September of 2016. The work won the 2017 Music Critics Association of North America award for Best New Opera and was nominated for Best World Premiere at the 2017 International Opera Awards. A new production premiered at the Edinburgh International Festival in the summer of 2019, produced by Scottish Opera and Opera Ventures, helmed by Tony Award-winning director Tom Morris and earned star Sydney Mancasola a coveted Herald Angel Award for her performance. Their next opera, an adaptation of Karen Russell’s short story “Proving Up,” was commissioned and presented by Washington National Opera, Opera Omaha and The Miller Theatre in 2018, was a finalist for the MCANA Best New Opera Award of that year. They are currently developing a grand opera for Opera Philadelphia and the Norwegian National Opera based on an original story by two-time Governor General’s Award-winning playwright Jordan Tannahill, as well as an adaptation of George Saunders’ Booker Prize-winning novel “Lincoln in the Bardo” for The Metropolitan Opera.

Teaming up with Swedish composer Mikael Karlsson, Royce wrote the story and text for two dance projects, “Crypto,” choreographed by Guillaume Côté for Côté Dance and “Evidence of It All,” choreographed by Drew Jacoby for SFDanceworks, featuring narration by the Academy Award-nominated actress Rosamund Pike. They are currently developing two grand operas: an adaptation of Lars von Trier’s “Melancholia” to premiere at the Royal Swedish Opera in 2023, and “Fanny and Alexander,” working alongside creative partner Ingmar Bergman, Jr. to musicalize his late father’s classic film for La Monnaie de Munt in 2024, in a production to be directed by Ivo van Hove. Both operas are to feature renowned mezzo-soprano Anne Sofie von Otter, for whom Mikael and Royce wrote the song cycle “So We Will Vanish,” premiered by the Swedish Chamber Orchestra in 2021 to critical acclaim.

His collaboration with composer David T. Little led Heidi Waleson of the Wall Street Journal to proclaim them “one of the most exciting composer-librettist teams working in opera today.” In April of 2016 they premiered their first grand opera, “JFK,” at Fort Worth Opera, a co-commission with American Lyric Theater and Opéra de Montréal that was called “ravishing” (Opera News), earning a ten-star review in Opera Now Magazine. This followed the success of their first opera, “Dog Days,” which received its world premiere in September of 2012 at Peak Performances @ Montclair, in a production co-produced by Beth Morrison Projects and directed by American maverick Robert Woodruff. The work was celebrated as the Classical Music Event of the year by Time Out New York and a standout opera of recent decades by The New York Times. They are currently developing an original work for the Metropolitan Opera through the Met/LCT commissioning program.

Royce has also worked extensively with composer Paola Prestini, first on the song cycle "Yoani," inspired by the blog posts of Yoani Sanchez, and then on "The Hubble Cantata," a virtual reality oratorio produced by VisionIntoArt/National Sawdust in association with Beth Morrison Projects. They recently presented the workshop premiere of “Silent Light,” an opera based on the Cannes Jury Prize-winning film by Carlos Reygadas at the Banff Centre for Creativity, a collaboration with the director Thaddeus Strassberger, and are currently working on a new opera inspired by Ernest Hemingway’s “The Old Man and the Sea.” They are also developing "Film Stills," a project for mezzo-soprano Eve Gigliotti that dramatizes four of Cindy Sherman's iconic photographs through musical monologues composed by Paola, Missy Mazzoli, Nico Muhly and Ellen Reid, and directed by R.B. Schlather. Royce and Paola's collaboration can be further heard on the AIDS Quilt Songbook: Sing for Hope recording, where their song "Union," as sung by Isabel Leonard, is featured.

In 2014 Royce premiered “27,” his first collaboration with composer Ricky Ian Gordon, at the Opera Theatre of Saint Louis. Created for renowned mezzo-soprano Stephanie Blythe, the work brought to life Gertrude Stein’s famous salon at 27 rue de Fleurus in Paris. Mark Ray Rinaldi of the Denver Post wrote that the opera “tells a great American story, about Gertrude Stein, as well as opera in the 21st century.” The opera was subsequently presented by Pittsburgh Opera, MasterVoices at New York City Center, Michigan Opera Theater, Opéra de Montréal and Opera Las Vegas. In 2017 their adaptation of Gail Rock’s Christmas classic “The House Without a Christmas Tree” for Houston Grand Opera was premiered to critical acclaim.

Other recent and upcoming projects include “Strip Mall” with Matt Marks for the Los Angeles Philharmonic; “Epistle Mass” with Julian Wachner for Trinity Wall Street, “Midwestern Gothic” with Josh Schmidt for Signature Theatre, Virginia; “Naamah’s Ark” with Marisa Michelson for MasterVoices; “O Columbia” with Gregory Spears for HGOco; “Knoxville: Summer of 2015” with Ellen Reid for the University of Tennessee, Knoxville and National Sawdust; “The Wild Beast of the Bungalow” with Rachel Peters for Oberlin Conservatory; “Jacqueline” with Luna Pearl Woolf for Tapestry New Opera; “Adoration” (based on the film by Atom Egoyan) with Mary Kouyoumdjian for Beth Morrison Projects; “The Cremation of Sam McGee” with Matthew Ricketts, supported by a grant from the Canada Council for the Arts; and “Agnes” with Daníel Bjarnason for the Icelandic Opera.

Royce is co-Artistic Director of The Coterie, an opera-theater company founded with Tony-nominee Lauren Worsham. He holds a BFA in Filmmaking and Creative Writing from Concordia University’s Mel Hoppenheim School of Cinema in Montreal and an MFA from the Graduate Musical Theater Writing Program at New York University. He is an alum of American Lyric Theater’s Composer Librettist Development Program.

Spencer Kryzanowski is an accomplished crossover artist working in opera and musical theatre as a conductor, music director, vocal coach, and répétiteur,

Spencer is a staff vocal coach and répétiteur in the Unviersity of Toronto opera department, the resident music director for Good Mess Opera Theatre, and the host and répétiteur of Against the Grain Theatre’s Opera Pub series in Toronto. In 2025, he joined the faculty of the Banff Centre’s Interplay opera program. On top of these regular positions, Spencer maintains a busy freelance schedule.

As a conductor and music director, Spencer has worked widely across Canada. His recent opera credits include Puccini’s La rondine (Good Mess Opera), Wagner’s Die Walküre (Edmonton Opera), Bartok's Bluebeard's Castle (Edmonton Opera), Strauss Jr's Die Fledermaus (Edmonton Opera), Puccini's Il tabarro (Pop Goes the Opera), Massenet's Cendrillon (UofT Opera), Hansel and Gretel (Good Mess Opera), and La bohème (Mercury Opera). Spencer's recent musical theatre credits include Newsies, Mean Girls: The Musical, and Beauty and the Beast with Bravo Academy.

Spencer's recent répétiteur credits include Donizetti’s Le convenienze ed inconvenienze teatrali (Canadian Premiere), Wagner’s Die Walküre (Edmonton Opera), Guerrero's El huésped del sevillano (Toronto Operetta Theatre), Nino Rota's Il cappello di paglia di Firenze, and a comedic triple-bill of Hindemith's Hin und zurück, Offenbach's Monsieur Choufleuri, and Douglas Moore's Gallantry. Other credits include Humperdink's Hänsel und Gretel (Berlin Opera Academy); Copland's The Tender Land; Rossini's Il barbiere di Siviglia; Puccini’s Suor Angelica & Gianni Schicchi; and Tchaikovsky's Eugene Onegin.

Spencer had the pleasure of workshopping Melancholia, an opera based on the Lars von Trier film, by Mikael Karlsson and Royce Vavrek in 2023 for the Royal Swedish Opera. Additionally, Spencer assisted as a répétiteur and vocal coach in a workshop of Indians on Vacation by Ian Cusson and Royce Vavrek in 2024 as part of a collaboration with Against the Grain Theatre and Edmonton Opera.

Spencer completed his Bachelor of Music in Piano Performance at the Augustana Campus of the University of Alberta and a Diploma in Operatic Performance (Répétiteur) at the University of Toronto.

Spencer is based in Toronto, Canada.

Signed to Atlantic/Warner Records at the tender age of nineteen, 4-time Juno nominee and modern-day Renaissance woman Sarah Slean has since released 11 albums in over 10 countries worldwide – but perhaps the most astonishing aspect of her artistry is its breadth. Over her 25-year career, Slean has published two volumes of poetry, starred in short films and a movie musical (spawning two Gemini Award nominations), penned award-winning chamber works, held numerous exhibitions of her paintings and performed with 14 of the country’s professional orchestras. Classically trained from the age of 5, she routinely collaborates with cutting-edge contemporary classical ensembles like The Art of Time, and has been invited to sing world premieres by Canada’s leading living composers. She composes orchestral arrangements for her own music as well as for her pop colleagues (Dan Mangan, Hawksley Workman) and her recent collaborative recording with the Symphony Nova Scotia was just nominated for both an East Coast Music Award and a Juno Award in the Classical Album category (2021). Sarah is also a recent alumna of the prestigious Canadian Film Centre’s screen composing residency (2017-8) and just earned her first Canadian Screen Award (2021). She can also be heard on the CBC’s national hybrid pop/classical radio program “About Time” as an occasional host.
Citing such diverse influences as Leonard Bernstein, philosophy, Joni Mitchell, Buddhism and Bach, her music borrows aspects of cabaret, pop, and orchestral: all knit together by the startling poetry of her lyrics, unique arranging and piano-playing, and that voice, described by the CBC as “a 19th century Kate Bush”. In addition to headlining theatres across Canada, Sarah has also toured Europe, the US and Scandinavia and has opened internationally for such artists as Bryan Ferry, Rufus Wainwright, Alanis Morissette, Andrew Bird, Feist, Ron Sexsmith, and Chris Isaak. Her 11th solo recording “Metaphysics”, released in 2017, is described as a “breathtaking amalgamation of Slean’s dramatic orchestral arranging and her signature take on songwriting”. In 2023, Sarah completed a Masters Degree in Composition and will be composing the music for the stage musical adaptation of the award-winning film “Maudie” .

Emma Pennell is a trailblazing operatic soprano and poet with Mi’kmaw roots from Ktaqmkuk (Indigenous peoples of Newfoundland). Hailing from the village of South River in rural Northern Ontario, they recently achieved 2nd prize in the Canadian Opera Company’s Ensemble Studio Centre Stage Competition, showcasing their remarkable vocal talent and artistic presence. Additionally, they were honored with the RBC Emerging Artist Award at the Governor General’s Performing Arts Awards, recognizing their significant contributions to the arts as an emerging talent and their commitment to advocating for Indigenous voices in the cultural landscape.
Their recent performance with the Orchestre symphonique de Montréal (OSM) further highlights their rising prominence in the operatic world. During this engagement, they captivated audiences with their powerful voice and expressive interpretation, solidifying their reputation as a leading soprano and demonstrating their ability to connect deeply with the music and the audience.

Emma graduated from the Glenn Gould School at the Royal Conservatory of Music this year, where they studied under the esteemed mentor Stephanie Bogle. They previously earned a Bachelor’s Degree with Honours in Voice Performance and a minor in Indigenous Studies from Western University. Emma also holds an advanced diploma in Voice Performance from Cambrian College of Advance Arts and Technology in Sudbury, Ontario.

As an unwavering Indigenous activist, they work to carve out spaces for Indigenous voices in music. They have made significant contributions through foundational advocacy, including co-authoring the Indigenous Policy Paper for the Ontario Universities Student Alliance and founding the Faculty of Music Indigenous Leadership Initiative at the Don Wright Faculty of Music, aiming to elevate Indigenous representation in music education and performance.

Emma has taken the stage in various roles, including Miss Alice Ford in Verdi’s *Falstaff*, The Skater in Ka Nin Chan’s *Ice Time* at The Glenn Gould School, and Lia in Debussy’s *L’Enfant Prodigue*. Recently, they completed an artist residency at The Banff Centre for the Arts and Creativity, where they workshopped the roles of Kitty and Bernie in Ian Cusson and Royce Vavrek’s new opera *Indians on Vacation*, further contributing to contemporary Indigenous narratives in the operatic sphere. They also made their debut at Koerner Hall alongside renowned throat singer Tanya Tagaq to commemorate the National Day for Truth and Reconciliation, exemplifying their commitment to bridging cultural divides through music.

As they embark on new endeavors following their graduation, Emma continues to make waves in the operatic world while advocating for Indigenous representation in the arts. For the latest updates and insights into their journey, you can follow them on their social media platforms.

Jennifer Nichols (she/her) is a Canadian choreographer, director and dancer with a portfolio of over 20 years of work for the stage and screen.

For stage, Jennifer holds extensive choreography and performance credits, including the Dora Award Nominated Pandora (FAWN Chamber Creative), Seven Deadly Sins (Toronto Symphony Orchestra, Oregon Summer Music Festival), Dora Award Winner Messiah (Against the Grain Theatre), Sweat (Bicycle Opera), L’Histoire du Soldat (Toronto Summer Music Festival), Lilt (Esprit Orchestra), Sewing the Earthworm (The Canadian Art Song Project), Synesthesia IV (FAWN Chamber Creative), The Mystical Soul (The Art Gallery of Ontario), La Belle Helene (The Glenn Gould School) and Die Fledermaus (Opera 5). She was also commissioned as director of Hausmusik-Traverseé for Tafelmusik Baroque Orchestra and has Assistant Director credits with the Canadian Opera Company.

Frequently in demand for movement work in opera, art song and choral music both for singers and trained dancers alike, Jennifer is known for giving performers of all backgrounds agency and confidence to speak with their bodies.

‘Nichols creates a world populated by dancers and amateurs alike, graceful and empowered whether they’re in dancing shoes or not…’ __ Leslie Barcza

For television and film, Jennifer holds Head Choreographer and Dance/Script consultant credits for the Netflix series Tiny Pretty Things. She was choreographer for all four seasons of Reign (CW), cementing her reputation as a specialist in historical dance.

Other key credits include Titans (DC Universe), Matlock (CBS), Law&Order Criminal Intent (Amazon), Frankie Drake (CBC), Salvation (CBS), Mary Kills People (Global TV), Reacher (Amazon), Hudson & Rex (CBC), Davey & Jonesie’s Locker (Amazon) and the feature film Barney’s Version (Serendipity Point Films).

Her feature film directorial debut, Sweat (Bicycle Opera), premiered at the Kingston Canadian Film Festival. It received Opera America’s award for Digital Excellence in Artistic Creation (2024) and Best Narrative Feature at the L.A. Independent Women Film Awards (2023). Celebrated director Atom Egoyan calls it ‘An extraordinary film. Made with care and bravura and full of rich emotion.’

Jennifer draws on her extensive choreographic background for her work as a television and film director. An exciting new directorial voice, her style is known for its dynamic energy, a dance between the camera and its subject.

In addition to performance, Jennifer is a leader and educator in the worlds of fitness and sport. Her renowned ballet fitness program, The Extension Method™ is followed by professional and amateur movers worldwide. She coaches and conditions dancers, circus artists and elite athletes in synchronized swimming and figure skating.

Photo by Patrick Hagarty