CONCERT 3 ” Two Sopranos: One Stage”
Laura Miller & Margo LeVae, sopranos
Saturday, April 28th 7PM at:
World of Music and Arts,
6160 London Road, Richmond, BC
TICKETS: $22, $17 (students & seniors)
*subscription discount available: save 10%

Programme*:
“Ah, guarda, sorella” duet of Fiordiligi and Dorabella from the opera “Così fan tutte”
W.A.Mozart (1756-1791)

“I have dreamt” aria from the opera “Wuthering Heights” ~ B. Hermann (1911-1975)
“Marietta’s Lied” aria from the opera “Die Tote Stadt” ~ E.W. Korngold (1897-1957)

“Casta Diva” aria
“Mira, O Norma” duet from the opera “Norma”  ~ V. Bellini (1801-1835)

Soprano, Laura Miller, was born and raised in Fairview, Alberta.  After graduating high school, Laura participated in a Rotary International Exchange program in Budapest, Hungary and during her time there studied voice with Katalin Szűcs at the Erkel Ferenc Music School. In 2012, Laura received her Bachelor of Music in vocal performance from the University of Victoria under the tutelage of Benjamin Butterfield, and was a chorus member with Pacific Opera Victoria. In 2012, Laura performed her first role as The First Alm’s Sister in Suor Angelica at Opera on the Avalon in St. John’s. In 2013, Laura performed the role of Golde in Fiddler on the Roof at Opera NUOVA, and sang the role of The Countess in The Marriage of Figaro at the Amalfi Coast Opera Program in Mairori, Italy. Laura performed the roles of the Fox in The Cunning Little Vixen, and Marenka in The Bartered Bride with UBC Opera, where she recently graduated with a Master of Music in opera while studying with Heather Thomson-Price. (read more…)

Soprano Margo LeVae was recently honoured as the winner of the 2013 Cathedral Bluffs Symphony Orchestra Clifford Poole Vocal Competition and returned as their soprano soloist for the Brahms Deutsches Requiem with the symphony March 2014.

Summer of 2012 saw Margo performing the title role in Richard Strauss’ Ariadne auf Naxos while training at the Opera Nuova program in Edmonton where she “more than managed the exposed title role…but also held the audience with subtler, more suggestive interpretive techniques” (Opera Canada). (read more…