| R E P E R T O I R E |
| OPERA |
Barber
Bernstein
Burry
Debussy
Donizetti
Dvořak
Gounod
Handel
Humperdinck
Janaček
Lehar
Leoncavallo
Massenet
Menotti
Mozart
Offenbach
Poulenc
Puccini
Rossini
Somers
Strauss
Stucky
Tchaikovsky
Vivier
| CONCERT |
Brahms
Dvořak
Finzi
Glick
Mahler
Poulenc
Schumann
Vaughan Williams
Wolf
A Hand of Bridge
Candide
Trouble in Tahiti
West Side Story
Scorpion Sting
Pélleas et Mélisande
L'Elisir d'amore
Don Pasquale
Rusalka
Faust
Roméo et Juliette
Imeneo
Hansel and Gretel
The Cunning Little Vixen
The Merry Widow
I Pagliacci
Cendrillon
Old Maid and the Thief
Cosí fan tutte
Die Zauberflöte
Don Giovanni
Le Nozze di Figaro
Les Contes d'Hoffmann
Orphée aux enfers
Les Mamelles de Tirésias
Les Dialogues des Carmélites
La Bohème
Il Barbiere di Siviglia
Louis Riel
Ariadne auf Naxos
The Classical Style
Eugene Onegin
Kopernikus
Ein Deutches Requiem
Vier Ernste Gesänge
Te Deum
Let us garlands bring
South of North: Images of Canada
Lieder eines fahrenden Gesellen
La Fraîcheur et le feu
Tel jour, telle nuit
Harfnerlieder
Five Mystical Songs
Serenade to Music
Songs of Travel
Harfnerspieler
David
Pangloss/Voltaire
Sam
A-Rab
David/Osiris/Scorpions
Pelléas
Belcore
Malatesta
Hunter/Gamekeeper
Valentin
Mercutio
Argenio
Peter (father)
Forester
Pritchitsch
Silvio
Le Roi
Bob
Guglielmo
Papageno, Erste Prieste
Don Giovanni
Conte Almaviva
Lindorf, Dapertutto
Pluton
Le Directeur
1st Officer, 2nd Commissioner
Schaunard, Marcello
Figaro
André Nault/ Guard/British Soldiar
Harlekin
Tonic/Don Giovanni/ Participant 2
Eugene Onegin
Baryton-martin
| P R E S S |
"Perhaps the most captivating voice of all might have been that of the Baryton-Martin character, voiced by Micah Schroeder. From his entry as a kind of Master of Cosmic Ceremonies, enunciating perfectly every syllable of Vivier’s fantasy language, he served as ecstatic guide for Agni, her devoted spirits and for the audience. Schroeder was mesmerizing at all times, calling out, cajoling, even hypnotizing in his supremely executed and smooth-as-glass lyrical contours, rendering everything as though improvised. He is a superb actor and his command of pseudo-languages was equally impressive. He had you believing that he was fluent in Czech and Japanese when in fact he was singing/speaking neither. He sold made-up words to us with aplomb and convinced us that these dialects were something meta-linguistic — a cosmic language that only Agni’s spirits could speak way off in the beyond somewhere." - Stephen Bonfield, The National Post/The Calgary Herald, 2017
"Rattling off Mercutio's French language tongue twister Mab la reine des mensonges from Gounod's Roméo et Juliette, Micah Schroeder showed presence and a nicely honed sense of French Style..." - David Duke, The Vancouver Sun, 2014
"Micah Schroeder demonstrated a nice awareness of style and clearly grappled the Count Almaviva's inner psychology. He became increasingly angry and frustrated, leading up to a moving 'Contessa perdono'..." - Elizabeth Paterson, Review Vancouver, 2015