About 1,300 aspiring opera artists applied to be part of the Merola Opera Program for the coming season. Of that mountain of submissions, 28 are invited to participate in the multi-week program which takes place in San Francisco.
Of those 28 candidates, six are Canadian — the highest representation of any nation. The remaining Merola 2025 artists come from China, Malaysia, New Zealand, and South Korea, and across the United States.
We asked the six Canadians — many of whom are also recent graduates of the Canadian Opera Company’s Ensemble Studio Program — about this next important step in their careers. The discussion is divided into two groups to give each the space to express their thoughts. Read Part I here.
The Merola Opera Program is one of the oldest such training programs in the world. It was founded in 1957, and its name comes from the first general director of the San Francisco Opera, Gaetano Merola.
While organization works with San Francisco Opera, it operates independently as a nonprofit organization.
From its beginnings, its grown into one of the most widely respected professional opera training programs in the world for emerging singers, coaches, accompanists and stage directors. Its alumni includes artists like Karen Slack, Zheng Cao, Joyce DiDonato, Susan Graham, Noah Stewart, Rolando Villazón, and Quinn Kelsey, among many others.
Soprano Alexa Frankian first joined the Merola Opera Program in 2024, and won acclaim for her roles in La Bohème and Iolanta. She recently graduated from the Glenn Gould School.
What made you decide to apply for the Merola Opera Program? What do you hope to gain from it — do you have specific goals at this point in your career?
I’ve always heard about Merola and how life-changing it is for young opera singers. Anytime someone says, “I’m a Merolini,” you can just hear the pride in their voice. That stuck with me. And of course, the idea of singing at the War Memorial Opera House — a theatre with over 3,000 seats — felt like something out of a dream. When I started looking into it more, I realized Merola had exactly the kind of mentors and industry experts I wanted to work with. So, I went for it. Funny enough, it was my first-ever YAP audition, and it happened in New York. I had no idea what to expect, but the second I walked in, I felt so welcomed. It was like the stars aligned and everything in me said, “Yes, this is where I’m meant to be.”
Being invited back for a second year is such an honour. The first time around, I came in hoping to gain real stage experience in a big theatre, and wow — realizing my voice could fill a space that size was a huge moment for me. It’s one thing to believe in yourself, but it’s another to physically feel that power and know you belong on that stage. Beyond that, I’ve always seen opera as more than just art — it’s also a business. I told my mom when I was 14 that being up on a stage singing opera is what I’d be doing for the rest of my life and that it was going to be my career, and I meant it. Merola isn’t just about making us better artists; they teach us how to navigate the industry. That’s huge because at the end of the day, we’re independent artists.
Learning how to balance the creative and the business side is something I’ve been focused on for a long time. Fabulous Markus, Carrie-Ann and the entire team of amazing coaches inspire me and I’m truly so grateful.
You are one of 28 chosen from a large number of applicants — nearly 1,300. Do you have a sense of why — where your strength was in your video submission? Was there anything special you did to prepare for it?
Honestly, I can only hope they saw the same thing in me that I feel every time I step on stage — a deep love for what I do and the drive to make it my life. Opera is about so much more than just singing the notes. It’s about storytelling, connection, and giving the audience something real to hold onto. But no one does this alone. I’ve had incredible teachers, coaches, and mentors who have shaped me into the artist I am today. The panel at Merola has years of experience spotting potential, and I trust that they saw something in me worth nurturing. That’s what this program is about — taking young artists and giving them the tools to grow into the best versions of themselves.
Definitely! My coach and I spent a lot of time picking the right repertoire — arias that showed my range, different languages, different styles. But beyond that, I wanted my personality to come through. It’s one thing to sing a technically strong audition, but I wanted them to see me as a performer, as a storyteller. I also spent time really diving into the characters — who they were, what they were feeling, what the world was like when this music was written. I think that’s what makes an audition stand out — not just sounding good but making people feel something
Why do you think so many Canadians were chosen — six, or more than 20% of the participants this year? Do you feel like there’s a supportive environment for opera in Canada?
I think Canadian singers come in well-prepared. The opera scene here may be smaller compared to the U.S. or Europe, but the training is top-notch. There’s a strong focus on technique, musicality, and professionalism, and I think that comes through in auditions. Also, the relationship between the U.S. and Canaada in the opera world has always been strong. Merola is the dream young artist program in North America, and I think the fact that so many of us were chosen says a lot about the talent coming out of Canada.
For sure! Opera in Canada is growing, and what’s exciting is that we’re seeing a lot of first-time audiences coming to performances. A lot of people here just haven’t been exposed to opera the way they have in Europe, but once they experience it, they’re hooked. We do have to compete with other entertainment options — musical theatre, concerts, even sports. But opera is storytelling at its most powerful, and when people see it live, they get it. My mom is on board the Toronto City Opera, and one of the biggest things they’ve noticed is how many new faces are coming to shows. That gives me so much hope for the future of opera in Canada. I’m incredibly proud to be Canadian, and I’m beyond grateful that at the end of this summer, I’ll be able to say, “I’m a Merolini ‘25.”
Soprano Ariane Cossette is a graduate of the Canadian Opera Company Ensemble Studio. Ariane is the 1st prize winner of the National Capital Opera Competition, and has performed in a number of productions with the COC and across Eastern Canada.
What made you decide to apply for the Merola Opera Program? What do you hope to gain from it — do you have specific goals at this point in your career?
It has been a dream of mine to participate in this program for many years. As a Canadian, getting to sing in the United States, with such a prominent company, is a huge opportunity to be heard, network and discover how things are done across the border. Many singers I deeply admire have participated in this program over the last decade and it certainly made me curious. I have also had the privilege to meet Carrie-Ann Matheson when she visited the Canadian Opera Company Ensemble Studio last year and loved coaching some repertoire with her. I am also very excited about meeting the other participants and creating some connections that will last over the years. Finally, being a part of this program offers the possibility to be considered as a future San Francisco Opera Adler Fellow and eligible for career grants over the next five years. This kind of support is primordial to a career launch, and I feel so grateful to be a part of this program.
You are one of 28 chosen from a large number of applicants — nearly 1,300. Do you have a sense of why — where your strength was in your video submission? Was there anything special you did to prepare for it?
It is so subjective and you never know fully what made you stand out. This audition process was in two steps: first videos and then a live audition. I feel like singing repertoire you care and that moves you deeply about is key. It’s something a jury will pick up on and beyond the voice, which needs to be well trained, it shows who you are as a person and an artist. In the practice studio, we aim to perfect our technique, but when it’s time to perform, the human needs to come through first. Before an audition, I try to breathe deeply and just show up feeling grateful to share music I love.
Why do you think so many Canadians were chosen — six, or more than 20% of the participants this year? Do you feel like there’s a supportive environment for opera in Canada?
I was so pleasantly surprised by this number when the 2025 Merolini Roster came out. I am very proud of our little cohort. I personally have felt very supported in my early career, especially after moving to Toronto to be a member of the Ensemble Studio. I do believe Canada has great singing programs, teachers and so much talent among its young artists. I feel like opera is blooming in this country, even in a difficult economy. Having our own major companies committing to create new operas and so many emerging companies makes me hopeful for our future.
Mezzo-soprano Ariana Maubach is a First Prize and Audience Choice winner of the Canadian Opera Company Ensemble Competition, and will be joining the Canadian Opera Company Ensemble Studio for the 2025/26 season. She was previously a Resident Artist at the Academy of Vocal Arts in Philadelphia, and she has performed with Cincinnati Opera and the Spoleto Festival, among other organizations.
What made you decide to apply for the Merola Opera Program? What do you hope to gain from it — do you have specific goals at this point in your career?
Merola Opera Program has always be the holy grail of summer festivals for me. I am most looking forward to working with the esteemed faculty, meeting the other participants (many of whom I’ve admired from afar for a while), and delving into brand-new operatic roles. I am confident that the Merola Opera Program will provide me with the tools and connections necessary to step into an operatic career.
You are one of 28 chosen from a large number of applicants — nearly 1,300. Do you have a sense of why — where your strength was in your video submission? Was there anything special you did to prepare for it?
Given the high artistic standards of a program such as Merola, I expected that they’d be looking for applicants who are artists, who make their mark on each aria they present. Dramatic commitment and polish, and strong musical interpretation are just a few elements that one would expect would be essential to stand out.
Why do you think so many Canadians were chosen — six, or more than 20% of the participants this year? Do you feel like there’s a supportive environment for opera in Canada?
There is a ton of Canadian talent, there always has been, but I’m thrilled that it’s particularly showcased this season at Merola. I’d attribute the high level of singing to the fantastic training we have in Canada. Our education system is incredibly strong and many of our vocal programs really prioritize what it is that young singers need, which is solid training and operatic experience. It is important to note too that 5/6 of the Canadians this year are also alumni of the Canadian Opera Company (COC) Ensemble Studio. The COC is a company that features their ensemble members every year in their productions. Whether that’s covering leads or singing comprimario roles on the mainstage, they clearly value stage time and experience. I’ll be joining the COC Ensemble Studio this Fall and am so excited.
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