The Epicenter of the Rose Naggar-Tremblay | The duty

In the coming week, Rose Naggar-Tremblay will be one of the participants of the Concours musical international de Montréal (CMIM). Based on his concert last May 12 with the OSM and previous editions, he just shouldn’t figuration. Photo of this 29-year-old singer with a strange voice and important.

“Rose Naggar-Tremblay is a versatile mezzo-soprano, known for the richness of her timbre and the brilliance of her interpretations. So began the biography that OSM enthusiastically and logically produced a few weeks ago.” Otherwise. seeking to engage in a debate in his voice, he is a contralto ”, we wrote in our concert report on May 12th.

There is nothing more painful and fun, in music, than nit-picking about vocal classifications, which Marie-Nicole Lemieux has long chased, for example. But there, a reframe is important, because if, at age 29, the evidence is compelling, it has become a heritage issue because true contraltos (a typology more serious than mezzo) are rare. Hence the concept of “important voice” attached to Rose Naggar-Tremblay.


During the pandemic, Rose Naggar-Tremblay developed a cycle of melodies with Éric Champagne, healing, in his own texts. This work allowed him to win a prize for best interpretation of a Canadian work in the OSM competition. “ healing talks about healing from performance anxiety, what it had been like for me to sing when I was not yet vocally aligned. It all creates wounds: we know, on stage, that we haven’t reached the level of repertoire we want to sing ”, says Rose Naggar-Tremblay.

“I really appreciated your mention of my contralto register, because that’s what I learned while composing. I realize that when I compose my own melody, that’s what my voice wants, that it’s the most colorful, that I have the most control and the most fun to sing. »

Moreover, his participation in CMIM, following a series of achievements (success in the OSM competition, success in the Enesco Paris competition, “Young Canadian Lyrical Hope” by Young Lyric Ambassadors, where he won all), was will include something new: “This is the first time I have participated in a competition as a contractor. »

Rose Naggar-Tremblay had no expectations at CMIM “other than enjoying the program, benefiting from the work done and showing what I’ve accomplished,” she said. Because I have traveled a lot. This is a way of reinforcing this change of direction ”.

The CMIM will be a meeting place for her: “I know that the singers who will go there are the stars of my generation. However, I do this profession to work people to the end of the art. So I want to meet artists, experience these encounters, to create relationships. »For the OSM Competition, too, he had no purpose:« There was a good place for works in Canada and I wanted to sing my composition with Éric Champagne. »

Align the voice

To understand what this vocal serenity represents in the spring of 2022, it is interesting to look at five years in which everything could have changed in a different way.

After her bachelor’s degree in performance at McGill, with a minor in European literature and culture, Rose Naggar-Tremblay joined the Atelier lyrique de l’Opéra de Montréal in 2017. “I don’t know where to put myself in my vocal development.I was not yet on my axis and I simultaneously went everywhere.My McGill professor, Winston Purdy (1941-2017), died when I entered the Atelier, which is also why I am lost. »MI Naggar-Tremblay benefits from the advice of artists who have gone through the Atelier, but these short-term encounters mean that “one can get an idea, but there are no tools to develop it,” he explains.

The problem facing the artist is instead the abundance of goods. The material is rich. “I’ve always had a great voice, a very long voice, so lots of possibilities. I think the voice has a lot of color too, so I was open to everyone, to all the repertoire. »

Rose Naggar-Tremblay just found her voice in 2e years. “I slowed down a lot. With Arianne Girard, we worked deeply on voice alignment. It was slow, but I felt like I had been working as an athlete for a year. I also sang the role of Gertrude Stein in the opera Twenty -seven, a revealing duty as it is demanded. I have seen in this paper how much the work has resulted and what is left to put together. »

At the end of his 2e years, the actor asks to continue a bit. “I didn’t finish my technical work,” he analyzes. Chantal Lambert, director of Atelier, gives him 10 weeks to pick up throughout the year. “There, I said to myself: ‘I’ll be in the labor market for six months, to see, and I’ll be back in the winter.’ “Good choice. He earns very little money, allowing him to have a “net in the early months of the pandemic through oversight and continuous advancement.”

crazy autumn

The singer’s pandemic season was both quiet and bubbling. He completed his career in the Atelier, composed healingtook part in the Young Lyrical Ambassadors springboard competition, where he won an internship in Bologna, Mercédès ’role in a production of Carmen in Sofia and participation in the Enesco competition. All of these promises were finally postponed to the fall of 2021 due to the health crisis. “During the pandemic, I became a full-time language teacher for six months. I taught French, English and Italian online five hours a day and worked on my voice the rest of the time. The money set aside allows me to take risks, to participate in competitions. Winning these competitions gave me a financial cushion. »

The singer learned lessons from experience: “The secret is to have the opportunity to leave for a short time. It may just be an audition, but you have to go, because you do not know what it will give.»

The hard work is not new for Rose: “In college, I have three jobs at the same time and I go a month at a time. Because, in the environment of a singer, the costs are negligible.” It’s a sports team: my teacher, diction coaches, my osteopath … ”

Self -knowledge and fulfillment are keys to a mastered art. Admittedly, the “repertoire consolidates the tessitura”, but the singer does not remove any element and continues to work on his voice until high C everyday.

In the fall of 2021, “after a year and a half on the ice waiting to fly, the mood was on fire. I was ready and strong,” he recalled. And there, everything was broken.

In the Sofia Opera, which took him for the role of Mercédès Carmen, Carmen’s role holder withdrew and Rose Naggar-Tremblay joined the ranks. He was picked up and re -picked for several series of presentations.

She won all in the 2021 edition of Young Lyric Ambassadors, with roles (including Erda) in Wagner’s tetralogy in Erfurt, Germany, and in Puccini (Zita by Gianni Schcchi) in Korea. He won the OSM competition and Enesco competition in Paris. Following the latter, a French agency, Adagio, organized an audition tour for him. “Its effects are gradual”, the singer tells us, which we will surely see on the French stages shortly.

Her dream role is Isabella The Italian in Algiers by Rossini. “For the competition, I also sing Malcolm de The Woman of the Lake. All low Rossini is very comfortable for me and it is the same in low Handel: Cesare, Bradamante [Alcina]. At the concert, Rose wanted to sing Elgar, Mahler, Brahms and The Messiah, which put him to the ear in his voice. “My friends at mezzo always tell me it’s hard, while for me it’s very comfortable”. Finally, there is Vivaldi: “I like to sing coloratura and it is a way of staying in the health of the voice, especially as I am approaching my first Wagner.»

“It’s hard to recognize the repertoire when you have a long and colorful voice. You have to understand where the center of the voice is, what is most aligned with the speaking voice and make sure the voice used when you speak is healthy, because this is the muscles that you use regularly.Five years seems like a long time for this observation.However, it is very short and, whatever happens at CMIM, Rose Naggar-Tremblay can start her career in a certain way.

To be seen in the video

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