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january 2015 - Queen of the Night in The Magic Flute by Edmonton Opera::

The Power Duo: An Interview with the Queen of the Night, Teiya Kasahara, and Sarastro, Neil Craighead in Edmonton Opera's Magic Flute”

-- The Choir Girl, January 2015

june 2014 - Solana in the Toronto concert premiere of When the Sun Comes Out:

“If you have not heard Teiya Kasahara sing, you are missing out. I mean this. Go now. Don’t wait. Run, don’t walk. An alumna of the COC Ensemble Studio, Teiya uses her unique voice (I’m remiss to use that word because it really doesn’t describe its rarity) to bring us a Solana that’s textured, layered, and passionate. Within the first 3 minutes of the opera during which Kasahara gives a clinic on what I would like to call Dramatic Coloratura. There was Verdi in her voice just as there was Monteverdi. She carries this show easily and never fails to thrill.” -- Gregory Finney of SCHMOPERA, June 2014

“Imagine the Flower Duet from Lakmé but naked in a hot tub. Got that image? It doesn’t really give you what you need, because to really grasp it you’d have to hear Teiya Kasahara and Stephanie Yelovich singing forte at the top of their range in a small room. Kasahara’s singing is among the most impressive vocalism I’ve heard in a great long while, the first 15 minutes or so being a ferocious bit of dramatic coloratura. The role is a huge sing, yet I saw no evidence of fatigue, possibly because of her commitment to the portrayal.” -- Leslie Barcza of BARCZABLOG, June 2014

Teiya Kasahara, for whom Uyeda wrote the character of Solana, displayed her usual stage charisma and sang (owned!) an extremely high role with great stamina. Solana is not a particularly complex character—she is angry, brave, wanderlust-y, reckless, never doubtful, always demanding, from the beginning till the end. Lilah, however, now there’s a novel in there somewhere. Stephanie Yelovich gave us a complex portrait of a human in an existential crisis, who can lose everything by loving who she loves. Her voice—and I am guessing the role tessitura–was a shade darker and lower than Solana’s and a respite next to Solana’s relentlessness and moral certitudes. (The Vancouver Lilah was a mezzo, NB.) The two women were good together, and what was also unique about this performance was that the kissing and the making out were devoid of the awkwardness between two straight singers that’s frequently seen on mainstream stage. If their music wasn’t easily harmonious, their bodies were, and very natural with one another.” -- Lydia Perović of DEFINITELY THE OPERA, June 2014

“The performances are first class.  Highlights for me included Teiya’s impassioned rendering of her initial prologue like aria.  It’s a long, loud, tough sing and she brought it off without any sign of strain or fatigue.  There were also some gorgeous duets between the two women.  Teiya’s harder, more dramatic, sound blending beautifully with Stephanie’s lusher, more lyrical, voice....There’s so much talent in this city!” -- John Gilks of OPERA RAMBLINGS, June 2014


june 2014 - Hope in the Toronto premiere of Shelter by Tapestry Opera (Toronto):

Teiya Kasahara was completely committed to the role of Hope, the angst-ridden, isolated teen daughter. Her industrial punk aria is definitely one of the highlights of the piece.” -- Keira Grant of MOONEY ON THEATRE, June 2014

“There’s some nice comedy in the early scenes, but the show comes to emotional life with the appearance of Kasahara, a bouncing baby who quickly morphs into a spiky-haired rock star. The tenderness between Hope and Lise, captured movingly by the two actors, is one of the show’s strengths. There’s also a powerful connection between the pilot and the increasingly prescient Hope, who develops a sense of her destiny despite the worries of her protective parents and tutor; Kasahara and Klassen’s work enriches the bond between the fated couple.” -- Jon Kaplan of NOW TORONTO, June 2014

Teiya Kasahara throws herself into the role of Hope. Her coloratura roots are apparent in this very different and very high energy part.  She’s also very convincing as a brat.” -- John Gilks of OPERA RAMBLINGS, June 2014

Hope is the main beneficiary of Palmer’s incursion into rock ’n’ roll, taking up a mic to sing her first aria announcing her independence. Teiya Kasahara’s voice is so powerful she certainly doesn’t need a mic. Palmer is simply using amplification as a sign of the younger generations move away from the big band sound.” -- Christopher Hoile of STAGE DOOR, June 2014

Hope, the glowing baby who inexplicably turns 21 at one point, is played by Teiya Kasahara. Hers is a powerful voice that was unfortunately mic’ed for an entire scene, blowing off our eardrums from a seemingly never-ending panorama atop a crib turned bed. Despite the microphone gaffe, no fault of her own, she played the role with a fantastic spirit that made me lament the fact that the character was dimensionally droll.” -- Michael Vincent of MUSICAL TORONTO, June 2014


august 2013 - Solana in the world premiere of When the Sun Comes Out by the Queer Arts Festival (Vancouver):

Kasahara, a magnetic performer who fully and fearlessly inhabits the role of her strong character, reveals she’s usually a love-them-and-leave-them type: ‘I cannot be owned.’ Kasahara’s soprano is a dynamic mix of sweetness undercut by strength.” -- Janet Smith of Opera Canada, Fall 2013 Volume LIV

Teiya Kasahara has an amazing top register. Her high notes dazzle and her stage presence is dark and forceful. Solana’s long opening aria is a character study in which she radiates steely determination like a shark. Alienated and predatory, she promises to be a most interesting character.” -- Elizabeth Paterson of REVIEW VANCOUVER, August 2013

Teiya Kasahara, the Solana, is a strikingly handsome performer with a sizeable, velvety soprano, easy and even from top to bottom, and she makes elegant, expressive use of a good trill. She has sung the Queen of the Night and Olympia, but there is nothing of the canary here: Hers is a full, womanly sound, and her diction is clear.” -- John Yohalem of PARTERRE.COM, August 2013


may/june 2013 - Cherubino in Figaro’s Wedding by Against the Grain Theatre (Toronto):

“... but who really caught my attention was Kasahara’s rock and roll portrayal of Cherubino, a departure from the original character of a young male to a young lesbian female. Her deference, her spontaneity and delightful teenage naivete defied by the maturity and power of Kasahara’s voice had me floored.” -- Samantha Wu of MOONEY ON THEATRE, June 2013

Kasahara shows us the comic and touching qualities of the young love-sick Cherubino awash in a city of attractive women.” -- John Kaplan of NOW Magazine, May 2013

“The comedy and drama are non-stop. Teardrops and laughs are big. “I wrote you a song,” Cherubino blurts out to Rosina and promptly proceeds to break our hearts with an unexpected cry of love and longing sung to the strains of “Voi che sapete”. Teiya Kasahara as Cherubino is as brash and outrageous as she is vulnerable. Performance and characterization are nuanced and energetic, her singing clear, pure and straight from the heart.” -- OPERA GOING TORONTO, May 2013

Teiya Kasahara deserves special mention for her skillful turn as Cherubino, changed into a butch lesbian with the hots for Rosina.” -- John Terauds of the TORONTO STAR, May 2013

Teiya Kasahara never lets up for a second in her portrayal of upfront lesbian Cherubino.” -- Michael Johnson of CONCERTONET.COM

Cherubino is – finally a production with no equivocating — a cute baby dyke who has the butch aesthetic down to a T. Kasahara’s ‘Bino is also the funniest character in the group, even funnier than the very funny Figaro by Hegedus and Khalil’s Susanna. Cherubino is not a token queer character – it’s a live, sexual, three dimensional (and all three dimensions funny) character obviously brought to life by the creative team who know the urban queer cultures well. Plus, ‘Bino is the one who gets the most passionate kiss of the many kisses on stage.” -- Lydia Perovic of DEFINITELY THE OPERA BLOG, May 2013

“And as I mentioned, we’re watching something very original in the portrayal of Cherubino, invented brilliantly by Teiya Kasahara. In this production there’s a special edge to the usual questions we ask, pondering whether Rosina reciprocates Cherubino’s advances, and to Alberto’s jealousy. That’s because of the solidity of Kasahara, DiMaria & Dobson.” -- Leslie Barcza of BARCZA BLOG, May 2013

Teiya Kasahara’s portrayal of Cherubino and her aria dedicated to Rosina was tremendous for its tenderness, delivery, and joy to observe. .” -- Shannon Christy of THE CHARLEBOIS POST - CANADA, May 2013


march 2013 - Queen of the Night in The Magic Flute by Vancouver Opera:

“Before long, the Queen of the Night (Teiya Kasahara) herself appeared, serene and sensual, softened behind the silk screen, on the raised platform above the stage, and framed in a full moon aglow. Ms. Kasahara handles the impossibly high variations of her coloratura soprano parts with impeccable professional finesse, making the arduous seem effortless”. -- Roger Wayne Eberle of REVIEW VANCOUVER, March 2013

Teiya Kasahara performs stunningly as The Queen of the Night, dressed as a blue butterfly, her wings spanning to catch all the high notes during her moments on stage. This is her Vancouver debut and from Saturday’s performance, I doubt it will be the last we hear of her.” -- VANCOUVER SCAPE, March 2013

“Notable standouts include soprano Teiya Kasahara, whose vocal prowess as the Queen of the Night was equally as stunning as her gorgeous blue butterfly-winged gown (her Queen of the Night aria does not disappoint!)” -- Jay Catterson of THE CHARLEBOIS POST, March 2013


jan/feb 2013 - Olympia in Les contes d’Hoffmann by Edmonton Opera:

“Act I was by far the production’s most theatrically engaging part. Soprano Teiya Kasahara played the mechanical sweet-heart in the conventionally stilted fashion. Her ‘Les oiseaux dans la charmille’ was sharp-edged yet supple, and a real crowd-pleaser.” -- Bill Rankin of OPERA CANADA, Spring 2013

“...while the amazing soprano Teiya Kasahara (top picture, right) is the comic highlight of the night as the “automaton” Olympia, making fun of operatic conventions while singing the hell out of them at the same time.” -- Mike Ross of GIGCITY.CA, January 2013


august 2012 - Queen of the Night in The Magic Flute by Highlands Opera Studio (Haliburton, Ontario):

Teiya Kasahara was physically striking as The Queen of The Night, resplendent in her shimmering costume, long steely nails and a silver bald cap. Vocally, she packed a punch and her fiery coloratura dominated the stage.” -- Dawn Martens of OPERA CANADA, Jan/Feb 2013


october 2011 - Queen of the Night in The Magic Flute by Opera Kitchener:

"The Queen was dominant whenever she took the stage, and Kasahara handled one of the most difficult parts in all of opera well. Disappointing in that part is a very easy thing to do, and she easily avoided that fate. She justified attendance on her own." -- Divinus C. Caesar of THE ONTARION, November 2011


july 2011 - Tytania in A Midsummer Night’s Dream by Aspen Opera Theatre:

"With her long metal nails, Tytania (the queen of the fairies) looked like an unholy amalgam of Turandot, the Queen of the Night and the Bride of Frankenstein… and Kasahara as a steely-voiced Tytania had no trouble with the fierce coloratura." -- Harvey Steiman of SEEN AND HEARD INTERNATIONAL, July 2011


may 2011 - Echo in Ariadne auf Naxos by Canadian Opera Company (Toronto):

Kasahara brought a touching naivete to her (Echo) delivery, adding a wonderful pathos throughout.” -- Leslie Barcza of BARCZABLOG, May 2011

jan/feb 2010 - Frasquita in Carmen by Canadian Opera Company (Toronto):

“Soprano Teiya Kasahara ... [was] splendid as Carmen’s companion Frasquita...” -- THE GLOBE AND MAIL, Jan 2010

“Add some nice work ... from soprano Teiya Kasahara ... and it becomes an evening of memorable moments...” -- TORONTO SUN, Jan 2010

feb 2009 - First Wood Nymph in Rusalka by Canadian Opera Company (Toronto):

“Rusalka’s sister wood nymphs (reminiscent of the Rhinemaidens) sound great, especially Teiya Kasahara who has an extended solo while soaring through the air on a waterbug.” -- Michael Johnson of CONCERTONET.COM, Feb 2009

feb 2007 - Musetta in La bohème by the University of British Columbia Opera Ensemble (Vancouver):

Musetta’s entrance is one of the best in opera, and was sung and acted to its limit by Teiya Kasahara... [who has a] brilliant coloratura voice and use[s it] with distinction.” -- OPERA CANADA, Mar/Apr 2007


various reviews from concerts:

“Ontario coloratura soprano Teiya Kasahara sang an impressive “Ach, serdtse dobroe” from Stravinsky’s Solovey to win the Prix de la chamber des directeurs d’Opéra, as well as engagements with Vancouver Opera and the Opera de Toulon Provence Méditerranée.” -- LA SCENA MUSICALE, Feb 2011

“... soprano Teiya Kasahara ... sang and acted Queen of the Night’s Act Two Aria beautifully and with great energy, nailing the staccato runs accurately and with focused tone.” -- LA SCENA MUSICALE, Sept 2009

“Second year Ensemble member Teiya Kasahara sang ‘Regnava nel silenzio’ from Lucia di Lammermoor, with a flair for drama and blazing high notes.” -- LA SCENA MUSICALE, Sept 2008

Teiya Kasahara’s rendition of ‘Les oiseaux dans la charmille’ (Doll Song) from The Tales of Hoffmann was flawless with Ben Heppner having almost no comment except to ask for an encore.” -- MUSICAL NOTES, Summer 2005



Canadian Music Competition: 1st Place - Voice Category 26 Years, Award: In Memory of Alice Rathé


XI Czech and Slovak International Singing Competition Bedřich Smetana Prize (4th Place)

Metropolitan Opera National Council Auditions: Winner Western Canada District

Aspen Music Festival & School: Opera Fellowship


Vancouver Opera Foundation: Joe Boxer Memorial Fund Award

Jeunes Ambassadeurs Lyriques: Prix de la Chambre des Directeurs d’Opéra, Prix de Vancouver Opera, Prix de Junge Ensemble Programme-Bayerische Staatsoper München


Vancouver Opera Guild: Partial Career Grant


University of British Columbia (UBC): Bachelor of Music in Opera Performance, Catherine Cooke Topping Memorial Medal (highest academic standing of graduating class in music)

Vancouver Women’s Musical Society: Ann Vaisboard Scholarship, Vocal Competition 2nd Place Bursary Prize

Metropolitan Opera National Council Auditions: Winner Western Canada District, First Runner-Up Northwest Region, Encouragement Award Northwest Region




UBC: Golden Leaf Scholarship in Music, Undergraduate Scholar


UBC: Lotte and John Hecht Memorial Scholarship, Wesbrook Scholar, HSBC Emerging Leader Scholarship, Undergraduate Scholar, Ben Heppner Scholarship, Golden Key International Honor Soceity - Honored Member


UBC: John S. Chappell Memorial Scholarship, Ben Heppner Scholarship


UBC: Avenor Inc. Major Entrance Scholarship


UBC: Maurice Taylor Scholarship in Music, Norman Mackenzie Scholarship



Chilliwack Music and Dance Festival: Slater Cup - Intermediate Vocal Champion

BC Festival of the Arts: First Runner-Up Senior Vocal Category



Chilliwack Music and Dance Festival: Slater Cup - Intermediate Vocal Champion, Florence Tunbridge Trophy and Bursary

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