REVIEWS
Nov 2024 — Eurydice fragments (RE:Naissance Opera):
“The story focuses on O and Hope, played by exquisite singers Teiya Kasahara and Brandon Thornhill, respectively.”
“The show’s concept is unquestionably creative and there’s tremendous talent on display, led by Kasahara, who conveys O’s thoughts and emotions through exceptional musicality, expressiveness, and vocal range.” — Vince Kanasoot, Create a Stir, Nov 18, 2024
April 2024 — Verdi requiem (Toronto Mendelssohn Choir):
“The Requiem’s requirements for the soprano soloist are manifold: high pianissimi, declarative chest tones, impeccable intonation when singing octaves with the mezzo, smooth bel canto emission. Teiya Kasahara 笠原 貞野 handled all of this with finesse and dramatic intent. The flute-like tone colour of their upper range projected remarkably well, and was always pitch perfect. The true test for the soprano comes at its conclusion with the “Libera me” (“Deliver me”), a grand scena pleading for redemption on the last day. Kasahara mined its drama, bringing bright, rich tone to its soaring phrases followed quickly by a fearless drop into their chest range.” — Gianmarco Segato, La Scena Musicale, April 29, 2024
“The surprise for me was soprano Teiya Kasahara, who has transitioned from a high coloratura — they were a notable Queen of the Night — to Verdi soprano. “Libera Me” is not for the faint of heart, but they are a fearless artist. They sang unconventionally, with very little vibrato, almost straight tone, an unusual timbre that grew on me. Kudos to them for singing with the requisite long breath line, and for observing all the dynamics markings, including the pianissimo high B flat at the end. I look forward to hearing Teiya again in the future.” — Joseph So, Ludwig Van Toronto, April 30, 2024
Sep 2023 — QUEEN OF THE NIGHT IN THE QUEEN IN ME (AMPLIFIED OPERA, CANADIAN OPERA COMPANY, NIGHTWOOD THEATRE, THEATRE GARGANTUA) at the national arts centre:
“infused with fresh relevance – a reminder that art persists in the face of the anti-LGBTQ protests happening across Ontario.”
“a call-out of epic proportions”
“This queen speaks for all of the ‘fallen’ women of opera […] who have been reduced to two-dimensional decorations…”
“wildly interesting, funny, poignant”
“Their obvious love for opera and all the societal power it has held reminds me of Maria Callas, the legendary soprano who had a certain reverence for the composer. Even during the cheekiest “angry lesbian” rant onstage – hilariously tinged with a bright German accent – Kasahara clearly holds the art very, very dear.”
“Kasahara delivers legit, top-tier singing of the best moments from Turandot, Rigoletto, Manon Lescaut, Macbeth and more.”
“The show is densely packed with problems the opera industry must address, questions to disrupt and ridiculous people of which to make fun. But the prevailing theme was utter joy.”
— Jenna Simeonov, The Globe and Mail Sep 25, 2023
OCT 2022 — QUEEN OF THE NIGHT IN THE QUEEN IN ME (AMPLIFIED OPERA, CANADIAN OPERA COMPANY, NIGHTWOOD THEATRE, THEATRE GARGANTUA) at belfast international arts festival:
“… the vocals are captivating with the included arias and excerpts – from works by Puccini, Verdi, Strauss and more – demonstrating Kasahara’s range and versatility.”
“The Queen In Me is fast-paced, entertaining, and aptly challenges the status quo of an artform that sometimes isolates more than it innovates.”
“Perfectly suited for opera lovers and opera loathers alike: everyone will get something out of the message and the performance.”
— Alan in Belfast, Oct 19, 2022
“…soprano Teiya Kasahara in The Queen In Me, a clever, caustically funny, pointed and pertinent solo show receiving its European première at Belfast’s The Mac.”
“Kasahara’s machine-gunned soliloquy ricocheting between history lesson, musical analysis and a multitude of ‘isms’ laced together by some of opera’s most familiar arias, alongside a carefully insinuated autobiographical element that imbues the evening with a stirring challenge and a compelling call to action.”
— Michael Quinn, British Theatre Guide, Oct 19, 2022
Sep 2022 — QUEEN OF THE NIGHT IN THE QUEEN IN ME (AMPLIFIED OPERA, Canadian opera company, nightwood theatre, theatre gargantua):
“Kasahara is a force to be reckoned with, offering up stunning renditions of beloved pieces from Puccini, Donizetti, Verdi, Strauss, Massenet and Mozart. Even more exhilarating is their reclamation of the spotlight on their on terms, mastering the material and illustrating — viscerally — the transcendent potential of the art form.”
“Kasahara is a commanding presence as the Queen of the Night from Mozart’s The Magic Flute.”
“The Queen In Me, created and performed by Teiya Kasahara, contains multitudes! It is an ode to opera: a rigorous deconstruction of its misogynistic tropes; a calling-out of Euro-centric, cis-gendered, heteronormativity within the industry; and, ultimately, a rousing celebration of new, liberating conventions within the art form.”
— Istvan Dugalin, Theatre Reviewer, Sep 25, 2022
“Rooted in selfhood and identity, Kasahara performs captivating renditions of recognizable, canonical soprano arias.”
“Alongside the robust and undeniably stunning vocals, this performance is full of witty enriched dialogue in which Kasahara calls out the opera Industry for its expectations of sopranos, women, racialized, trans, and non-binary folks.”
“The Queen In Me enchantingly criticizes the ongoing exclusivity of opera in Canada and reveals the truth of what it is like for Kasahara to have had to remain performing in hyper-feminized and limiting roles.”
“The Queen In Me is a radical, innovative piece of operatic art.”
“The Queen In Me is a hilariously cathartic piece of operatic work.”
— Tessa Maki, Intermission Magazine, Sep 25, 2022
JUN 2022 — QUEEN OF THE NIGHT IN THE QUEEN IN ME (AMPLIFIED OPERA, CANADIAN OPERA COMPANY, NIGHTWOOD THEATRE, THEATRE GARGANTUA):
“… [an] extraordinarily enthralling depiction of the character in their solo show, The Queen In Me.”
“… startlingly original musical monologue…”
“[Kasahara] is masterfully assertive, [a] no nonsense 2SLGBTQIA+ singer/opera activist”
“Part bitter satire, part impassioned plea, Kasahara ruled, nowhere more forceful than in their powerful, poignant rendering of the Queen of the Night’s searing revenge aria, Der Hölle Rache.”
“… a decidedly risky proposition for any performer.”
“Bravery comes in many forms. Kasahara was and is positively fearless.”
“Thrilling, inspiring, savagely operatic, Teiya Kasahara gave urgent voice to a compelling need to move the beleaguered art form forward.”
— Ian Ritchie, Opera Going Toronto, June 12, 2022
“This Queen rules.”
“The Queen In Me [is a] bold, intelligent and beautifully sung critique of the art form and its practices.”
“Works brilliantly”
“Clever”
“The final ten minutes are so thrilling dramatically and musically”
— Glenn Sumi, NOW Toronto, June 9, 2022
“The Queen In Me … [is a] monolith of a one person show. A true one-person show – not a recital, not a cabaret or salon, but a dramatically driven show that would need to be seen to be believed.”
“… the salve that the opera industry has been craving.”
“We finally have an answer to the age-old click-bait question ‘Is Opera Dead?’ This production provides a loud, proud, definitive “NO” as an answer.”
“Teiya always had strength and clarity and cleanliness. What we have now is that strength turned into a power that has an elasticity and depth.”
“It’s an instrument that just gets better and better the more you hear it. Also we need to give a shoutout to their stamina: at no point during the almost over 90-minute runtime where they sang everything from QotN to Turandot to Lady Macbetto to Lucia and back again all while delivering mountains of divinely delivered spoken text, and at no point was there even a whisper of fatigue.”
“Kasahara is proof positive that opera singers, when given the breathing room, can indeed act - and skillfully to boot.”
“I will honestly say it was one of the most powerful moments of theatre I’ve experienced in years.”
“Kasahara’s Queen is acted beautifully and they show a remarkable mastery of a thick German accent. They slide effortlessly between speaking and singing.”
“This is the kind of show we need right now: Political without being preachy, informative without being condescending, and vulnerable without being traumatic.”
“Their standing ovation was more than deserved.”
— Greg Finney, Schmopera, June 7, 2022
“Kasahara makes a role they have sung many times sound easy.”
“… a well-paced tour of other operatic conventions and characters.”
“… an orchestral arrangement that seamlessly links Verdi, Puccini, Mozart, Strauss and others.”
“… [Teiya Kasahara] tackled the challenge with great skill, and while some of the commentary was bitingly critical of the opera world — much to the whooping agreement of audience members around me — there was never any doubt about Kasahara’s passion for and commitment to the art form.”
“Kudos to Kasahara, too, for the the exuberant theatricality of their performance.”
“A bare-chested, tattooed, trans self triumphantly giving voice to Mozart’s music.”
“The Queen In Me is a timely, provocatively entertaining addition to the genre.”
— Wayne Gooding, Opera Canada, June 5, 2022
“It brought the house down.”
“It’s very funny, very pointed, and the singing is really good… they are ace at it.”
— John Gilks, Opera Ramblings, June 5, 2022
“… [an] extraordinarily enthralling depiction of the character in their solo show, The Queen In Me.”
“startlingly original musical monologue”
“masterfully assertive, no nonsense 2SLGBTQIA+ singer/opera activist”
“Part bitter satire, part impassioned plea, Kasahara ruled, nowhere more forceful than in their powerful, poignant rendering of the Queen of the Night’s searing revenge aria, Der Hölle Rache.”
“… a decidedly risky proposition for any performer.”
“Bravery comes in many forms. Kasahara was and is positively fearless.”
“Thrilling, inspiring, savagely operatic, Teiya Kasahara gave urgent voice to a compelling need to move the beleaguered art form forward.”
— Ian Ritchie, Opera Going Toronto, June 12, 2022
Selected OPERA & THEATRE REVIEWS 2012-2020
Dec 2020 — SOLOIST/ARRANGER IN ELECTRIC MESSIAH (SOUNDSTREAMS)
“Soprano Teiya Kasahara’s ethereal arrangement of “He was despised,” for example, is performed in a snow-covered graveyard, with Kasahara walking among the tombstones while singing in English, their own voice providing a circular supporting harmony in Japanese.” — Marie Trotter, The WholeNote, Dec 23, 2020
december 2019 - QUEEN OF THE NIGHT IN THE QUEEN IN ME (AMPLIFIED OPERA):
“Teiya Kasahara is an artist with extraordinary things to say.” — Jenna Simeonov, The Globe and Mail, Dec 2, 2019
November 2019 - Ensemble in the wager:
“This show is engaging and enjoyable to watch. The ensemble (Olivia Croft, Teiya Kasahara, François Macdonald, and Spence) has incredible chemistry, and individually each actor effortlessly weaves in and out of their varied roles. Their original music (with additional composition by Thomas Ryder Payne) added another dynamic element to the performance, making it even more of a joy to watch.” — Sarah Siddiqui of Mooney on Theatre, November 2019
AUGUST 2019 - FLORA SANDES IN DEAD EQUAL:
“Dead Equal's central character is Flora, played by gender queer Canadian soprano Teiya Kasahara in strident form; locating female identity in an environment usually identified as the preserve of men gives Flora real agency.” — Eddie Harrison of The List (4****), August 2019
“Gender non-conforming queer feminist Teiya Kasahara is compelling in their portrayal of the protagonist. Their voice soars throughout the venue and would not be out of place in the Royal Opera House. Emotional facial expressions draw you into the story of courage and sacrifice, and don’t let you go until the very end.” — Jennifer Kennedy of DIVA Magazine (4****), August 2019
“…highlighting the integrity and determination of Flora, played with tremendous power and authority by Teiya Kasahara…” — Tim Marriott of Fringe Review (4****), August 2019
“Forget the traditional wigs, corsets, and elaborate makeup. Dead Equal’s trio of diverse, talented singers (Lila Palmer, Teiya Kasahara, and Simone Ibbet-Brown) express both strength and vulnerability… this first-time premiere shows incredible promise and established vocal talent in challenging what we expect on an operatic stage.” — Auburn Scallon of The Feminist Fringe (4**** ), August 2019
JUNE 2019 - PRIESTESS/BARTENDER IN POMEGRANATE:
“Teiya Kasahara was the most impressive presence of the night, even if their powerful voice was rarely exploited, in a score that never sounded difficult.” — Leslie Barcza of BARCZA BLOG, June 2019.
“It’s well cast. Vocally Teiya Kasahara is the star. They’re strong as the Priestess in Act 1 singing in classical style with considerable power and authority. They’re better still in Act 2 when they sing with more freedom to considerable effect. They’re also dramatically convincing, especially as the cynical dyke bartender in the second act… [and] gets a big jazzy aria which they sing with considerable style.” — John Gilks of Opera Ramblings, June 2019
May 2019 - SOPRANO in Fawn Chamber Creative’s Pandora:
“Soprano Teiya Kasahara is a force of nature and gets some wonderfully expressive music to sing in the first third.” — John Terauds of the TORONTO STAR, May 2019
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 their 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 their voice just as there was Monteverdi. They carry this show easily and never fail to thrill.” — Gregory Finney of SCHMOPERA, June 2014
“The performances are first class. Highlights for me included Teiya’s impassioned rendering of their initial prologue like aria. It’s a long, loud, tough sing and they brought it off without any sign of strain or fatigue. — John Gilks of OPERA RAMBLINGS, June 2014
June 2014 - Hope in the Toronto premiere of Shelter by Tapestry Opera (Toronto):
“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 their protective parents and tutor; Kasahara and Klassen’s work enriches the bond between the fated couple.” — Jon Kaplan of NOW 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 their strong character, reveals they’re 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. Their high notes dazzle and their stage presence is dark and forceful. Solana’s long opening aria is a character study in which they radiate steely determination like a shark. Alienated and predatory, they 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 they make elegant, expressive use of a good trill. They have sung the Queen of the Night and Olympia, but there is nothing of the canary here: Theirs is a full sound, and their 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
“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 they are vulnerable. Performance and characterization are nuanced and energetic, their singing clear, pure and straight from the heart.” — OPERA GOING TORONTO, 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 their 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) themself appeared, serene and sensual, softened behind the silk screen, on the raised platform above the stage, and framed in a full moon aglow. Mx. Kasahara handles the impossibly high variations of their 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, their wings spanning to catch all the high notes during her moments on stage. This is their Vancouver debut and from Saturday’s performance, I doubt it will be the last we hear of them.” -- VANCOUVER SCAPE, March 2013
“Notable standouts include soprano Teiya Kasahara, whose vocal prowess as the Queen of the Night was equally as stunning as their gorgeous blue butterfly-winged gown (their 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:
“...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 their shimmering costume, long steely nails and a silver bald cap. Vocally, they packed a punch and their fiery coloratura dominated the stage.” -- Dawn Martens of OPERA CANADA, Jan/Feb 2013