Canadian soprano Jacqueline Woodley has been praised for her fearless versatility, changing styles fluidly from early music to contemporary, from opera to art song. Sought after for her “exceptional talent” in performing modern works, Jacqueline created the role of Milice-Bride in the première of Ana Sokolovic’s opera Svaba-Wedding with Queen of Puddings Music Theatre. This production toured Europe and Canada and Ms. Woodley was also chosen for the San Francisco and Philadelphia premieres of this remarkable work. Most recently, she was hailed for her searing performance as Natalia in the world premiere of Oksana G for Tapestry New Opera and earlier appeared in the premiere of that company’s production of M’Dea Undone which won a Dora award. Other acclaimed performances of contemporary music include works by György Kurtág, Kaija Saariaho, and Judith Weir.

Upcoming for ²⁰²²⁄₂₀₂₃, Ms. Woodley appears as the soprano soloist with the Grand Philharmonic Choir for Mendelssohn’s Elijah, Arion Baroque for a series of Bach cantatas, the Brahms’ Requiem with Les Grands Ballets Canadiens, and Handel’s Brockes Passion with Metropolitan United (Toronto). She also looks forward to returning to Pacific Opera Victoria as Zaunschlüpfer in Braunfels’ Die Vögel.

Jacqueline’s ²⁰²¹⁄₂₀₂₂ included a celebrated performance as Valencienne in Calgary Opera’s production of Lehar’s The Merry Widow. In December, Jacqueline was the soprano soloist for Orchestre Classique de Montréal’s Messiah and Choral Fantasty of Beethoven.

During the 2019-2020 season she moved back to the baroque world for the works of Bach, Handel and Charpentier for concerts with The Florida Orchestra, Regina Symphony, Clavecins en concert, Chorus Niagara and the Ottawa Choral Society. As well, she sang the 2019 Messiah for the Edmonton Symphony. In Victoria, Pacific Opera Victoria patrons heard her as Tina in Dove’s Flight.

Her recent seasons have included Papagena (Die Zauberflöte), Cherubino (Marriage of Figaro), and The Forest Bird (Siegfried) for the Canadian Opera Company, Messiah with the Grand Philharmonic Choir and Symphony Nova Scotia, Mozart’s Exsultate, Jubilate with the Edmonton Symphony, Daphne et Apollo and Dido and Aeneas for Toronto Masque Theatre, and Tapestry’s ‘Lib-Lab’.

Other highlights include her Montreal Symphony debut under Kent Nagano, the role of Adele (Die Fledermaus) for Edmonton Opera, appearances at the Vancouver Early Music Festival and the Ottawa Chamberfest with Les Voix Baroques; a soprano and trumpet programme for Clavecin en Concert and La Fête de la Musique de Mont-Tremblant; and Handel’s Messiah for groups such as the National Arts Centre Orchestra, Aradia Ensemble, and in a staged version for Against the Grain Theatre.

An alumna of the Canadian Opera Company Ensemble Studio, she performed and covered several main stage roles, among which were Olympia (Les Contes d’Hoffmann), Amore (Orfeo ed Euridice), First Priestess (Iphigénie en Tauride), Lace Seller (Death in Venice), and Iris (Semele).

Possessing a strong affinity for concert works, Jacqueline’s repertoire includes Bach’s Saint John Passion, Orff’s Carmina Burana, the Fauré and Mozart’s _Requiem_s, Mahler’s Symphony No. VIII, Mercure’s Cantate pour une joie, Haydn’s Creation, Pärt’s Stabat Mater, Villa-Lobos’ Bachianas Brasileiras No. 5, I-II, and Vaughan Williams’ Dona Nobis Pacem.

In addition to being an active coach in her home studio and conducting an amateur women’s chamber choir, Jacqueline was recently at Opera Nuova as part of their 20th Anniversary Alumni Mentorship Program, where she taught lessons, gave masterclasses, and performed in the gala. Ms. Woodley has recorded works by Canadian composer Norbert Palej for the Canadian Art Song Project, and recently released albums of the music of Québecois composer Lionel Daunais (Mélodies, 2022), and Iranian-Canadian composer Parisa Sabet (A Cup of Sins, 2022).