“…is superb at scaling the full range of human emotion through voice and gesture.”
St. Albert Gazette


Canadian-Bulgarian soprano Adanya Dunn, critically acclaimed for her performance as Musetta in
Against the Grain Theatre’s English “transladaptation” of Puccini’s La bohème, was noted by Definitely The Opera as the revelation of the evening”, while Opera Going Toronto marked her as a “sultry soprano red hot and alluring.” For the 2016/2017, Adanya joined the Rebanks Family Fellowship & International Performance Residency Program at Glenn Gould School where she studied with Monica Whicher.

In June and July 2017, Adanya appeared as the title role in CHARLOTTE: A Tri-Coloured Play with Music, a new genre-bending chamber musical based on the life and artwork of the German-Jewish painter Charlotte Salomon (1917-1943). The show premiered as part of Toronto’s Luminato Festival and again in Taipei, Taiwan at the World Stage Design Scenofest, where Adanya made her Asian debut.

An exciting collaboration between Against the Grain Theatre and the Toronto International Film Festival lead to her performing with pianist Topher Mokrzewski in excerpts of Schoenberg’s Pierrot lunaire as part the pre-concert to the first ever Toronto retrospective of one of the most important and influential filmmaking teams in cinema history, “Not Reconciled: The Films of Jean-Marie Straub and Danièle Huillet” (Moses und Aron), of which their performance was a noted asa qualified success” (Barcza Blog).

An alumna of the University of Toronto (UofT), Adanya studied with Professor Lorna MacDonald for both her Master of Music in Opera Performance (2014) and Bachelor of Music in Voice Performance (2012) degrees. Within her studies, she had the opportunity to work with artists such as Sandra Horst, Nathalie Paulin, Russell Braun, Michael Albano, and Che Anne Loewen. While at the Opera School, she sang roles such as Mlle Silberklang (Der Schauspieldirekor) and Miss Wordsworth (Albert Herring), and premiered three different contemporary operas by composition students.

Dunn’s voice handled the extreme range and colours covered in the piece beautifully. […] you were so transfixed.
Schmopera


In May 2016, Adanya graduated from
Bard College Conservatory’s Graduate Vocal Arts Program, led by Artistic Directors Dawn Upshaw and Kayo Iwama, and studying with Patricia Misslin and Edith Bers. Through Bard, she has performed at the Morgan Library in NYC, the Longy School of Music in Boston, the Fisher Center for the Performing Arts, Sosnoff Theater in the Hudson Valley, and a debut with the Albany Symphony Orchestra conducted by David Allen Miller singing First Lady in Mozart’s The Magic Flute. Adanya sang the soprano solo in Handel’s Messiah under the baton of Leon Botstein with The Orchestra Now; performed in an operatic double bill as Papagena in Mozart’s Die Zauberflöte and the New York State Premiere of Oliver Knussen’s Higglety Pigglety Pop! in the soprano lead, Rhoda.

In January 2015, Adanya made her Carnegie Hall debut as part of Marilyn Horne’s The Song Continues, where she “took the stage with a wonderful relaxed stage presence and delighted the audience with her engaging personality(Vocedimeche). Adanya was a Voice Fellow for two years at the Music Academy of the West (MAW) helmed by iconic mezzo-soprano Marilyn Horne. In 2015, she Adanya performed the role of Clorinda in Rossini’s La Cenerentola directed by David Paul and conducted by Jayce Ogren. There, she also performed in opera scenes directed by Bruce Donnell: Frantik (The Cunning Little Vixen) and Valencienne (Die lustige Witwe). The previous year, she covered the role of Frasquita in Bizet’s Carmen and performed in opera scene excerpts directed by Gregory Fortner, as Marzelline (Fidelio by Beethoven) and Elvira (L’italiana in Algeri) conducted by John Fisher and Warren Jones, respectively. Adanya also premiered the chamber song cycle we do it to one another by cellist-composer Joshua Roman, and had the opportunity to work with Marilyn Horne, Fred Carama, Martin Katz,  John Churchwell, Anthony Dean Griffey, Nino Sanikidze, and Denise Massé.

“…naturally produced instrument with a very beautiful timbre.” – Musical Toronto

 

Adanya has won an Encouragement Award from the Metropolitan Opera National Council Auditions (Buffalo-Toronto District) and was recently a finalist at the Eckhardt Gramatté Competition in May 2017. Adanya won a Top Graduate Award from the University of Toronto’s Faculty of Music and is a two-time long-term grant recipient for Professional Musicians from the Canada Council for the Arts.

With support of the Canadian Aldeburgh Foundation, she attended the Britten-Pears Young Artist Programme, Aldeburgh Music Festival in June 2012, studying with soprano Dawn Upshaw and pianist Kayo Iwama in England. Past development programs include Highlands Opera Studio, Banff Centre’s Opera in the 21st Century Program, Opera NUOVA, Toronto Summer Music Festival, Tapestry Opera 101, Vancouver International Song Institute, Orford Arts Centre and Academy, and Opera Atelier Professional Training Program. Adanya has had the pleasure of coaching with Richard Margison, Renate Rohlfing, Lucy Shelton, John Fisher, Marilyn Horne, Cameron Stowe, Warren Jones, and Philip Morehead.

 

“...excellent diction and sense of style and the musicianship that has marked her out in the contemporary repertoire.”
Opera Ramblings

 

Adanya is a resident performer with the interdisciplinary arts collective FAWN Chamber Creative and is an active participant in both the contemporary and traditional classical spheres. She enjoys collaborating with composers; performing, creating, and producing new works. The Happenstance Series, a chamber music concert series she developed with colleagues Brad Cherwin (clarinet) and Alice Gi-Young Hwang (piano) featuring guest artists and presenting innovative programming, will launch its second season in September.

Upcoming projects include a semi-staged workshop performance at the Highlands Opera Studio of Mishaabooz’s Realm (La domaine de Michabous) an important new work combining opera and First Nations singers and instrumentalists, by Cree composer Andrew Balfour; and with FAWN, the world premiere of Synesthesia IV – Pandora, a triple bill of Opera-Ballets by three different Canadian composers that emerged through a collective creation method and improvisation.

This coming fall, Adanya will be part of Soundstreams’ 70-minute theatrical realization of the music by Quebecois composer Claude Vivier (1948-1983) and plans are underway for two European tours in 2018. It will be the world premiere of the first staged production of Musik für das Ende (The Music of the End), comprised of 10 intercultural singers bringing together diverse styles and heritages in a ritual journey through life, through death, and beyond. In addition, Adanya will be singing the soprano solo in Vivier’s Do you Believe in the Immortality of the Soul? a work that was found on his desk at the time of his death.

*Updated August 2017*


And a little more…

Adanya was born in Toronto, ON, to a Canadian father and Bulgarian immigrant mother. Music was always in the background of her life growing up. Her early hobbies included painting, competitive figure skating, canoeing, and dance. Adanya was a member of the Canadian Children’s Opera Company, performing in the Children’s Chorus with the Canadian Opera Company in the late 1990’s productions of La bohème and Hansel and Gretel. Her high school studies took her to the Etobicoke School of the Arts where she majored in musical theatre and minored in dance and visual art.

Adanya has been a proud member of the Canadian Actors Equity Association (CAEA) and Alliance of Canadian Cinema, Television and Radio Artists (ACTRA) since a young age, when she began performing in professional theatre and on television. And while Adanya ended up pursuing music in her post-secondary studies, she was accepted into multiple undergraduate engineering degree programs across Canada as well into the Advanced Entry Opportunity for the HBA Program at the Ivey Business School. She loves reading and learning about science, nature, and the environment, and spends her free time traveling and volunteering in various capacities. (Her free time is also spent creating vegan desserts…and eating them).

Biography

 

“…is superb at scaling the full range of human emotion through voice and gesture.”  St. Albert Gazette

 

Canadian-Bulgarian soprano Adanya Dunn, critically acclaimed for her performance as Musetta in Against the Grain Theatre’s English “transladaptation” of Puccini’s La bohème, was noted by Definitely The Opera as the revelation of the evening”, while Opera Going Toronto marked her as a “sultry soprano red hot and alluring.” For the 2016/2017, Adanya joined the Rebanks Family Fellowship & International Performance Residency Program at Glenn Gould School where she studied with Monica Whicher.

In June and July 2017, Adanya appeared as the title role in CHARLOTTE: A Tri-Coloured Play with Music, a new genre-bending chamber musical based on the life and artwork of the German-Jewish painter Charlotte Salomon (1917-1943). The show premiered as part of Toronto’s Luminato Festival and again in Taipei, Taiwan at the World Stage Design Scenofest, where Adanya made her Asian debut.

An exciting collaboration between Against the Grain Theatre and the Toronto International Film Festival lead to her performing with pianist Topher Mokrzewski in excerpts of Schoenberg’s Pierrot lunaire as the pre-concert to the first ever Toronto retrospective of one of the most important and influential filmmaking teams in cinema history, “Not Reconciled: The Films of Jean-Marie Straub and Danièle Huillet” (Moses und Aron). Their performance was a noted asa qualified success” (Barcza Blog).

An alumna of the University of Toronto (UofT), Adanya studied with Professor Lorna MacDonald for both her Master of Music in Opera Performance (2014) and Bachelor of Music in Voice Performance (2012) degrees. Within her studies, she had the opportunity to work with artists such as Sandra Horst, Nathalie Paulin, Russell Braun, Michael Albano, and Che Anne Loewen. While at the Opera School, she sang roles such as Mlle Silberklang (Der Schauspieldirekor) and Miss Wordsworth (Albert Herring), and premiered three different contemporary operas by composition students.


Dunn’s voice handled the extreme range and colours covered in the piece beautifully. […] you were so transfixed.” – Schmopera

 

In May 2016, Adanya graduated from Bard College Conservatory’s Graduate Vocal Arts Program, led by Artistic Directors Dawn Upshaw and Kayo Iwama, and studying with Patricia Misslin and Edith Bers. Through Bard, she has performed at the Morgan Library in NYC, the Longy School of Music in Boston, the Fisher Center for the Performing Arts, Sosnoff Theater in the Hudson Valley, and a debut with the Albany Symphony Orchestra conducted by David Allen Miller singing First Lady in Mozart’s The Magic Flute. Adanya sang the soprano solo in Handel’s Messiah under the baton of Leon Botstein with The Orchestra Now; performed in an operatic double bill as Papagena in Mozart’s Die Zauberflöte and the New York State Premiere of Oliver Knussen’s Higglety Pigglety Pop! as Rhoda.

In January 2015, Adanya made her Carnegie Hall debut as part of Marilyn Horne’s The Song Continues, where she “took the stage with a wonderful relaxed stage presence and delighted the audience with her engaging personality(Vocedimeche). Adanya was a Voice Fellow for two years at the Music Academy of the West (MAW) helmed by iconic mezzo-soprano Marilyn Horne. In 2015, she Adanya performed the role of Clorinda in Rossini’s La Cenerentola directed by David Paul and conducted by Jayce Ogren. There, she also performed in opera scenes directed by Bruce Donnell: Frantik (The Cunning Little Vixen) and Valencienne (Die lustige Witwe). The previous year, she covered the role of Frasquita in Bizet’s Carmen and performed in opera scene excerpts directed by Gregory Fortner, as Marzelline (Fidelio by Beethoven) and Elvira (L’italiana in Algeri) conducted by John Fisher and Warren Jones, respectively. Adanya also premiered the chamber song cycle we do it to one another by cellist-composer Joshua Roman, and had the opportunity to work with Marilyn Horne, Fred Carama, Martin Katz,  John Churchwell, Anthony Dean Griffey, Nino Sanikidze, and Denise Massé.

“…naturally produced instrument with a very beautiful timbre.”
Musical Toronto

 

Adanya has won an Encouragement Award from the Metropolitan Opera National Council Auditions (Buffalo-Toronto District) and was recently a finalist at the Eckhardt Gramatté Competition in May 2017. Adanya won a Top Graduate Award from the University of Toronto’s Faculty of Music and is a two-time long-term grant recipient for Professional Musicians from the Canada Council for the Arts.

With support of the Canadian Aldeburgh Foundation, she attended the Britten-Pears Young Artist Programme, Aldeburgh Music Festival in June 2012, studying with soprano Dawn Upshaw and pianist Kayo Iwama in England. Past development programs include Highlands Opera Studio, Banff Centre’s Opera in the 21st Century Program, Opera NUOVA, Toronto Summer Music Festival, Tapestry Opera 101, Vancouver International Song Institute, Orford Arts Centre and Academy, and Opera Atelier Professional Training Program. Adanya has had the pleasure of coaching with Richard Margison, Renate Rohlfing, Lucy Shelton, John Fisher, Marilyn Horne, Cameron Stowe, Warren Jones, and Philip Morehead.

 “...excellent diction and sense of style and the musicianship that has marked her out in the contemporary repertoire.” Opera Ramblings

 

Adanya is a resident performer with the interdisciplinary arts collective FAWN Chamber Creative and is an active participant in both the contemporary and traditional classical spheres. She enjoys collaborating with composers; performing, creating, and producing new works. The Happenstance Series, a chamber music concert series she developed with colleagues Brad Cherwin (clarinet) and Alice Gi-Young Hwang (piano) featuring guest artists and presenting innovative programming, will launch its second season in September.

Upcoming projects include a semi-staged workshop performance at the Highlands Opera Studio of Mishaabooz’s Realm (La domaine de Michabous) an important new work combining opera and First Nations singers and instrumentalists, by Cree composer Andrew Balfour; and with FAWN, the world premiere of Synesthesia IV – Pandora, a triple bill of Opera-Ballets by three different Canadian composers that emerged through a collective creation method and improvisation.

This coming fall, Adanya will be part of Soundstreams’ 70-minute theatrical realization of the music by Quebecois composer Claude Vivier (1948-1983) and plans are underway for two European tours in 2018. It will be the world premiere of the first staged production of Musik für das Ende (The Music of the End), comprised of 10 intercultural singers bringing together diverse styles and heritages in a ritual journey through life, through death, and beyond. In addition, Adanya will be singing the soprano solo in Vivier’s Do you Believe in the Immortality of the Soul? a work that was found on his desk at the time of his death.

*Updated August 2017*

Biography


“…
is superb at scaling the full range of human emotion through voice and gesture.”
St. Albert Gazette


Canadian-Bulgarian soprano Adanya Dunn, critically acclaimed for her performance as Musetta in
Against the Grain Theatre’s English “transladaptation” of the Puccini classic La bohème, was noted by Definitely The Opera as the revelation of the evening”, while Opera Going Toronto marked her as a “sultry soprano red hot and alluring.” For the 2016/2017, Adanya joined the Rebanks Family Fellowship & International Performance Residency Program at Glenn Gould School where she studied with Monica Whicher.

In June and July 2017, Adanya appeared as the title role in CHARLOTTE: A Tri-Coloured Play with Music, a new genre-bending chamber musical based on the life and artwork of the German-Jewish painter Charlotte Salomon (1917-1943). The show premiered as part of Toronto’s Luminato Festival and again in Taipei, Taiwan at the World Stage Design Scenofest, where Adanya made her Asian debut.

An exciting collaboration between Against the Grain Theatre and the Toronto International Film Festival lead to her performing with pianist Topher Mokrzewski in excerpts of Schoenberg’s Pierrot lunaire as the pre-concert to the first ever Toronto retrospective of one of the most important and influential filmmaking teams in cinema history, “Not Reconciled: The Films of Jean-Marie Straub and Danièle Huillet” (Moses und Aron). Their performance was a noted asa qualified success” (Barcza Blog).

Brent Calis Photography
An alumna of the University of Toronto (UofT), Adanya studied with Professor Lorna MacDonald for both her Master of Music in Opera Performance (2014) and Bachelor of Music in Voice Performance (2012) degrees. Within her studies, she had the opportunity to work with artists such as Sandra Horst, Nathalie Paulin, Russell Braun, Michael Albano, and Che Anne Loewen. While at the Opera School, she sang roles such as Mlle Silberklang (Der Schauspieldirekor) and Miss Wordsworth (Albert Herring), and premiered three different contemporary operas by composition students.

 

Dunn’s voice handled the extreme range and colours covered in the piece beautifully. […] you were so transfixed.” – Schmopera


In May 2016, Adanya graduated from
Bard College Conservatory’s Graduate Vocal Arts Program, led by Artistic Directors Dawn Upshaw and Kayo Iwama, and studying with Patricia Misslin and Edith Bers. Through Bard, she has performed at the Morgan Library in NYC, the Longy School of Music in Boston, the Fisher Center for the Performing Arts, Sosnoff Theater in the Hudson Valley, and a debut with the Albany Symphony Orchestra conducted by David Allen Miller singing First Lady in Mozart’s The Magic Flute. Adanya sang the soprano solo in Handel’s Messiah under the baton of Leon Botstein with The Orchestra Now; performed in an operatic double bill as Papagena in Mozart’s Die Zauberflöte and the New York State Premiere of Oliver Knussen’s Higglety Pigglety Pop! in the soprano lead, Rhoda.

Dunn as Rhoda (HPP)

In January 2015, Adanya made her Carnegie Hall debut as part of Marilyn Horne’s The Song Continues, where she “took the stage with a wonderful relaxed stage presence and delighted the audience with her engaging personality(Vocedimeche). Adanya was a Voice Fellow for two years at the Music Academy of the West (MAW) helmed by iconic mezzo-soprano Marilyn Horne. In 2015, she Adanya performed the role of Clorinda in Rossini’s La Cenerentola directed by David Paul and conducted by Jayce Ogren. There, she also performed in opera scenes directed by Bruce Donnell: Frantik (The Cunning Little Vixen) and Valencienne (Die lustige Witwe). The previous year, she covered the role of Frasquita in Bizet’s Carmen and performed in opera scene excerpts directed by Gregory Fortner, as Marzelline (Fidelio by Beethoven) and Elvira (L’italiana in Algeri) conducted by John Fisher and Warren Jones, respectively. Adanya also premiered the chamber song cycle we do it to one another by cellist-composer Joshua Roman, and had the opportunity to work with Marilyn Horne, Fred Carama, Martin Katz,  John Churchwell, Anthony Dean Griffey, Nino Sanikidze, and Denise Massé.

“…naturally produced instrument with a very beautiful timbre.”
Musical Toronto


Adanya has won an Encouragement Award from the
Metropolitan Opera National Council Auditions (Buffalo-Toronto District) and was recently a finalist at the Eckhardt Gramatté Competition in May 2017. Adanya won a Top Graduate Award from the University of Toronto’s Faculty of Music and is a two-time long-term grant recipient for Professional Musicians from the Canada Council for the Arts.

With support of the Canadian Aldeburgh Foundation, she attended the Britten-Pears Young Artist Programme, Aldeburgh Music Festival in June 2012, studying with soprano Dawn Upshaw and pianist Kayo Iwama in England. Past development programs include Highlands Opera Studio, Banff Centre’s Opera in the 21st Century Program, Opera NUOVA, Toronto Summer Music Festival, Tapestry Opera 101, Vancouver International Song Institute, Orford Arts Centre and Academy, and Opera Atelier Professional Training Program. Adanya has had the pleasure of coaching with Richard Margison, Renate Rohlfing, Lucy Shelton, John Fisher, Marilyn Horne, Cameron Stowe, Warren Jones, and Philip Morehead.

 

“...excellent diction and sense of style and the musicianship that has marked her out in the contemporary repertoire.”
Opera Ramblings


Adanya is a resident performer with the interdisciplinary arts collective
FAWN Chamber Creative and is an active participant in both the contemporary and traditional classical spheres. She enjoys collaborating with composers; performing, creating, and producing new works. The Happenstance Series, a chamber music concert series she developed with colleagues Brad Cherwin (clarinet) and Alice Gi-Young Hwang (piano) featuring guest artists and presenting innovative programming, will launch its second season in September. 

Upcoming projects include a semi-staged workshop performance at the Highlands Opera Studio of Mishaabooz’s Realm (La domaine de Michabous) an important new work combining opera and First Nations singers and instrumentalists, by Cree composer Andrew Balfour; and with FAWN, the world premiere of Synesthesia IV – Pandora, a triple bill of Opera-Ballets by three different Canadian composers that emerged through a collective creation method and improvisation.

This coming fall, Adanya will be part of Soundstreams’ 70-minute theatrical realization of the music by Quebecois composer Claude Vivier (1948-1983) and plans are underway for two European tours in 2018. It will be the world premiere of the first staged production of Musik für das Ende (The Music of the End), comprised of 10 intercultural singers bringing together diverse styles and heritages in a ritual journey through life, through death, and beyond. In addition, Adanya will be singing the soprano solo in Vivier’s Do you Believe in the Immortality of the Soul? a work that was found on his desk at the time of his death. 

*Updated August 2017*