Philosophy and work
PHILOSOPHY
The actor's/singer's role is to be generous and honest; to research, respect, and give wholly to the work of the playwright, poet and/or composer; to work collaboratively and intelligently; to take great risks; to be present and always offering; and to continually explore their understanding of craft.
“There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”
- Martha Graham
Stratford Festival Reviews - Interview with Francesca Ranalli regarding Skylight and playing Kyra Hollis
PARTICULARS AND SELECTED WORK
(full details available upon request)
CAEA Equity Member
Height: 5 ’ 3” Weight: 115 lbs Hair Colour: brown Eyes: green Voice Type: mezzo-soprano
UPCOMING
March 21, 2020 FSA Music Love in Three-Four Time/Liebesliederwalzer (Brahms)
May 2, 2020 FSA Music Petite Messe Solonelle (Rossini)
SELECT THEATRE CREDITS
Within the Glass (Anna Chatterton) Linda
Skylight (David Hare) Kyra Hollis
Twelfth Night (Shakespeare) Viola
Venus in Fur (David Ives) Vanda
Red (Cornelia Hoogland) Red
The Merchant of Venice (Shakespeare) Portia
Pride and Prejudice (Jane Austen, adapted) Elizabeth Bennett
Macbeth (Shakespeare) Lady Macbeth
SELECT OPERA CREDITS
Gift of the Magi (David Conte) Maggie
Don Giovanni (Mozart) Donna Elvira
Le nozze di Figaro (Mozart) Cherubino
Madama Butterfly (Puccini) Kate Pinkerton
Die Fledermaus (Johan Strauss II) Prince Orlofsky
Eugene Onegin (Tchaikovsky) Olga
SELECT ORATORIO/CHORAL SOLO
Elijah (Mendelssohn) Alto Soloist
Messe Basse (Faure) Soloist
Vesperae solennes de confessore (Mozart) Soloist
European Choral Tour Soloist
RECITALS/CONCERTS/FESTIVALS/WORKSHOPS AND READINGS
Canada, Europe and US - complete list available upon request
TRAINING
Voice Teacher (current) Marianne Bindig
Directing Intern Kim Mattice Wanat/Andrea Mellis Opera Nuova
Directing in the Performing Arts An International Summit
Voice/Movement Workshop Nancy Benjamin/Kelly McEvenue Stratford Shakespeare Festival
Acting Masterclasses Bernard Hopkins
Master of Music, Voice Performance Ingemar Korjus University of Ottawa
Young Artists Program Tyrone Patterson Opera Lyra Ottawa
Shakespeare Young Company Eleanor Crowder Salamander Theatre
Approaches to Classical Text Kate Hurman National Arts Centre/Ottawa Fringe Festival
Contemporary Monologues John Koensgen National Arts Centre/Ottawa Fringe Festival
Art Song and Opera Masterclasses Dalton Baldwin/Loraine Nubar Vermont Opera Festival
French Language Studies Universite populaire (France)
Italian Language Studies Universita per stranieri (Italy)
Some movement ability (previous Ballet training) Ottawa School of Dance
SKILLS
Voice: Mezzo-Soprano (range: E below middle C to high E (above high C)
Languages: English and French (fluent/sung/spoken), Italian (sung/spoken), German and Spanish (sung); facility with dialects and accents
Teaching Experience: Voice and Acting (singers/actors: private/choral/Fanshawe College Theatre Arts Program)
Other: Stage Combat, Alexander Technique, Commedia dell’Arte, Mask Work, Text Work, some Movement/Dance, Equestrian Riding
The actor's/singer's role is to be generous and honest; to research, respect, and give wholly to the work of the playwright, poet and/or composer; to work collaboratively and intelligently; to take great risks; to be present and always offering; and to continually explore their understanding of craft.
“There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”
- Martha Graham
Stratford Festival Reviews - Interview with Francesca Ranalli regarding Skylight and playing Kyra Hollis
PARTICULARS AND SELECTED WORK
(full details available upon request)
CAEA Equity Member
Height: 5 ’ 3” Weight: 115 lbs Hair Colour: brown Eyes: green Voice Type: mezzo-soprano
UPCOMING
March 21, 2020 FSA Music Love in Three-Four Time/Liebesliederwalzer (Brahms)
May 2, 2020 FSA Music Petite Messe Solonelle (Rossini)
SELECT THEATRE CREDITS
Within the Glass (Anna Chatterton) Linda
Skylight (David Hare) Kyra Hollis
Twelfth Night (Shakespeare) Viola
Venus in Fur (David Ives) Vanda
Red (Cornelia Hoogland) Red
The Merchant of Venice (Shakespeare) Portia
Pride and Prejudice (Jane Austen, adapted) Elizabeth Bennett
Macbeth (Shakespeare) Lady Macbeth
SELECT OPERA CREDITS
Gift of the Magi (David Conte) Maggie
Don Giovanni (Mozart) Donna Elvira
Le nozze di Figaro (Mozart) Cherubino
Madama Butterfly (Puccini) Kate Pinkerton
Die Fledermaus (Johan Strauss II) Prince Orlofsky
Eugene Onegin (Tchaikovsky) Olga
SELECT ORATORIO/CHORAL SOLO
Elijah (Mendelssohn) Alto Soloist
Messe Basse (Faure) Soloist
Vesperae solennes de confessore (Mozart) Soloist
European Choral Tour Soloist
RECITALS/CONCERTS/FESTIVALS/WORKSHOPS AND READINGS
Canada, Europe and US - complete list available upon request
TRAINING
Voice Teacher (current) Marianne Bindig
Directing Intern Kim Mattice Wanat/Andrea Mellis Opera Nuova
Directing in the Performing Arts An International Summit
Voice/Movement Workshop Nancy Benjamin/Kelly McEvenue Stratford Shakespeare Festival
Acting Masterclasses Bernard Hopkins
Master of Music, Voice Performance Ingemar Korjus University of Ottawa
Young Artists Program Tyrone Patterson Opera Lyra Ottawa
Shakespeare Young Company Eleanor Crowder Salamander Theatre
Approaches to Classical Text Kate Hurman National Arts Centre/Ottawa Fringe Festival
Contemporary Monologues John Koensgen National Arts Centre/Ottawa Fringe Festival
Art Song and Opera Masterclasses Dalton Baldwin/Loraine Nubar Vermont Opera Festival
French Language Studies Universite populaire (France)
Italian Language Studies Universita per stranieri (Italy)
Some movement ability (previous Ballet training) Ottawa School of Dance
SKILLS
Voice: Mezzo-Soprano (range: E below middle C to high E (above high C)
Languages: English and French (fluent/sung/spoken), Italian (sung/spoken), German and Spanish (sung); facility with dialects and accents
Teaching Experience: Voice and Acting (singers/actors: private/choral/Fanshawe College Theatre Arts Program)
Other: Stage Combat, Alexander Technique, Commedia dell’Arte, Mask Work, Text Work, some Movement/Dance, Equestrian Riding
