Award winning soprano Whitney Mather is recognised for her considerable poise and expressivity and continues to shine in both opera and art song repertoires. Ms. Mather also enjoys the challenge of working in new music and is thrilled to be a part of the indie opera scene in Toronto.

Most recently, Ms. Mather sang the role of Cupidon with Opera Atelier in their Spring 2017 production of Charpentier’s Medée. Additionally, last season Ms. Mather was thrilled to sing the role of Marie in Donizetti's La fille du régiment with Vera Causa Opera. Last summer, Ms. Mather spent the month of June in Los Angeles, CA at Songfest in masterclasses with Lucy Shelton, Roger Vignoles, Margo Garrett, Alan Smith, John Musto, Martin Katz and Libby Larsen. In July, she had the honour of being one of the vocal Fellows for the Toronto Summer Music Festival, and was announced in March as the 2016 winner of the Toronto Mozart Vocal Competition. This season, Ms. Mather is thrilled to rejoin Vera Causa Opera as Norina for their production of Don Pasquale. Additionally, she can be seen in concert this December with the Toronto Classical Singers. She is a finalist for the 2017-18 Jim and Charlotte Norcop Prize in Song at the University of Toronto where she is completing her Master’s degree in Vocal Performance under the tutelage of soprano Monica Whicher.

October, 2017


Masterclass with Barbara Hannigan - The Glenn Gould School with the University of Toronto - November 2017

"Whitney Mather and clarinettist Brad Cherwin were next with Dusapin’s To God. ...It’s quite a challenging piece for everyone concerned and I thought it was maybe the best thing I’ve heard Whitney do."

John Gilks, operaramblings.wordpress.com

Medea - Opera Atelier, Toronto - April 2017

"The smaller roles played by tenor Christopher Enns (‘La Jalousie’ and ‘Un Corinthien’), soprano Whitney Mather (‘Cupidon’) and tenor Kevin Shelton (‘Un Corinthien’ and ‘Un Captif’) came through with flair and verve."

Brian Hay, NoRules - NoLights

Art of Song reGENERATION - Toronto Summer Music Festival - July 2016

"Her bright, soubrette voice with its characteristic flutter and lovely stage presence were ideal in these songs. I can imagine her as a winning Sophie in Werther. She also has excellent stage instincts, acting some of these pieces like a mini-opera, holding the stage brilliantly, especially in the Ophelia songs." 

Joseph So, Musical Toronto

"Whitney Mather chose three insanely high Debussy pieces.  They were probably a good choice for her light, bright soprano.  It’s one of those voices that will have to find a niche outside the mainstream opera canon I think and being able to sing difficult, very high music is just the ticket for today’s soprano torturing composers." 

John Gilks, operaramblings.wordpress.com

Songbook VI - Tapestry Opera, Toronto - February 2016

"In two scenes that couldn't have differed more, soprano Whitney Mather was charming and tragic, and constantly drawing in her audience. She showed some exciting vocal chops in "And So I Killed a Man" from The Laurels, by Jeffrey Ryan and Michael Lewis MacLennan, played by pianist David Eliakis; later, she sang in the second of two scenes from She Sees Her Lover in the Light of Morning, and she had our hearts." 

Jenna Douglas, schmopera.com

"One of the best things about new opera is that it tackles new subject matter that is relevant to our 21st-century lives. The excerpt fromShe Sees Her Lover in the Light of the Morning, was a perfect example. Mezzo-Soprano Suzette Janse Rensburg, Soprano Whitney Mather, and pianist Natasha Fransblow gave a charming and relatable performance that captured the awkwardness, hopefulness, and vulnerability of the morning after."

Kiera Grant, Mooney on theatre

"There was a lot to like in many of the other pieces too.  Sara Schabas (particularly the Wisdom Aria from Nigredo Hotel), Shauna Yarnell, Whitney Mather and Katherina Utochkina all impressed at times."

John Gilks, operaramblings.wordpress.com