In conversation with 2015-16 Wirth Vocal Prize winner: Chelsea Rus
Soprano Chelsea Rus (MMus ‘16) was the winner of the inaugural Wirth Vocal Prize in 2016. After putting together a unique program that showcased her singing prowess and expertise, Rus impressed the jury with masterful works by Puccini, Massenet, Gounod, and Strauss. Hailing from British Columbia, Rus made the transition from the realm of jazz to that of opera, and completed her Master of Music in Voice Performance here at the Schulich School of Music with Joanne Kolomyjec. Since then, Rus has made solo appearances with several Canadian orchestras, including the Vancouver Symphony Orchestra, and l’Orchestre Symphonique de Laval. She has also been an artist in residence at the Atelier Lyrique at the Opéra de Montreal. Chelsea will be singing Marzeline in Beethoven’s Fidelio with the Halifax Symphony in May 2020. Also, Chelsea is thrilled to sing the soprano solo of Beethoven’s 9th symphony under the baton of maestro Brott at Maison Symphonique in Montreal. We spoke to Chelsea about what her life has been like since leaving Schulich and winning the Wirth Vocal Prize.
Where are you currently based?
I’m based in Montreal, Quebec.
How has winning the Wirth Vocal Prize helped launch your career as a singer?
Winning the Wirth prize gave me the footing for the first steps of my career. It gave me tons of publicity which put me on the map as a young Canadian artist, and it helped to launch several performance opportunities. Also the prize money gave me the ability to continue to study, travel for auditions, make quality recordings and ultimately stabilize my first few years as a freelance artist!
How has your McGill education served you in your career? Are there any specific experiences, classes, or relationships that have been especially valuable?
McGill prepared me for the real world of a performance career. During my masters degree, I was cast in professional quality Operas from all different eras and styles. I wore gorgeous period costumes, sang on elaborate and imaginative sets, and was coached to the highest detail on language, musical style and drama. The operas were often conducted and directed by a multitude of internationally respected musicians with whom I got to build relationships with, which has subsequently resulted in future engagements.
Along with my experience with Opera, I also had the opportunity to build on my love of art song in my Song Interpretation Class with Michael McMahon. Each year, we would be assigned to collaborate with one of our fellow pianist colleagues. We would set off as a duo to rehearse and discover a set of songs by the poet and composer of our choosing. The opportunity to work as a true duo for a full year is incredible, and I learned so much about music making and ultimately this allowed me to explore who I am as an artist.
Of course I wouldn’t be anywhere without the ongoing support from my mentors at McGill including: Joanne Kolomyjec, Michael McMahon, Patrick Hansen and Stephen Hargreaves. Their encouragement carries me through the difficult times, their wisdom carries me through each practice session, and their advice counsels me when I feel adrift. I remain in contact with all of these wonderful people, and still consider each of them a strong pillar of my team.
How do you maintain your mental health and well-being amidst the challenges of a singing career?
This is a wonderful question. Mental health was something that (thankfully!) was discussed a lot during my time at McGill. It is also something that has touched my family very deeply. All of this to say, I am very proud to come from a school that acknowledges the importance of being open in dialogue about mental health.
During my time at McGill, I was introduced to meditation by Patrick Hansen. He held these morning meditation sessions for musicians which gave me my first look at the benefits of meditation. If I’m being truly honest, it wasn’t until last year that I began to see the benefits of practicing meditation on my own. Why did I start meditating on my own? Two words: Down time. When we go to school or attend a young artist program, we are often so busy that we cannot even imagine what it is like to have a free moment. For a high energy person like me, this is the ideal situation. No downtime to analyze my relationships, to overthink, to doubt, or to look inward. After I had finished my two fabulous And BUSY years as a budding young artist in residence at the Opera de Montreal, I went on to sing a dream role at a young artist program during the summer. However the following September, I found myself completely and utterly lost. I had a few small engagements lined up throughout the year and a few bigger ones in the Spring... but ultimately I found myself with lots and lots of time on my hands.
This was a spiralling time for me! I felt the impulse to keep busy, so I took many jobs I didn’t like. This led to the brilliant idea that I had to “take a break” from singing. Which led to me applying to school to study a completely different subject which would lead to a completely different career. Which resulted in me studying my brains out in this field only to realize it is completely wrong for me in every way imaginable. It was a time of complete and utter floundering, a time where I felt my energy levels drop to the point of not wanting to get out of bed. I felt lost, anxious and out of control. I was running from failure. I had major doubts.
Thankfully, I had a lot of people around me who supported my every floundering step. These people somehow knew that I would come out of this better and stronger. They helped me survive in my hole I had dug for myself, and eventually climb out of it. The truth is...I had to do most of the climbing myself.
Here is how I did it: I went back to therapy. Online this time, which allowed me the flexibility to never have a true excuse to bail on my therapist. My therapist made me prioritize the things in my life. It turns out, having a schedule and stability are important to me. Also, at this point in my life, I wanted to nourish my relationships.
I started journaling. Why? Because my therapist made me. This was basically the thing that led me back to singing. I realized how when I sang on a stage, I was the happiest I could ever be, but I also used singing as a scapegoat not to deal with personal things that had built up over time. I realized that some of my previous relationships/friendships were abusive and toxic but I had never allowed myself the time to see it. I also realized that I am a beautiful and thoughtful artist with a lot to say. I realized that I am the best version of myself when I eat more vegetables and do yoga. Journaling was the only path to slowing down and figuring out who I am and what I want.
I started meditation (thank you, Patrick). I actually do it in the car now for 5 minutes on work days. This is not a lot of time, but it is something I can stick to. This helps me A) realize how much I typically try to think about in five minutes. B) learn how to label my thoughts C) Focus on my breath and body. It energizes my body and relaxes my mind. I also use it in moments of stress, or before an audition. It’s a lifesaver.
I ran 10km for women’s mental health, and talked about it ALOT. I talked about my family's story dealing with mental health, raised over 2500 dollars and stood with over 2000 women and men all running for the same cause.
I started to sing for me. I didn’t sing to be good or praised. I didn’t sing for anyone to like me. I sang lots of Schubert and Brahms when I could, and vowed to take on projects that aligned with my artistic beliefs. More importantly, I started to have artistic beliefs and to trust them. This was perhaps the best part.
Taking my mental health as seriously as I do my vocal or physical health was perhaps the best thing I have ever done for my career, but more importantly for myself.
Which upcoming roles, performances, or projects are you most looking forward to?
The year of Beethoven!!! To be quite honest, I never considered I would sing a lot of Beethoven! However, this year I am singing Marzelline in Fidelio and I’ll be the soprano soloist in two Beethoven 9’s! I feel extremely privileged to delve into Beethoven’s vocal works, as in the past I had only really spent time with his works for piano. The next year also brings an audition tour in Europe, which has been long overdue. I am so excited to see what the future brings!
What do you miss the most about the Schulich School of Music and the city of Montreal?
I love Montreal so much that I’ve stayed! My boyfriend and I are actually setting some roots here for the time being. It is very convenient to travel from Montreal to both Toronto and New York. Plus we both find it an incredibly charming city, with lots to offer its artists! I often visit the Schulich School of Music for lessons or coachings, and I also teach voice to a few McGill students as well. I am so grateful for this wonderful community. Thank you McGill for absolutely everything!
The fifth edition of the Wirth Vocal Prize will be taking place this Sunday, February 9, 2020 at 2:30pm in Pollack Hall. Unable to attend in person? This event will be webcast live on our YouTube channel!
