The Rape of Lucretia (2016

Kudos to the octet of of young artists who brought the piece to compelling life.
Wayne Gooding, Opera Canada – Spring 2016

What’s interesting about this production is it’s produced by an entirely female artistic team, and after seeing this, I’m even more convinced of how important it is to have organizations of this kind are to the continued success and vitality of this industry. They brought us a clean, intimate, tasteful presentation of an incredibly sensitive and incendiary subject
Greg Finney, Schmopera – May 2, 2016

I suspect there would be no staging if not for Christina Campsall, offering one of the most remarkable portrayals I’ve seen in a long time, particularly considering that MY Opera have a mandate to offer performing opportunities to young singers.
Leslie Barcza, Barcza Blog – May 1, 2016

For this was no mere piano reduction but a skilful use of all the sonic resources of the instrument to get as close as possible to the sound of Britten’s original chamber ensemble. It was extremely effective.
John Gilks, Opera Ramblings – May 1, 2016

Christina Campsall’s Lucretia felt right in just about every way.
Lydia Perovic, Definitely the Opera – May 1, 2016


Béatrice & Bénédict (2015)

The performance was spectacular on the musical side, the ensembles tightly following Fransblow, often at a brave tempo.
Leslie Barcza, Barcza Blog – April 27, 2015

I thought the piece was entertaining and well-sung by this cast of young singers, and I look forward to hearing all of them a bit more in the coming seasons.
Jenna Douglas, Schmopera – April 26, 2015

This production is an enjoyable way to take a look at some of Toronto’s emerging singers. Simone McIntosh, in particular, is worth checking out.
John Gilks, Opera Ramblings – April 25, 2015

[McIntosh] possesses a dramatic soprano voice that demonstrates strength and control at both ends of range. Even more amazing is her talent for facial display that exposits full spectrum of comedic emotion.
Danny Gaisin, Ontario Arts Review – April 26, 2015

VIDEO: An Inside Look at Béatrice & Bénédict.
Jenna Douglas, Schmopera – April 13, 2015


Hänsel & Gretel (2014)

Lindsay’s portrayal of Hänsel was one of the most convincing “pants roles” I’ve ever seen. She was uncanny as a lanky, awkward preteen who’s still nice to his sister; all foal-like and disarmingly honest.
Jenna Douglas, Schmopera – April 26, 2014

10 Questions for Kate Applin
Barcza Blog – April 17, 2014


Triple Bill (2013)

Though [Le magicien} was performed more than 100 times in the 1961–62 season and recorded in by the CBC in 1967, it lapsed into obscurity until it was revived in concert in Montreal in 1989. MYO does us a great service in giving us the chance to see it now.
Christopher Hoile, The Wholenote – March 28, 2013

General Media (2013-present)

As a company that focuses specifically on the development of young professionals, MYOpera’s programming fits into an interesting niche in the operatic world. It has to have a small and varied cast; be challenging to sing, but not beyond the vocal capacity of a younger singer; and it has to cater to the smaller stages and audiences interested in less traditional versions of productions.
Sara Constant, The WholeNote – March 31, 2015

Like most grads, Kate Applin was at a crossroads when school finished. Five years at Wilfrid Laurier yielded a music degree and an opera diploma yet, “I didn’t know what happened between training and becoming a professional,” she says. “How do you get from one end to another?”
Ian Gormley, Metro News – April 4, 2013

“The hardest thing is to get a company to take a chance on you,” says Applin. So, that is what she does — takes a chance on young singers.
Mallory O’Brien, Campus Magazine – Spring 2013

Together, these three comedies are at once a delight and a challenge; a rare treat for opera lovers, and a perfect introduction for new audiences. Spearheaded by music director Blair Salter and stage director Alison Wong, and superbly sung by eight emerging artists, this production runs the gamut of style and substance, and more than anything, provides the crucial performance opportunities that Metro Youth Opera strives to offer.
The Charlebois Post – March 31, 2013