Camille Rogers


Camille Rogers has been recognized for their work as Co-Artistic Director of Toronto’s queer opera collective OperaQ, and has been invited to speak at related events hosted by Against the Grain Theatre, Amplified Opera, the University of Toronto, the Saskatoon Symphony, and VIVA! Youth Singers of Toronto. With OperaQ, Camille has produced three full-length opera productions: Dido and Belinda (2019), Handel’s Drag Messiah (2021), and Medusa’s Children (2022), and is in the process of developing a one-act musical for young audiences exploring non-binary gender identity.

Camille currently studies at the University of Toronto, pursuing a Doctor of Musical Arts with a Collaborative Specialization in Sexual Diversity Studies.  Their research, supported by the Joseph-Armand Bombardier Canada Graduate Scholarship and the Queer Trans Research Lab Dissertation Completion Award, investigates the life of queer and gender-non-conforming 17th-century French opera singer Julie d’Aubigny (1670-1707).  Camille’s studies will culminate in a dissertation reconstructing and contextualizing d’Aubigny’s extraordinary life story, as well as analyzing several of her most iconic operatic roles.

Also an active performer in many styles of music theatre, Camille most recently appeared as The Narrator in Concerning Matthew Shepard with Pax Christi Chorale. Other past engagements include Suli/Suzie in Buddies in Bad Times’s world premiere of Pomegranate, Aeneas in Dido and Belinda with OperaQ, the role of Lake in FAWN's collectively improvised techno opera Belladonna, Young Girl in The Marriage of Figaro with Opera Atelier, and the title role of L’Italiana in Algeri with MYOpera. Camille has also been featured as a soloist with the Toronto Bach Festival and the Lethbridge Symphony Orchestra, and has presented solo recitals with Centric MusicFest and Lethbridge Pride.

Camille holds both a Master of Music and a Master of Arts in Musicology from the University of Toronto, and has been the recipient of several major academic awards including the Alberta Heritage Fund Arts Graduate Scholarship, the Jack Hallam Award of Excellence, and the Janet Stubbs Graduate Fellowship in Opera.  Camille has published two academic articles: “Thus Do All Women: Comedy, Sentimentality, Ambiguity, and a Così fan tutte for the #MeToo Era” in Women and Music and “Listening for a Queer Utopia: Unexpected Pleasures in Baroque Castrato Roles” in Whatever: A transdisciplinary journal of queer theories and studies.

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