reviews, articles +




Dead Equal's central character is Flora, played by gender queer Canadian soprano Teiya Kasahara in strident form; locating female identity in an environment usually identified as the preserve of men gives Flora real agency.” — Eddie Harrison of The List (4****), August 2019

“Gender non-confirming queer feminist Teiya Kasahara is compelling in their portrayal of the protagonist. Their voice soars throughout the venue and would not be out of place in the Royal Opera House. Emotional facial expressions draw you into the story of courage and sacrifice, and don’t let you go until the very end.” — Jennifer Kennedy of DIVA Magazine (4****), August 2019

“…highlighting the integrity and determination of Flora, played with tremendous power and authority by Teiya Kasahara…” — Tim Marriott of Fringe Review (4****), August 2019

“Forget the traditional wigs, corsets, and elaborate makeup. Dead Equal’s trio of diverse, talented singers (Lila Palmer, Teiya Kasahara, and Simone Ibbet-Brown) express both strength and vulnerability… this first-time premiere shows incredible promise and established vocal talent in challenging what we expect on an operatic stage.” — Auburn Scallon of The Feminist Fringe (4**** ), August 2019


“Teiya Kasahara was the most impressive presence of the night, even if her powerful voice was rarely exploited, in a score that never sounded difficult.” — Leslie Barcza of BARCZA BLOG, June 2019.

“It’s well cast. Vocally Teiya Kasahara is the star. They’re strong as the Priestess in Act 1 singing in classical style with considerable power and authority. They’re better still in Act 2 when they sing with more freedom to considerable effect. They’re also dramatically convincing, especially as the cynical dyke bartender in the second act… [and] gets a big jazzy aria which they sing with considerable style.” — John Gilks of Opera Ramblings, June 2019

May 2019 - SOPRANO in Fawn Chamber Creative’s Pandora:

“Soprano Teiya Kasahara is a force of nature and gets some wonderfully expressive music to sing in the first third.” — John Terauds of the TORONTO STAR, May 2019

June 2014 - Solana in the Toronto concert premiere of When the Sun Comes Out:

“If you have not heard Teiya Kasahara sing, you are missing out. I mean this. Go now. Don’t wait. Run, don’t walk. An alumna of the COC Ensemble Studio, Teiya uses her unique voice (I’m remiss to use that word because it really doesn’t describe its rarity) to bring us a Solana that’s textured, layered, and passionate. Within the first 3 minutes of the opera during which Kasahara gives a clinic on what I would like to call Dramatic Coloratura. There was Verdi in her voice just as there was Monteverdi. She carries this show easily and never fails to thrill.” -- Gregory Finney of SCHMOPERA, June 2014

“The performances are first class.  Highlights for me included Teiya’s impassioned rendering of her initial prologue like aria.  It’s a long, loud, tough sing and she brought it off without any sign of strain or fatigue. There were also some gorgeous duets between the two women.  Teiya’s harder, more dramatic, sound blending beautifully with Stephanie’s lusher, more lyrical, voice....There’s so much talent in this city!” -- John Gilks of OPERA RAMBLINGS, June 2014

June 2014 - Hope in the Toronto premiere of Shelter by Tapestry Opera (Toronto):

“There’s some nice comedy in the early scenes, but the show comes to emotional life with the appearance of Kasahara, a bouncing baby who quickly morphs into a spiky-haired rock star. The tenderness between Hope and Lise, captured movingly by the two actors, is one of the show’s strengths. There’s also a powerful connection between the pilot and the increasingly prescient Hope, who develops a sense of her destiny despite the worries of her protective parents and tutor; Kasahara and Klassen’s work enriches the bond between the fated couple.” -- Jon Kaplan of NOW TORONTO, June 2014

August 2013 - Solana in the world premiere of When the Sun Comes Out by the Queer Arts Festival (Vancouver):

“Kasahara, a magnetic performer who fully and fearlessly inhabits the role of her strong character, reveals she’s usually a love-them-and-leave-them type: ‘I cannot be owned.’ Kasahara’s soprano is a dynamic mix of sweetness undercut by strength.” -- Janet Smith of Opera Canada, Fall 2013 Volume LIV

“Teiya Kasahara has an amazing top register. Her high notes dazzle and her stage presence is dark and forceful. Solana’s long opening aria is a character study in which she radiates steely determination like a shark. Alienated and predatory, she promises to be a most interesting character.” -- Elizabeth Paterson of REVIEW VANCOUVER, August 2013

“Teiya Kasahara, the Solana, is a strikingly handsome performer with a sizeable, velvety soprano, easy and even from top to bottom, and she makes elegant, expressive use of a good trill. She has sung the Queen of the Night and Olympia, but there is nothing of the canary here: Hers is a full, womanly sound, and her diction is clear.” -- John Yohalem of PARTERRE.COM, August 2013

May/June 2013 - Cherubino in Figaro’s Wedding by Against the Grain Theatre (Toronto):

“... but who really caught my attention was Kasahara’s rock and roll portrayal of Cherubino, a departure from the original character of a young male to a young lesbian female. Her deference, her spontaneity and delightful teenage naivete defied by the maturity and power of Kasahara’s voice had me floored.” -- Samantha Wu of MOONEY ON THEATRE, June 2013

“The comedy and drama are non-stop. Teardrops and laughs are big. “I wrote you a song,” Cherubino blurts out to Rosina and promptly proceeds to break our hearts with an unexpected cry of love and longing sung to the strains of “Voi che sapete”. Teiya Kasahara as Cherubino is as brash and outrageous as she is vulnerable. Performance and characterization are nuanced and energetic, her singing clear, pure and straight from the heart.” -- OPERA GOING TORONTO, May 2013

“And as I mentioned, we’re watching something very original in the portrayal of Cherubino, invented brilliantly by Teiya Kasahara. In this production there’s a special edge to the usual questions we ask, pondering whether Rosina reciprocates Cherubino’s advances, and to Alberto’s jealousy. That’s because of the solidity of Kasahara, DiMaria & Dobson.” -- Leslie Barcza of BARCZA BLOG, May 2013

“Teiya Kasahara’s portrayal of Cherubino and her aria dedicated to Rosina was tremendous for its tenderness, delivery, and joy to observe. .” -- Shannon Christy of THE CHARLEBOIS POST - CANADA, May 2013

MarCH 2013 - Queen of the Night in The Magic Flute by Vancouver Opera:

“Before long, the Queen of the Night (Teiya Kasahara) herself appeared, serene and sensual, softened behind the silk screen, on the raised platform above the stage, and framed in a full moon aglow. Ms. Kasahara handles the impossibly high variations of her coloratura soprano parts with impeccable professional finesse, making the arduous seem effortless”. -- Roger Wayne Eberle of REVIEW VANCOUVER, March 2013

“Teiya Kasahara performs stunningly as The Queen of the Night, dressed as a blue butterfly, her wings spanning to catch all the high notes during her moments on stage. This is her Vancouver debut and from Saturday’s performance, I doubt it will be the last we hear of her.” -- VANCOUVER SCAPE, March 2013

“Notable standouts include soprano Teiya Kasahara, whose vocal prowess as the Queen of the Night was equally as stunning as her gorgeous blue butterfly-winged gown (her Queen of the Night aria does not disappoint!)” -- Jay Catterson of THE CHARLEBOIS POST, March 2013

Jan/Feb 2013 - Olympia in Les contes d’Hoffmann by Edmonton Opera:

“...while the amazing soprano Teiya Kasahara (top picture, right) is the comic highlight of the night as the “automaton” Olympia, making fun of operatic conventions while singing the hell out of them at the same time.” -- Mike Ross of GIGCITY.CA, January 2013

August 2012 - Queen of the Night in The Magic Flute by Highlands Opera Studio (Haliburton, Ontario):

“Teiya Kasahara was physically striking as The Queen of The Night, resplendent in her shimmering costume, long steely nails and a silver bald cap. Vocally, she packed a punch and her fiery coloratura dominated the stage.” -- Dawn Martens of OPERA CANADA, Jan/Feb 2013


Article and Video

Forces Network: “'Dead Equal': Edinburgh Fringe Opera Charts History Of Women In Combat” — by David Sivills-McCann, August 2019


Opera Canada: “Femmes Fatales, Simpering Victims & #MeToo: Glynis Ratcliffe Asks Four Canadian Singers: How 'Woke' Is Opera in an Age of Heightened Awareness around Sexual Assault and Harassment? — by Glynis Ratcliffe, Spring 2019


The New Classical FM: Interview with Soprano Teiya Kasahara Who Will Perform Music Inspired by Ingmar Bergman at TIFF’s ‘Soundtrack Sundays — November 19, 2018


CBC Arts “Meet the emerging creators from Canada’s longest-running festival of new work” — by Peter Knegt, February 16, 2017


dailyXtra “Young queer Canadian artist reclaim their bodies” - Feb 20, 2017


Race-ing Queer Music Scholarship: Interview: Teiya Kasahara & Rachel Iwaasa - Nov 2, 2016


The Choir Girl Blog: The Power Duo: An Interview with the Queen of the Night, Teiya Kasahara, and Sarastro, Neil Craighead in Edmonton Opera's Magic Flute - Jan 2015


Trailer for The Magic Flute opera by Mozart, as the Queen of the Night, Edmonton Opera 2015


Trailer for The Magic Flute opera by Mozart with new translation by Robert McQueen, as the Queen of the Night, Vancouver Opera 2013


National Post: Diary: Teiya Kasahara - May 6, 2008



CityTV’s Breakfast Television: “Queer Arts Festival Preview” - June 20, 2019

By Riaz Meghji

Featured article

The Vancouver Sun: “Live show questions opera's sour soprano note” - June 12, 2019

By Dana Gee

Featured article

The Georgia Straight: “Opera gets inclusive at Queer Arts Fest” - June 12, 2019

By Janet Smith


John’s Opera Ramblings: “Queer of the Night” - June 10, 2018

By John Gilks


Tapestry Opera: “Tapestry Opera joins forces with Pride Toronto” - June 8, 2018

By Darren Bryant


CBC Arts: “Opera's massive queer fanbase rarely sees itself reflected on stage — this series is changing that” - June 7, 2018

By Laura Kenins


Ludwig van Toronto: “Tapestry Opera’s Queerated Opera Series Is A Fresh Way to Start Your Toronto Pride” - June 6, 2018

By Matthew Timmerman


Tapestry Opera: “Being Gay and Female on Stage” - June 1, 2018

By Darren Bryant


Tapestry Opera: “Queen of the Night misbehaves” - June 1, 2018

By Linda Rogers