Canadian Opera Company, 2022 - Premier of Voices of Mountains an artist-led convergence of music, movement, and the natural world.
Canadian Opera Company, 2022 - Inaugural Artist of the Land Acknowledgement Commissioning Program - Premier of where the water meets the land
Canadian Opera Company, 2022 - Introducing the Land Acknowledgement Commissioning Program
AOC, 2022 - Rebecca joins Association for Opera in Canada RBC Artist Mentors 2021-2022 Cohort
CBC Music, 2021 - 30 Hot Canadian Classical Musicians Under 30
Association for Opera in Canada, 2021 - Member News ‘This week’s focus: Indigenous Opera Artists’
Opera Canada, 2021 - Interview with Rebecca Cuddy: “It is OK if singing feels like you’ve lost something right now.”
Pacific Opera Victoria, 2020 - The Flight of the Hummingbird Free Broadcast May 19th
Arts Anyway, 2020 - Episode 4 - Rebecca performs Ian Cusson’s Letter to Sir John. A. MacDonald and Helen Betty Osbourne. She is interviewed by Baritone Keith Lam and offers insight into her life as a multi-disciplinary opera, theatre and visual artist.
Pacific Opera Victoria, 2020 - Flight of the Hummingbird Opera Excerpts
Ludwig Van Montréal, 2020 - The Flight of the Hummingbird: l’opéra jeunesse du Québecois Maxime Goulet présenté plus de 100 fois
COC News, 2019 - Circle of Artists: Spotlight on Rebecca Cuddy
The Whole Note, 2019 - Confluences: An Exploratory Evening with Marion Newman - ‘We keep meeting up here and there, and Rebecca and I have become very good friends as well as colleagues and I’m always delighted to work with her. I think she’s a really smart and interesting artist – she’s very young but very grounded and centred and learning very quickly how to speak up when that’s what’s needed in a great way. She’s definitely that next generation who are going to do incredible things, and so it was an easy one to want to have her on board.’ - Marion Newman
Opera Canada, 2019 - Shanawdithit is an “effective and accomplished piece of music theatre” - ‘Cuddy was moving in the final scene’
Mooney on Theatre, 2019 - Tapestry Opera presents the premiere of a landmark Canadian-Indigenous in Toronto - ‘Cuddy has a sweet, hummingbird fast vibrato that was divinely ethereal in this scene.’
CBC Arts, 2019 - This new opera brings Shanawdithit's story out of colonial textbooks and into living history - Short Documentary
Tapestry Opera, 2019 - Explore Shanawdithit’s World: Interview with Rebecca Cuddy
Tapestry Opera, 2018 - Video Interview - In Her Words: What does it mean to tell Shanawdithit’s Story
Radio Canada, ICI Saskatchewan, 2019 - Le spectacle Riel : Heart of the North en l’honneur de Dominic Gregorio
RSO, 2019 - Cuddy makes Regina Symphony debut as La Métisse in the world premiere of Steele/Weisensel’s new work Riel; Heart of the North
Radio Canada, ICI Alberta, 2018 - Carmen un opéra dans un décor naturel et unique
Opera Canada, 2018 (Bill Rankin) - ‘A few stood out as convincing Mirvish aspirants… especially Rebecca Cuddy as the Baker’s Wife…’
Gigcity, 2018 - Into the Woods: The end justifies the beans - ‘Rebecca Cuddy - fresh and funny with a large, supple voice’
Opera Ramblings, 2017 - Voice of a Nation - ‘All of this got a heartfelt, beautifully sung and compellingly acted performance by Rebecca.’
Pip Projects, 2017 - Podcast; Voice of a Nation Panel - ‘The panel engaged in conversation about the critical importance of art and performance to the shaping of national identities and the emergence of a post-colonial Canada.’
Planet Hugill, 2017 - A certain sense of order
Planet Hugill, 2017 - Mescaline, therapy and the Berlin wall: towards new opera with Rough for Opera
Goodenough College News, 2016 - Bloomsbury Opera: "The Bear" is a great success
Oakville Beaver, 2015 - Oakville singer taking love of opera one step at a time
Métis Nation of Ontario, 2014 - Métis classical vocalist bound for Europe
Law Society Gazette, 2012 - Panelists explore the state of Métis law
“Rebecca Cuddy is not only a great young singer, but also a very exciting opera performer. Her equally successful and bold renditions of Popova in Walton’s The Bear and of Dinah in Bernstein’s Trouble in Tahiti are a testament to her dramatic range, which allows her to tap into deep-set emotions or clown techniques as the production may require it.
This range, when combined with a rare awareness and understanding of, and willingness to engage with essential production and technical aspects of opera-making, makes her a most valuable creative partner and someone with whom I would love to continue collaborating in many productions to come.”