About Masterclass Lady
Rosanne (Giallonardo) Simunovic began her musical career in Timmins, Ontario. She studied piano with Anne Pizzale and later, at an advanced level, with Soeur Anita Vaugeois (Sister Cecile of Les Soeurs De L’Assomption in Timmins). Her vocal and accompaniment skills were nurtured by her aunt, the late Dorothea Mascioli.
When Rosanne graduated from O’Gorman High School, she moved on to the University of Toronto where she continued her piano and vocal studies while attaining a Bachelor of Arts Degree. She was hired as a piano accompanist for several musical companies, most notably, the National Ballet Of Canada. She presently holds an A.R.C.T. Teacher’s Diploma in Voice from the Royal Conservatory of Music in Toronto.
Rosanne has studied choral conducting with numerous well known Canadian Conductors, including Wayne Riddell of Montreal, Quebec and the internationally renowned Dr. Elmer Iseler.
She has been a founding member of numerous community-based arts organizations: the Timmins Arts Council, later known as Arts & Culture Timmins, the Timmins Symphony Orchestra, and, the Timmins Youth Singers…as well as the TYS Alumnus choir, the Timmins Concert Singers. In 1987, she was also selected to be the conductor of the Timmins Board Of Education Choir, comprised of talented students from Grades 5 to 8.
In 1988, she was elected to the Board Of Directors of the Ontario Choral Federation (now known as Choirs Ontario), where she served as Chair of the Festivals Committee for six consecutive seasons. In 1996, in honour of the Ontario Choral Federation’s 25th Anniversary, Rosanne was selected as one of 25 recipients of the OCF’s Distinguished Service Award for outstanding contribution to the choral art. The ceremony was presided by Lieutenant Governor, Hal Jackman.
In November 1997, Rosanne Simunovic was selected by the Rotary Club Of Timmins to receive the prestigious Paul Harris Award for her years of dedication to the artistic development of young musical talent in Timmins.
In August of 2002, Rosanne Simunovic was selected by the Board Of Directors of Choirs Ontario to serve as Conductor of both the Provincial Junior and Teen Choir Camps, now renamed in honour of the Camp Benefactors, Don and Lillian Wright.
In November 2002, Rosanne was the one of the recipients of the Commemorative Medal for the Golden Jubilee of Queen Elizabeth II, honouring her work in the development of the arts in Timmins.
Under Rosanne Simunovic’s direction, the Timmins Youth Singers and the Timmins Concert Singers have been featured in numerous choral festivals and performing opportunities outside of Timmins. In 1985, they were selected to partici
October 31, 2011 
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What powerful performances! I wish I could have seen them. I know how much you enjoy Opera, Roseanne. It got me to think whether any of the idols came near to an operatic voice? I know two girls were in the TOP 40 and sang opera. It was difficult for them to tone it down into a POP music sound. I don’t recall their names, though.
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This is a beautiful performance. I like Sarah Brightman when she sings musical theater or classical crossover tunes.
Karianni – FYI: Phantom of the Opera is a musical, it’s not an opera. Sure, it takes place in an opera house, and the main melody is stolen from Puccini’s La Fanciulla del West, but it’s still a musical: it’s written for musical theater voices, not operatic voices; operatic voices would probably sound funny in it. Sarah Brightman isn’t an opera singer, she is a classical crossover singer. Maybe if she had had training she could’ve become an opera singer as she does have a lovely voice, but as is she doesn’t have the technique. When she sings opera arias her breathing is really bad, her Italian diction is bad, and she is so consumed with hitting the notes, that she isn’t really expressing what an aria is about. Also, I am not sure if she’d even be heard in an opera theater where there are no microphones.
Operatic singing is unamplified singing. Opera singers are trained to sing without microphones and be heard over the orchestra and for heavier voices – over the chorus in 2000-3000 seat theaters, those who sing at the Met – 3800 seat theater. Sure in outdoor concerts or places with bad acoustics or for recording they may use a microphone, but in these cases they usually stand 3-5 feet away from the mic; otherwise, they’ll blow it. Also “singing opera” means singing in live operas which is a lot more difficult than singing individual arias. It requires not just a glorious voice but also years and years of training. It’s not enough to just hit the notes and sound pretty and “operatic”: one need to have good diction in many languages, good technique, long legato lines without audible breaks, stamina, and more importantly – artistry: phrasing, expression, understanding the style of the composer, it all matters. Some idol contestants may have had training, but I don’t think any of them was really an opera singer. I remember once upon a time there was one singer at an audition, Rachel Zevita, she was studying to be an opera singer, but she wasn’t sure what career path she wanted. In general, though, singers who are serious about opera stay away from pop: the technique is very different – opera singers use more head voice, and they don’t belt – and using pop technique may damage the voice.
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