Alberta-born soprano Caitlin Wood was “absolutely vibrant” and showed “great comic flair” in her debut as Susanna in Vancouver Opera Festival’s The Marriage of Figaro. Caitlin portrayed Ava in City Opera Vancouver’s 2017 world premiere of Marie Clements/Brian Current’s powerful opera Missing, showing “exquisite vulnerability.”

Mark Morris called Caitlin’s Comtesse Adele “the standout performance of the evening” in Le Comte Ory at Edmonton Opera, and as Susanna in their Marriage of Figaro, Caitlin was hailed as “an exceptional soprano with excellent comedy.”

Caitlin begins the current season in B.C., touring with The Music of the Night showcasing the musical favourites from Andrew Lloyd Webber’s iconic musicals, and stars as the Controller in Vancouver Opera’s Flight. Further engagements include the title role in The Coronation of Poppea in her debut with Washington D.C.’s INSeries Opera. Caitlin is the soprano soloist in Messiah with Vancouver Bach Choir and in Bach’s Wedding Cantata with Regina Symphony Orchestra.

In 2022, Caitlin portrayed the Housewife in the multi-Dora Award-nominated world premiere of Gould’s Wall (Current/Balkan) with Tapestry Opera, and was a sparkling Despina in Edmonton Opera’s Cosi fan tutte. As Josephine in HMS Pinafore with Vancouver Opera, Janet Smith observed: “Capturing the full range of emotions of her character, Caitlin Wood has a vibrant soprano voice that easily scales the heights of Josephine’s arias.” Caitlin debuted with Opera Kelowna as Despina in their production of Cosi fan tutte.

Caitlin has performed in concert with Vancouver Bach Choir/Vancouver Opera Festival’s premiere of Brian Current’s The River of Light, Carmina Burana with Ottawa Choral Society, and Mozart’s Requiem with Windsor Symphony Orchestra.

As Countess Adele in Le Comte Ory with Edmonton Opera: “… the Countess [sung by] young Albertan soprano Caitlin Wood… shows her command of the fast bel canto that Rossini requires… She too can act–here one felt her frustration at being a young widow–and even better, can express those emotions in her voice. This was the standout performance of the evening.” – Mark Morris, Edmonton Journal

In Brian Current’s The River of Light with Vancouver Opera: “In ‘Love is Woe,’ Wood sang through a delay pedal to create an echoing, haunting song that never stopped flowing. This was my favourite piece; I could watch Wood sing forever. It was like listening to the sun sparkle on snow.” – Bethany Dobson, The Vancouver Arts Review