What they’re saying about S.M. Steele’s work!

Larry Desrochers, CO, Manitoba Opera:

In her work with us, Dr. Steele demonstrated her unwavering commitment to Indigenous voices and narratives in the arts. She was instrumental in fostering positive relationships and understanding between Indigenous and non-Indigenous collaborators and shared her networks within both communities. She helped to bridge cultures and nurture relationships between Indigenous and non-Indigenous communities, breaking down barriers and advancing understanding among diverse groups, particularly within the Métis community.   

Holly Harris, Winnipeg Free Press Review: Poetry Meets Power in Groundbreaking New Opera: Steele’s lexicon is unabashedly poetic, conjuring evocative images such as windflowers scattering in the wind as a metaphor for Métis peoples forced to disperse throughout the diaspora. … a fascinating showcase for Indigenous heritage languages, with its cast of 11 principals and adult/children choruses seamlessly slipping among five languages — Southern Michif, French-Michif, Anishinaabemowin, French and English — with English surtitles provided throughout. The highly imagistic, poetic narrative, which moves from 1870s Montana through to the 21st century, unfolds through a series of dream-like sequences. 

Gertrude Kearns C.M., Order of Canada, Canadian War Artist

Afghanistan: Requiem for a Generation is a classical example of art delivering powerfully to more fundamental values outside of issue-driven agendas. It is overwhelmingly tragic yet transcendent in power. It’s sheer magnificence makes it relatable to all. I believe it could even take the breath away (probably not literally…) from the ‘enemy’, though I cannot imagine a performance being organized in the name of Cultural Diplomacy… not yet anyway.

Tarik O’Regan, Composer, The Phoenix, libretto by John Caird, Houston Grand Opera (2019)

I am knocked out by your libretto [Afghanistan: Requiem for a Generation]  – the resonances and juxtapositions, throughout – a dream for any composer to work with. Congratulations!

Measha Brueggergosman, Soprano:

Steele, Measha, and Jeff Ryan at the TSO rehearsal for Afghanistan, 2017

I knew that I had been asked to take part in something groundbreaking and moving the minute I started studying the score and text for Afghanistan: Requiem for a Generation.  The specificity and visceral presence of the text coupled with the depth and precision of the orchestration brought me into a soundscape that captivated both performer and listener alike.  I hope it enjoys a long life AND that I get to sing it many, many more times.

James Westman, Baritone:

Left to Right: Marion Newman, Rebecca Cuddy, James Westman, James McLennan, Riva Farrell-Racette, Melody Courage, Weisensel, Jordan Daniels, and Steele at the preview performance of Riel: Heart of the North, Regina, Saskatchewan, 2019.

Performing the passionate truthful words of Suzanne Steele’s Riel: Heart of the North, not only reconnected me to my own unique heritage, but made me reaffirm my belief in Canadian humanity! The ebb and flow of her libretto perfectly integrated the human soul to impressionistic imagery. I would sing her poetry any day and twice on Sundays.

From a scholar:

Dr. Richard A Carter, Digital Media, Culture, and Language, University of Roehampton

It was a delight working with Dr. Steele as the digital manager for her project The Long Goodbye. Her generosity of vision and collegial spirit made for a uniquely enjoyable experience over the months in which I was involved.

From my own editor (and yes, editors do need editors sometimes!):

Virginia Durksen, Visible Ink!, Editor, Li Keur: Riel’s Heart of the North

This is the amazing thing about working with Suzanne Steele. She moves seamlessly between artist and analyst, hard-nosed negotiator and generous colleague. It has been my pleasure to be her editor and watch her brilliant mind at work.