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Milestones

PROJECT MILESTONES AND BENEFITS:

  • July 2020 - Haydn, Handel and Mendelssohn Online Benefit Concert for Open Doors

  • July 2019 - Neil Semer Vocal Institute in Rigaud Quebec

  • May 2019 - Eastertide with Bach - Benefit for Servants Anonymous Foundation

  • May 2018 - Harmonia - Benefit for Wheat Mission Society - Vivaldi

  • May 2017 - Purcell Anthems and soli - Benefit for Pregnancy Options

  • June 2016 - Innamorato alla follia (Madly in Love) CD Release and Benefit - Italian Opera

  • June 2015 - Wings of Rejoicing CD - Sacred Baroque and Classical 

  • July 2014 - Mediterranean Opera Studio → sang Italian opera in Sicily.

  • April 26, 2014 - Hearts Burning with Prayer →  Prayer Current Benefit

  • Nov. 9, 2013 - Praise God in All Lands → Prayer Current Benefit

  • Oct 2012 - Constant Cry → benefit for GVC Prayer Current and FBC Liberia Missions

  • May 5th, 2012 and June 16th, 2012 - Songs of Hope  →  Crisis Pregnancy Centres Benefit

  • Oct 30th, 2011 - Songs for Harvest → benefit for Japanese Tsunami in Tohoku

  • May 8, 2010 - An Evening of Opera, Poetry and Song → for Genesis Vancouver

  • Nov. 27th, 2010 - Water Music by G.F. Handel and Aria’s from The Messiah and Bach’s Cantatas → with I Musici Sushi Chamber Orchestra for Genesis Safe House Servants Anonymous

  • Feb. 28, 2009 - Dvorak Biblical Songs  → benefit for Genesis Vancouver

 

RECENT ENGAGEMENTS:

  • April 25th, 2015 - Recreate Art, New West Christian Reformed Church  → solo artist

  • Dec. 2014 - Charles Dickens’ A Christmas Carol → solo artist

  • Dec. 16, 2014 - Rotary Christmas Luncheon → solo artist  

 

REGULAR SOLO AND CHORAL ENGAGEMENTS:

  • 2006-2019 - Soprano solo for Messiah Sing-a-Longs  → free community event at Faith Presbyterian Church by Joseph Shore and now by Eric Hominick

  • 2009-2016 - Christmas at the Chan → TWU Masterworks Choir soprano

Interview

 

What’s your favourite Opera?

 

My favourite opera is a toss up between Charles Gounod’s Faust and Guiseppe Verdi’s Don Carlo. The first is very good metaphysics dealing in primary concerns such as eternal allegiance.  I'd like to arrange a performance of the final trio with my former under-graduate classmates Chad Louwerse and Paul Oulette, but Canadian baritone Chad Louwerse now lives in Ontario, so I’d have to fly him over!

 

The second is a tour de force of grand opera in five acts. One of Verdi's last operas, Don Carlo  depicts a painful love story based on conflicts in the life of Carlos, Prince of Asturias (1545–1568). Though he was betrothed to Elisabeth of Valois, part of the peace treaty ending the Italian War of 1551–59 demanded that she be married instead to his father, Philip II of Spain. I adore the role of Elisabeth of Valois, torn between duty to King Philip and her love for his son. 

Do you have any favourite songs in your new album Wings of Rejoicing?

 

No favourite - each song chosen on the CD is amazing in its own right. Each shines another facet of beauty. However, some stand out more than others, but in different ways:  Rejoice from Handel’s Messiah is the commanding title song;  Haydn’s On Mighty Wings is the creation of the eagle and other birds that fly, coo and sing. Angels Ever Bright and Fair, and  O that I On Wings Could Rise are the laments of Theodora in a Roman prison as she is sent to die for refusing to give up her Christian faith.  O Had I Jubal’s Lyre is a song of exultation at the end of Handel’s Joshua for winning the battle of Jericho. Mozart’s Exsultate Jubilate is ebullient and full of style and verve.  Written in his early period, this motet was composed in Milan for a castrati (male soprano) who sang it in the church of the Theatines, a male religious order of the Catholic Church.  Now it is sung by female sopranos.

 

Talk about your love for Oratorio and the power it can have on post-modern listeners?
 

Oratorio, a large-scale musical composition on a sacred or semi-sacred subject, for solo voices, chorus, and orchestra. An oratorio’s text is usually based on Scripture, and the narration necessary to move from scene to scene is supplied by recitatives sung by various voices to prepare the way for airs and choruses. A basically dramatic method is used in all successful oratorios, though they may or may not be produced with theatrical action. The oratorio is not intended for liturgical use, and it may be performed in both churches and concert halls. The principal schools of oratorios are the Italian, essentially a form of religious opera; the German, developed from treatment of the Passion story; and the English, synthesized by the composer George Frideric Handel from several forms. The term oratorio derives from the oratory of the Roman church in which, in the mid-16th century, St. Philip Neri instituted moral musical entertainments.  These were divided by a sermon, providing the two-act form common in early Italian oratorio.

 

http://www.britannica.com/EBchecked/topic/431021/oratorio


Finally, there is one other historiographic point that an overview of sacred opera might provide. Even though it was destined to have no immediate successors, it might encourage us to revisit the historiography of Latin oratorio. If early opera on Christian subjects was of its time, in terms of narrative, literary style, and musical devices, then the relationship between opera and oratorio later in the century might become clearer (without, of course, drawing any teleological or evolutionary conclusions). As his own innovation of mid-century, Arcangelo Spagna claimed that opera and oratorio were essentially theatrical genres, dialects of the same language, differentiated not by individual characters but only by thematic material and the lack of the visual in the latter. For all that Spagna declared himself inventor of this procedure, the interplay between sacred and secular in musical drama earlier in the century suggests that continuity was also present in the musical dramaturgy of sacred subjects during the arc of the entire century.

 

http://sscm-jscm.org/jscm/v9/no1/kendrick.html