Messiah time is almost here! We love putting together and performing Handel’s Messiah each year. If it were possible we would fit everyone from Saskatoon’s large choral community on stage with us for one amazing choir. Since there isn’t nearly enough room up front (and scheduling rehearsals would be a nightmare) we have the Sing-Along Messiah the afternoon after the Messiah performance. Choral professionals and enthusiasts alike join in singing beloved Messiah choruses as one huge choir.
Always wondered about the Sing-Along but you’ve never taken the leap? Have no fear! Here are some answers to the frequently asked Messiah Sing-Along questions.
Where and when is the Sing-Along?
Sing-Along Messiah is Saturday, December 16th at 2:30 pm in Knox United Church. This is the same location for the Friday night performance. Doors open at 1:45 pm so come early to get your seat (and perhaps do a warmup or two)!
How do I get tickets?
Tickets are available online and at the door. Singers tickets are just $20 and our Scotiabank 25Below is in effect at the door! ($15 for anyone 25 and under with ID at the ticket table)
Do I have to sing?
No! We do not force everyone to sing. If you want to come enjoy our soloists, and an incredibly large choir, come watch and listen. We recommend you sit in one of the balconies at Knox to have the full experience.
Where do the singers sit?
We divide the main floor into sections (Soprano, Alto, Tenor, Bass) so you can sit with your voice type (your people!). This way it is easier for those sight reading or experiencing their first Sing-Along. Confidence in numbers!
How do I know when to sing?
Our Saskatoon Symphony Chorus Conductor Duff Warkentin and Maestra Cosette Justso Valdés will be there to lead the charge! Keep your eyes on the baton as there are changes in tempi. All sing-along portions are bolded in the program with title numbers.
Can I sing the soloists part?
We invite you to sing along with our Saskatoon Symphony Chorus. Our soloists will be there for the recits and arias. In this relaxed setting, they might try out a few new ornaments! So sit back, relax, and enjoy the beautiful sounds of our special guests.
What if I don’t have a messiah score?
Not to worry. We will have several copies that we lend out for the performance. Please make sure to return them after as they belong to the University of Saskatchewan Music Department!
At the current time, purchases of tickets and subscription to the streaming must be made on the ConcertStream.tv website
Live Streaming Ticket
For as little as $21 per Digital Ticket you and your household can watch the concert as it happens from the comfort of your own home, or wherever you have internet access.
You can watch all SSO concerts from home
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Digital Tickets start at $19.99 and gives you access to one concert for 24 hours. You can also purchase $39 Supporter Tickets – these still get you the same 24hr streaming, but give you a way to support the SSO at this time!
Tickets must be purchased on the ConcertStream.tv website – no in-app purchases are allowed at this time.
Plan on watching 6 or more concerts? Wish you could watch them whenever you want and as many times as you want? An SSO Streaming Subscription is for you!
For only $99.99 you can have access to all SSO live streamed concerts for the year. You will also have full access to the SSO’s concert videos on demand. This means you can watch all our concert and bonus content wherever you want, whenever you want, and as many times as you want.
Love our opening night concert and want to see it again? You could watch it every day and its all covered by your $99.99 subscription!
Have major FOMO because you missed one of the live streams? Have no fear! You can catch all our incredible concerts at a later date and it still only costs you $99.99.
No FOMO for these lake goers. They have a subscription to the SSO Digital Concert Stream.
You’ll be able to set up your account, with your own password, and you’ll get a confirmation email for your purchase.
Once your subscription is set up you’ll be able to login to watch videos whenever you want!
Live streamed performances are available for 24 hours – 7 days after all live streamed concerts you’ll be able to watch the concert film of that concert on demand by logging into ConcertStream.tv.
Enjoy unprecedented access to the SSO for a year!
You not only get a fantastic discount for all the live-streamed concerts by getting the SSO Streaming Subscription, but you also get the benefits of video on demand all while supporting your orchestra. How can you go wrong?
Subscriptions must be purchased on the ConcertStream.tv website – no in-app purchases are allowed at this time. But once you’re logged in on the apps, you’ll stay logged to be able to enjoy concerts whenever you want!
We’ve been keeping in touch with the musicians of the SSO during the pandemic – and we got this awesome note from the SSO’s Principal Horn:
Hi my name is Carol-Marie Cottin and I play principal horn with the Saskatoon Symphony Orchestra. I decided to write about why I chose horn and some of my favourite composers for horn.
I’ve been a proud member of this orchestra since 1993. I started music at a young age. Being the last of six children my mothers made sure all of us started on piano. Unfortunately I didn’t stay with piano, something I regret to this day. Anyway, in grade 6 I started on trumpet. And the only reason I started with trumpet was because my older brother had played it and it was the instrument laying around. I was quite happy playing trumpet and had great teachers in those early years. Actually all my teachers were great I was very lucky in that regard. Then when I was in grade 10 I went to my then band teacher, shout out to Mr. Chuck Hendrickson, great teacher/mentor, and asked if I could play French horn. He said “let me think about it”. So I anxiously waited what seemed forever, but was in reality was only a couple of days for his answer. He came back and said yes. Well I was so excited to pick up this magnificent, complicated, challenging and beautiful instrument. And so began my horn career.
And now I’ll write about some of my favourite orchestral repertoire for the horn. Wow, it’s hard to know where to start there’s so much to choose from. Well as you might know Mozart write so much for the horn: 4 concertos, a rondo, horn quintet, wind sinfonietta just to mention a few. So I would be remiss if I didn’t mention Mozart.
Let’s move on to Brahms. Brahms and horn playing to me are one and the same. Brahms had a great understanding of the horn sound and it’s capabilities. Whether it’s a heroic horn call, as in the finale of his 1st symphony or the haunting melody of his 3rd symphony Brahms brings to life the true colour of the horn. For me, Brahms always brings me home to the raw beauty of the horn sound, so pure and simple.
Next, I’d have to mention Richard Strauss. Also someone who wrote 2 horn concertos. It might have had something to do with the fact that his father was a horn player and composer. But I digress. By this time the horn as we know it today was in full use. Strauss wrote sheer gymnastic, acrobatic horn lines. It’s both a joy and a terrifying challenge to play his works. There are so many juicy horn parts in all his tone poems; from Till to Don Juan and from operas such as Capriccio (very extended horn solo-3rd act) to Salome and Elecktra. I’ve never met a horn player that just didn’t love to play Strauss.
I will end and what for me is the ultimate in horn playing. Mahler. I’ve had the great pleasure of playing a lot of Mahler and it’s always been a great joy and full of satisfaction. It’s like the chocolate cake with the cherry on top and a side of ice cream. Yum. A couple of years ago my dream of playing symphony #5 came true. It was another universe, another reality. I encourage all to go and listen to it. Mahler just knew how to write glorious soaring horn lines that just fit nicely on the horn. As well as writing for the whole brass section and whole orchestra lines that spoke to the true humanity of us all. His music fills up my soul and expresses all I want to say through my instrument -the horn
Well, it has been a great pleasure to share some of my favourite horn parts during these strange times. Take care, stay safe and stay healthy.
As we get closer to our performance of Disney’s The Little Mermaid In Concert Live to Film we are getting a lot of questions about what that actually means. While this is a first for us there are several orchestras in North America, and really all over the world, who have a whole variety of these shows. The National Arts Centre Orchestra has Mary Poppins In Concert Live to Film in February, the Vancouver Symphony is presenting one of the Harry Potter films, several orchestras show Home Alone over Christmas, and there are several other In Concert Live to Film options from Disney available at any time if you are willing to do some travel.
But what does it mean? What is the actual concert experience? Here are some answers to your In Concert Live to Film Frequently Asked Questions (or ICLFFAQ for short).
Is it the full Little Mermaid film we all know and love?
Yes! The whole movie will be playing above the orchestra on a large screen. Here’s a mock-up so you know what it will look like.
Is there an intermission?
We will have an intermission at the halfway mark. Snack breaks are important.
Whose voices will we hear?
All the dialogue and singing is from the original film, so you can think of it as reverse karaoke! You will hear the 1989 cast of Jodi Benson as Ariel, Christopher Daniel Barnes as Prince Eric, René Auberjonois as Chef Louis (we see you Deep Space Nine fans), and all the other iconic voices you know and love being accompanied by your Saskatoon Symphony Orchestra.
We know Sebastian. It’s amazing what you can do these days!
How will the SSO match the movie playing above them?
Music Director Eric Paetkau will be leading the charge. Eric will have a click track, essentially a metronome, in his ear that is synched with the film, and there will be a special version of the film on a laptop next to him so he can keep all the cues in time. It’s the same set up we’ve had for other concerts with film so Eric is a pro!
Have any other questions about what to expect at The Little Mermaid In Concert Live to Film? Let us know!
There are a handful of tickets left for this show so make sure you stop by the TCU Place box office before they sell out!
While reading through your Opening Night program you may have noticed that we did a spotlight on one of our musicians. You know Brian Unverricht as a member of our trombone section and you may know that he does pre-concert chats for many of our concerts. If you have never attended a pre-concert chat we highly recommend it. In the lobby at TCU Place, Brian takes the time to dive into the music you are about to hear that evening. It is way more in-depth than we could ever go with our program notes, and he has a unique perspective as someone who plays, teaches, and enjoys the music he is talking about.
We asked Brian several questions so we could let you know more about him. His answers were so great we thought we should share them all. When we originally sent Brian these questions, we knew Brian had been a member of the SSO on and off for about 50 years. We were pretty close to the right number!
Brian: First of all, I haven’t been part of the SSO for 50 years, having missed the following seasons: – 68-69 to go to school in the US – 72-75 living in Australia and PEI – 81-84 teaching in Germany DND schools – 90-91 graduate school Looks like I missed 9 seasons, meaning I first joined 52 years ago and have participated in 43 seasons.
SSO: What year did you join the SSO?
Brian: I joined for the 67-68 season, my first concert was Nov 12, 1967 in the Phys Ed gym on campus. The season ended with the gala performance of Orff’s Carmina Burana on April 1, 1968 to open the Centennial Auditorium.
We have the program in our archives and have uploaded a scan here.
On the program during Brian’s first SSO appearance:
Sunday, November 12, 1967 at 3:00pmUniversity Gymnasium
First Concert – 1967-68 Season
David Kaplan, conductor
Overture: La Clemenza di Titto (K. 621)W.A. Mozart
Three Pieces for Orchestra (1961)Jean Papineau-Couture (SSO commission by Cosmopolitan Club of Saskatoon)
Prélude
Choral
Mouvement Perpétuel
Five Pieces for Strings (Op. 44/4)Paul Hindemith
Langsam (Slow)
Langsam – Schnell (Quick)
Lebhaft (Lively)
Sehr langsam (Very slow)
Lebhaft
Concerto No. 2 in B-flat for Piano and Orchestra (Op. 19)Ludwig van Beethoven
Marina Mdivani, piano
Allegro con brio
Adagio
Molto allegro
SSO: Do you remember the feeling of playing in your first SSO concert?
Brian: I was somewhat overwhelmed at the first rehearsals, but pleased to be part of the orchestra, and just a little nervous before the concert. The actual concert went very well.
SSO: Before being awarded a position, had you played with the SSO as an extra?
Brian: That first year David Kaplan simply rounded me up from music theory class and invited me to participate.
SSO: What is the best advice you have ever received in your career?
Brian: Strive to be an all-round musician, as there is something to be learned from every genre and every excellent player/singer/conductor no matter what. I especially remember attending a cello masterclass with Janos Starker early in my Sydney days. I only went because my girlfriend wanted to go, but I may have learned more about performing than she did!
SSO: Who do you consider to be your mentors and inspirations?
Brian: I’ve had many – from my very first piano lessons with my grandma to masterclasses and conducting seminars. My main influence and mentor was my private trombone teacher in Sydney, Australia. Baden McCarron played with the other SSO (Sydney Symphony Orchestra), and I studied with him in his studio out in his back yard.
SSO: What’s one of your favourite memories of playing with the SSO?
Brian: My first highlight that helped set everything in motion was opening the auditorium. I was entranced by the power and variety of Orff’s music and the spectacular setting of the auditorium – quite an improvement over the gym.
SSO: What is your favourite piece of music that you have performed with the SSO?
Brian: I have so many it’s impossible to choose one. There have been innumerable great works of music over the years.
SSO: Most memorable overall concert program?
Brian: Carmina Burana
SSO: Any prominent rehearsal memories?
Brian: Originally we rehearsed in Convo hall every Monday night. Having an actual rehearsal space made such a positive difference. There have been struggles with musical techniques and struggles with conductors, but in the end, it’s the music that counts.
SSO: Favourite guest artist?
Brian: European opera singer Jon Vickers, originally from Prince Albert.
SSO: Whose names stand out in a positive light in your history with the SSO?
Brian: Certainly David Kaplan for me, personally, as he got me started in the SSO. He was a unique character (to say the least) in class and all musical endeavours – quite a role model. Over the years I have enjoyed making music with an incredible variety of orchestral buddies.
SSO: Why did you choose your instrument and what do you love about it?
Brian: A town band was formed in Grenfell when I was in grade 9. At first I selected the baritone horn, but tried a trombone a couple of years later at band camp and loved the glissando effects, so I used money from my paper route to buy my first trombone. Some say the trombone is the “voice of God”, and that may be a slight exaggeration, but I do love the expressive possibilities from classical to avant garde to jazz to Klezmer, both serious and comic.
SSO: What do you enjoy most about creating and providing the pre-concert chats?
Brian: I have always been interested in the structure, format, and theory behind the music and really enjoy searching out composer information – their priorities, techniques, historical placement, personal lives. At every concert I learn something new.
SSO: What projects are you working on outside of your work with the SSO?
Brian: I perform with several other music groups, arrange music on Finale, strive to hit a golf ball straight, and keep a garden in my back yard.
SSO: What is your favourite non-musical pastime?
Brian: Travel – and this always includes a multitude of culturally related activities.
It’s subscription season at the SSO! We’ve carefully programmed 16 concerts for you to choose from. Six Masters, four Pops, three Chamber and three Baroque. You can subscribe to everything, to each series, or make your own series with a flex pack.
Your flex pack can be built around the concerts that excite you most or the dates that work best for you. We’ve put together some other flex pack collections that might intrigue you below:
While orchestras do have the advantage of blind auditions, which means there are more opportunities for equality amongst musicians, the orchestral world is still playing catch up when it comes to female composers. Want a subscription package that includes a female composer in each concert? Look no further than our Masters series! We didn’t choose these pieces because they were composed by women, we chose them because they are beautiful works by contemporary artists. Take our concert on March 7th. We will be doing the North American premiere of Rebecca Dale’s Materna Requiem.
Perhaps you want to take advantage of our prairie connections. There is a wealth of talent that has grown up here on the prairies and moved away to continue their education and careers. We are always happy to bring them home to perform with us!
You could create a Praire 5-flex with: Homecoming (November 16, 2019) with both guest artists and the guest conductor all having prairie roots. Christmas with the SSO (December 7, 2019) with special guests including Elly Thorn, the University Chorus and our own Dean McNeill. Thomas Yu with the SSO (February 8, 2020) Thomas returns home to play more Saint-Saëns with the SSO! You may remember when he was here in 2016 to play Carnival of the Animals with Godwin Friesen Requiem – North American Premiere (March 7, 2020) Soprano Chelsea Mahan and Tenor Spencer McKnight are joined by the University of Saskatchewan’s Greystone Singers for this North American Premiere. Accent with the SSO (March 21, 2020) Two of Accent’s members are from Saskatoon and we can’t wait to bring them here! We’ve followed their journey online and across the globe.
If you are all about vocal and choral music we have several options this season! On top of the prairie picks we mentioned featuring vocal soloists and/or choirs (Requiem, Christmas with the SSO, Accent, and Messiah) we are extremely excited to be included in Jeremy Dutcher’s orchestra tour.
Dutcher will be joining us on stage at TCU Place on November 9 and we’ve already had several people asking about single ticket sales. Some of the benefits of subscribing to the SSO means you get tickets before single tickets go on sale August 1, and you get a discount for buying in bulk. Early bird prices end May 31, while there is still a discount for subscribing compared to single ticket purchases, the deals are better the earlier you subscribe!
Prefer your flex pack to be all about guest artists showing off their instrumental skills?
Here’s Jane Coop performing a Beethoven Concerto, though not the one she will be performing with the SSO. We are excited to have this pianist on stage to play Beethoven’s Piano Concerto no. 3 in C minor.
We are always looking for ways to be a more eco-conscious organization and how to do our part when it comes to climate change. We have have been thinking about it so much we have inadvertently included works related to mother nature in several concerts. Enough so that you could create your own Mother Nature flex pack.
There’s the Four Seasons (October 5, 2019), our concert with Thomas Yu (February 8, 2020) includes Canadian composer Vincent Ho’s Earthbeat, paired with the Requiem (March 7, 2020) is Jocelyn Morlock’s Oiseaux bleus et sauvages and our Family Movie Night (January 25, 2020) will take us under the sea.
And one can’t forget the audience favourite The Planets (October 19, 2019). We are pairing the movements of Holst’s work with Canadian composer Heather Schmidt’s Lunar Reflections to give us a whole galaxy tour all from the comfort of your seats in TCU Place.
You can create flex packs based on contemporary composers, “the hits”, new works, works new to you, and any other reasoning/combination that works for you. We may be biased, but we believe you can’t go wrong with any subscription pack from the SSO!
You can subscribe any time before opening night by giving us a call or stopping by our new office. Early bird prices end May 31 so the best deals are ending soon.
See you at the Symphony (office)!
p.s. We are working to raise $300,000 by May 31 for this year’s Share in the Future campaign. All donations made by May 31 are going to be matched by the Frank & Ellen Remai Foundation. Your donations help us keep our ticket prices more accessible, our outreach programs running, and help us continue to bring incredible concerts to you! Thank you for supporting live music by donating today.
Tonight is the night for Bach’s Magnificat! We have a busy day getting ready for the dress rehearsal and finishing final details for tonight’s concert. If you don’t have your tickets yet you should get them ASAP! We will also have tickets at the door and as with every SSO concert #TD25Below tickets are available!
Originally from Langham, Saskatchewan, Brenden Friesen is back home on the prairies to be a part of our concert and to work with our friends at the Saskatoon Opera!
Holding a MMus Opera degree from the University of Toronto, Saskatchewan born bass-baritone Brenden Friesen has captured audiences with his exceptional diction, enormous comedic presence, and incredible interpretation of text (Opera Canada). Brenden recently performed the roles of Leporello and Il Commendatore in UofT Opera’s production of Mozart’s Don Giovanni , directed by Marilyn Gronsdal, as well as Masetto in Don Giovanni (Saskatoon Opera), the title role in Händel’s Imeneo (UofT Opera), The Police Chief in the UofT Student Composer Project opera Vengeance, and Jupiter in Offenbach’s Orphée aux enfers (UofT Opera) under the baton of sensational baritone Russell Braun.
Brenden is very excited to be home on the prairies performing the role of Colline in Saskatoon Opera’s production of Puccini’s La bohème in June 2018. Following this performance, Brenden will be again performing the role of Colline with Highlands Opera in Haliburton Ontario in July 2018. In August 2018, Brenden is pleased to be continuing his operatic career as one of the young artists in the Atelier Lyrique de l’Opéra de Montréal and making his Montreal debut as Count Ceprano in Verdi’s Rigoletto.
Did you know that there are five soloists in Bach’s Magnificat? One of the very talented artists joining us Saturday (7:30 pm @ Knox United Church) is soprano Casey Peden! Two sopranos!! Now there won’t be any duelling divas on stage but there will be some incredible music making that we know you must see/hear. We love having Saskatchewan connections on stage with us and Saturday’s concert is full of prairie artists!
SSO: Where is your hometown and where are you based from now?
CP: Stony Plain, Alberta and now based out of Glaslyn, SK.
SSO: What is your favourite music-based memory?
CP: Watching my dad make music at family gatherings at my grandparents.
SSO: How do you deal with nerve?
CP: I don’t have a concrete answer for that ~ it’s an ever-changing path I am navigating as I go.
SSO: If you could work with anyone living or dead who would it be?
CP: I would love to have lessons with Barbara Bonny.
SSO: What is your favourite thing about the prairies?
CP: Northern Saskatchewan Lakes ~ I love being near the water.
SSO: What are some upcoming projects, or ones on the go, that you want to share with everyone?
CP: SSSV in North Battleford in July. It’s a fantastic vocal summer school and its right here in Saskatchewan!
While Saturday’s concert is titled Bach’s Magnificat, our Principal Bassoon Stephanie Unverricht is actually the featured guest artist on a different piece in this concert. Stephanie will be showing us a more serious side of the bassoon instead of the comedic/character instrument we tend to think of from film. By having Stephanie perform Vivaldi’s Bassoon Concerto in e minor it is a chance for us to showcase the incredible talent of one of our own who usually uses her talents to help others make beautiful music! It is certainly going to be an amazing concert and we think you should get tickets for Saturday now before it’s too late!
As we are with all our soloists this concert, we sent Stephanie some questions to get to know her a little better.
SSO: Where is your hometown and where are you based out of now?
SU: Saskatoon and Saskatoon J (I feel pretty lucky to be able to have a life as an artist in the same place where I grew up!)
SSO: How do you deal with nerves?
SU: My best defense against nerves is to tell myself that I’m not nervous! My dad taught me to calmly look at my music and say to myself “Hey, I can play that note! And I can play that note too!” until it’s all done.
(Yes Stephanie! You are more than fine!)
SSO: Was there an aha moment that made you realize music was the path for you?
SU: I started taking music lessons when I was 4, but never thought it would be my career. I suppose my “aha” moment was in grade 12 when I decided I couldn’t NOT play music for the rest of my life.
SSO: What made you choose the bassoon?
SU: My first instrument was the violin, but in grade 6 I had to pick an instrument for school band. I tried the bassoon and found my true love!
SSO: Why do you enjoy playing Vivaldi?
SU: When I chose the bassoon in grade 6, my dad bought me some CDs to listen to. One was a collection of Vivaldi concerti and I remember listening to this CD often before bed and wondering if my fingers would ever be able to move that quickly! (Dear reader, we assure you that they can!) Vivaldi for me is fun and flashy. Even though this concerto is in E Minor, there’s nothing sad about it.
SSO: We recently did 6 word autobiographies with the students of St Mary’s who were a part of Kitohcikewin/Listen up! What would your six words be?
SU: I play bassoon and other things 🙂
SSO: If you could work with anyone living or dead who would it be?
SU: I’d love to work with Beethoven. I think his intense passion would be exciting. He wrote so many great lines for the bassoon in his symphonic works, I’d love to try convince him to write a solo piece for bassoon.
SSO: What are some upcoming projects, or ones on the go, that you want to share with everyone?SU: When I’m not playing in the orchestra, I spend my time teaching lessons and playing with my band Minor Matter. We recently did a show at the UofS in Gallery 2 where we each chose a few works of art from their collection that spoke to us, then performed in the space. I love projects that involve the collaboration of different artists and art forms and look forward to more projects like these. Minor Matter has 2 albums released, an EP “Concept of a Knife” from 2012 and a full length self-titled album recorded in 2016 that are available on iTunes, Spotify and through our website www.minormatter.ca
See Stephanie this Saturday (7:30 pm) at Knox United Church! Tickets are available online or at the door. It’s going to be an incredible night and it is our last concert of season 87!
We are delighted to have soprano Allison Walmsley join us for Bach’s Magnificat!
Currently living in Toronto, Allison is coming home to Saskatoon to have her SSO debut. We asked her some questions to get to know some things that are not usually in an artist’s bio.
SSO: What is your favourite music based memory?
AW: There are too many favourite music memories to choose from!!! But I’ll never forget singing Daniel Kantor’s Night of Silence every Christmas for 10 years with the Saskatoon Children’s Choir.
SSO: How do you deal with nerves?
AW: I try to embrace nerves as much as possible. Their existence, for me, is an indication that I really care about the work I do and the music I help create.
SSO: Why do you enjoy singing Bach?
AW: It’s genius. So simple and clean, but every time you come back to it you find something new!
SSO: We recently did 6 word autobiographies with the students of St Mary’s who were a part of Kitohcikewin/Listen up! What would your six words be?
AW: Enthusiastic, Positive, Passionate, Empathetic, Hardworking, Honest.
SSO: If you could perform any piece, regardless of voice type, what would you pick?
AW: Se vuol ballare from Marriage of Figaro, or maybe the Diva Plava Laguna’s song from the Fifth Element.
SSO: If you could work with anyone living or dead who would it be?
AW: Mozart!
SSO: What is your favourite thing about the prairies?
AW: I love the prairies, because having lived away from home for 3 years, prairies means family to me.
SSO: What are some upcoming projects, or ones on the go, that you want to share with everyone?
AW: I’ll be performing in Waterloo in Opera Vera Causa’s Canadian Opera Fest as Kate in The Covenant, and Luna in Padajuca Zvijezda. Both operas will be premiers of female Canadian composers! In July, I’m looking forward to singing Adina in Donizetti’s classic, The Elixir of Love, with Opera By Request in Toronto. I’m also very excited to be returning to Saskatoon in December to sing Messiah with the SSO!
Where and when is the Sing-Along?
