Sing-Along Messiah

Myriam Leblanc

Soprano

Québecoise soprano Myriam Leblanc has garnered rave reviews: music critic Christophe Huss opined that “in the last ten years, she is one of the most beautiful voices, perhaps the most beautiful, to have emerged from the Quebec talent pool” (Samedi et rien d’autre, Radio-Canada). With a Master’s degree in choral conducting from the Université de Sherbrooke and a diploma from McGill University, the young soprano is equally at home in the classical, bel canto, and baroque repertoires. Boasting numerous awards, she has been a guest soloist of various symphony orchestras, including the OSM, Orchestre Métropolitain, and those of Trois-Rivières, Quebec City, and Saskatoon. On the operatic stage, she has distinguished herself in productions by Opéra de Montréal (Rigoletto, Svadba, Aida), Opéra de Québec (Carmen), Orchestre Métropolitain (Parsifal), and Jeunesses Musicales du Canada (Roméo et Juliette). She has also performed in concert most notably with I Musici, Ensemble Caprice, Les Violons du Roy, and Tafelmusik, and has recorded for the Analekta label. Her recent projects include the role of Mimi in Puccini’s La Bohème with Francis Choinière in Trois-Rivières, and of Dido in Purcell’s Dido and Aeneas with Ensemble Caprice.

Krisztina Szabó

Mezzo-Soprano

Hungarian-Canadian mezzo-soprano Krisztina Szabó is highly sought after as an artist of supreme musicianship and stagecraft. She is known for her interpretation of baroque music as well as her promotion and performance of contemporary Canadian works. She has appeared on all the major opera and concert stages across Canada, and performs regularly with the Canadian Opera Company, Vancouver Opera, Tapestry Opera, Early Music Vancouver, and Tafelmusik.

International appearances include San Francisco Opera, Opera Philadelphia, Stadttheater Klagenfurt, and Wexford Festival Opera. In 2018, Krisztina made her Royal Opera and Netherlands Opera débuts in George Benjamin’s new opera, Lessons in Love and Violence, the recording of which received a Grammy nomination for Best Opera Recording. Her discography includes New Jewish Music, Vol. 3 (Analekta), Ana Sokolovic – Sirens (Naxos), and Talisker Players Where Words and Music Meet (Centrediscs). 

Krisztina Szabó is Assistant Professor of Voice and Opera at the University of British Columbia School of Music.

Jacob Perry

Tenor

Tenor Jacob Perry is lauded for his stylish interpretations of early music. As a soloist, he has lent his graceful sense of phrasing and luminous tone to engagements with Apollo’s Fire, Bach Collegium San Diego, Jacksonville Symphony, New York Philharmonic, Philharmonia Baroque, Portland Baroque Orchestra, Tempesta di Mare, Washington Bach Consort, and the Washington National Cathedral. Jacob enjoys active membership in Les Canards Chantants, a soloist-ensemble based in Philadelphia, as well as engagements with chamber ensembles such as the Art of Early Keyboard (ARTEK), Res Facta, and TENET Vocal Artists. 

Career highlights include his recent solo debut with the New York Philharmonic singing Handel’s Israel in Egypt, headlining the inaugural festival of Western Early Music at the Beijing Central Conservatory of Music with Les Canards Chantants, and English Orpheus—a tour-de-force exploration of love songs and poems from the Elizabethan, Restoration, and early 18th-century periods he performed with Tempesta di Mare.

Philippe Sly

Bass-Baritone

French-Canadian bass-baritone Philippe Sly has gained international recognition for his “beautiful, blooming tone and magnetic stage presence” (San Francisco Chronicle). In the 23/24 season, Mr. Sly returns to Opéra national de Paris for a new Calixto Bieito production of Thomas Adès’ The Exterminating Angel (Russel), and the Wiener Staatsoper for the title role in Mozart’s Le nozze di Figaro. On the concert stage he will appear with Orchestre Métropolitain for performances of Handel’s Messiah and Orchestre Symphonique de Québec for Mozart’s Mass in C Minor.

Last season he debuted at Opernhaus Zürich for Delibes’ Lakmé (Nilakantha) and the Bayeriche Staatsoper for Handel’s Semele (Cadmus), and returned to the Wiener Staatsoper for Mozart’s Don Giovanni (Leporello). On the concert stage he sang with the New York Philharmonic in Bach’s St Matthew Passion, and at the National Arts Centre in Mozart’s Requiem and Mass in C Minor.