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With a repertoire spanning three centuries, Nancy Argenta has been hailed not only as the supreme Handel soprano of our age but also praised for her performances of works by composers as diverse as Mahler, Mozart, Schubert and Schoenberg. Her ability to adapt from large scale orchestral works to chamber music and recitals has earned her great recognition and respect within the world of music. As a devotee of the song repertoire of all periods, Nancy Argenta tours widely as a recitalist, presenting songs with their "original" keyboard accompaniment of harpsichord, fortepiano or modern piano.Her discography of over 50 recordings includes Bach’s St John Passion, B Minor Mass, Magnificat and Christmas Oratorio with Gardiner, Purcell’s King Arthur and Haydn Masses with Pinnock and Hickox, Mozart’s Requiem, "Magic Flute" and "Don Giovanni" with Norrington. 
Established in the front rank of interpreters of Purcell, Bach and Handel Robin Blaze’s career has taken him to concert halls and festivals in Europe, South America, North America, Japan and Australia. He works with most of the distinguished conductors in the early music field: Christophers, Gardiner, Herreweghe, King, Kraemer, Koopman, Leonhardt, MacKerras, Pinnock. His collaborations, on disc and the concert platform, with Masaaki Suzuki and Bach Collegium Japan have been particularly praised by the critics and Robin Blaze is a regular and popular artist at The Wigmore Hall in recital and with various chamber groups. He has made over 50 recordings of works by Adès, Bach, Blow, Buxtehude, Handel, Lawes, Purcell, Vivaldi and Zelenka with Hyperion, BIS, Challenge, EMI, DG Archiv and Harmonia Mundi amongst others.
During his career James Bowman has appeared at almost every major opera house including La Scala Milan, Amsterdam, Paris, Aix-en-Provence, Sydney, Verona, Vienna, Strasbourg, Sante Fe, Dallas and San Franscisco. His concert career is equally wide ranging: in Europe he is well known as a recitalist,with a large following particularly in France. In 1992 the French Government honoured him with admission to "L’ordre des Arts et des Lettres" and he was also awarded the Medal of Honour of the City of Paris, in recognition of his long-standing contribution to the musical life of that City. James has made over 180 recordings with all the major record labels and has worked with all the major directors including Harnoncourt, Bruggen, Gardiner, Norrington, Hogwood and Leonhardt. Most of his recent recordings have been with The Kings Consort and Robert King on Hyperion. 
Internationally acclaimed Canadian tenor Benjamin Butterfield made his Pacific Opera Victoria debut in 1990 as Triquet in Eugene Onegin. Since then he has returned to POV to perform Ferrando (Cosi fan tutte, 1991), Lysander (A midsummer night’s dream, 1993), Ernesto (Don Pasquale, 1993), and Peter Quint (The turn of the screw, 1997). In 1999 he sang Don Ottavio in Don Giovanni - a role he performs again in 2007. Admired for his enthusiastic approach to music making and his compelling musicianship, Benjamin Butterfield has enchanted audiences on concert and operatic stages throughout the world, enjoying an international career as one of Canada’s most successful and sought-after artists. He has performed to critical acclaim throughout North America, Europe, Israel, New Zealand, and Japan. 
Michael Chance has established a worldwide reputation as one of the foremost exponents of the male alto voice
in all areas of the classical repertoire, and is in equal demand as an opera, concert and recording artist.
His vocal training with Rupert Bruce Lockhart followed an English degree at King’s College,
Cambridge where he was also a choral scholar.
His appearances in operatic roles as well as oratorio and recital have taken him all over the world from the Sydney Opera House to
London’s Wigmore Hall.
Michael Chance’s list of recordings is numerous and widespread. He has recorded frequently with John Eliot Gardiner,
including the Bach Passions and Cantatas, B Minor Mass, Monterverdi’s Orfeo and L’Incoronazione di Poppea
and Handel’s Jeptha, Tamerlano and Agrippina.
His belief in extending the counter-tenor repertoire has prompted new work to be composed for him by
Richard Rodney Bennett, Alexander Goehr, Tan Dun, Anthony Powers, John Tavener, and Elvis Costello amongst others.
Michael Chance is a visiting Professor at the Royal College of Music.
Young Canadian tenor, Pascal Charbonneau, undertook his musical studies at McGill University in Montreal followed by advanced studies as a member of the Atelier Lyrique de l’Opéra de Montréal. Mr. Charbonneau already has a number of operatic roles in his repertoire. Of note are Don Ottavio in Don Giovanni, Tamino in Die Zauberflöte, Peter Quint in The Turn of the Screw,Jupiter in Semele, Don Ramiro in La Cenerentola and Gonzalve in l’Heure Espagnole. Performance highlights include Borsa in Rigoletto and the second priest in Die Zauberflöte, both for the Opéra de Montréal. He was recently featured alongside Canadian Soprano Measha Brueggergosman on CBC Television’s Easter Sunrise Concert, broadcast nationally. 
The tenor Charles Daniels’ repertoire extends 1150 years from the ninth century to the present day. Born in Salisbury, he received his musical training at King’s College, Cambridge, and the Royal College of Music in London where he studied under Edward Brooks. He has made over sixty recordings as a soloist including Handel’s Messiah with the Gabrieli Consort for Deutsche Grammophon, Dowland songs for EMI, Handel’s Alexander Balus with the King’s Consort for Hyperion, The Beggar’s Opera for Hyperion, Schütz’ Christmas Story for Deutsche Grammophon, Haydn’s St Cecilia Mass with the Gulbenkian Choir and Orchestra, Bach’s Easter Oratorio with the Taverner Consort for EMI, Airs de Cour with Catherine King and Jacob Heringman, Handel Occasional songs with Emma Kirkby for SOMM records and more than twenty discs of Purcell’s music, mostly with The King’s Consort.
The British-Canadian baritone Alexander Dobson has been praised for his musical artistry
and magnetic stage presence in both opera and concert performances.
Recent highlights include his riveting portrayal of Wozzeck conducted by Yannick
Nezet-Seguin in Montreal. Recent operatic performances include Mercutio in Romeo et Juliet
for Opera Ontario and L’Opera de Montreal, Junius in The Rape of Lucretia for Pacific Opera Victoria, Schaunard in
La Boheme for L’Opera de Quebec, and his debut with Opera Pacific (Costa Mesa) in their production of
Carmen. He made his Royal Opera debut when The Midnight Court by Ana Sokolovic premiered
at Covent Garden’s Linbury Theater in June 2006. On the concert stage,
Mr. Dobson sang Mozart’s Mass in C Minor with Chorus Niagara, Handel’s Messiah with
Orchestra London, Elmer Iseler Singers, and the Brott Fesitval.
Alexander is heard frequently on CBC Radio Canada in recital, and was recently seen
as Marcello in BRAVO’s version of La Boheme. An alumni of prestigious programs such
as the Music Academy of the West, the Steans Institute for Young Artists, and L’Atelier
Lyrique de L’Opera de Montreal, he is also the recipient of numerous awards and prizes
including those from the International Voice Competition of Paris and the Jeunesse Musicales
National Competition.
Katharine Fuge grew up on the Isle of Jersey and then relocated to London for her vocal studies. Meanwhile she works there with Paul Farrington on the continued development of her vocal technique. At the same time she performs both as soloist and ensemble member in a number of festivals and concert events in Great Britain and other European countries. She is primarily known for her exceptional Bach interpretations: Katharine Fuge has joined forces in several concerts with the "Bach Cantata Pilgrimage", a project of the English Baroque Soloists under John Eliot Gardiner, under whose direction all of the composer’s sacred cantatas were performed in various places in Europe and many also recorded during the Bach year of 2000. Katharine Fuge works regularly with such ensembles as the Collegium Vocale in Ghent, the Stuttgart Chamber Chorus and the Akademie für alte Musik in Berlin. CD releases include, among others, Vivaldi’s "Gloria", Handel’s "Dixit Dominus" and Dvorak`s "Mass in D major". 
Karina Gauvin’s unique voice, remarkable technique, and accomplished musicianship have charmed audiences worldwide from
the Royal Opera House in London to the prestigious 92nd Street Y and the Lincoln Center in New York. Her vast repertoire
covers music from Johann Sebastian Bach to Benjamin Britten and Luciano Berio. Karina Gauvin has sung with many major
orchestras including the Montreal Symphony Orchestra, Akademie für Alte Musik Berlin, the Toronto Symphony, Minnesota Orchestra,
I Musici de Montréal, the Los Angeles Chamber Orchestra, Les Talens Lyriques, Tafelmusik Baroque Orchestra, the Seattle Symphony,
Capriccio Stravagante and Les Violons du Roy. On the operatic or concert stage, she has delivered outstanding performances with
conductors as diverse as Charles Dutoit, Christopher Hogwood, Helmuth Rilling, Bruno Weil, Markus Creed, Bernard Labadie,
Andrew Parrott, and Christophe Rousset. Active as a recitalist, she has collaborated with several chamber music ensembles
and with pianists Marc-André Hamelin, Michael McMahon, and Roger Vignoles. Ms Gauvin’s discography includes many award-winning CDs.
Michael George studied at the Royal College of Music in London, where he was a major prizewinner. He has appeared with all the leading British orchestras and ensembles, has sung throughout Britain at all the major festivals and performed extensively abroad. His recordings include Haydn’s Creation (Decca), Elgar’s The Dream of Gerontius (EMI), Bach’s St Matthew Passion (Columns Classics), Handel’s Samson (Collins), Apollo and Daphne (Chandos), Monteverdi’s Orfeo (Decca), Handel’s Acis and Galatea (Hyperion), Stainer’s Crucifixion (Chandos), Finzi’s Let us Garlands Bring with the Bournemouth Symphony Orchestra under Vernon Handley (BMG Conifer), Handel’s Messiah with the Sixteen (for Hyperion), Mass in B Minor (also for Hyperion) and Beethoven’s Ninth Symphony and Missa Solemnis (Nimbus). Other recordings with The King’s Consort include Joshua, Judas Maccabaeus, Acis and Galatea, Deborah, Ottone, Alexander Balus and The Occasional Oratorio. 
James is a keen exponent of contemporary music and has performed in the world premieres of Knut Nystedt’s Apocalypsis Joannis (Oslo Philharmonic), John Tavener’s Total Eclipse (Academy of Ancient Music), which was also recorded, and Helen Ottaway’s new commission for the Salisbury Festival, The Echoing Green. In his partnership with the pianist Anna Tilbrook, he has performed Schumann Liederkreis (op 24), Finzi Till Earth Outwears and Poulenc Metamorphoses for BBC Radio 3. James is also partnered in recital by the harpist Alison Nicholls. Operatic performances are numerous. Amongst his many recordings are title role in Britten’s Albert Herring and Vaughan William’s A Poisoned Kiss for Chandos, Bach St Matthew Passion , Bach St John Passion , Rachmaninov Vespers, Schütz Sacred Music, Rameau Cantatas and St Mark Passion , Grainger Songs and many others. 
Meredith Hall is especially in demand for Baroque and Classical works. She has recorded with such groups as La Nef, Les Musiciens du Louvre, Le Concert Spirituel, The Musicians of the Globe, The Toronto Consort, Aradia Baroque Ensemble, and Tafelmusik. Her opera appearances have included the title roles in Monteverdi’s L’Incoronazione di Poppea , Rameau’s Zephyr and Handel’s Partenope, Germany), Pamina in Mozart’s Die Zauberflöte and Phébé in Rameau’s Castor et Pollux. On the concert stage, Ms. Hall made her debut with the Toronto Symphony in Handel’s Messiah, a work which she also performed with the Memphis Symphony, Victoria Symphony and with Apollo’s Fire in Severance Hall, Cleveland. Ms. Hall has collaborated with notable conductors including Nicholas McGegan, Christopher Hogwood, Andrew Parrott, Marc Minkowski,David Fallis and Mario Bernardi.
Peter Harvey’s broad repertoire includes works from the early Baroque to contemporary composers, although he is principally known through his performances as soloist with ensembles specialising in Early Music, including the English Baroque Soloists, The Gabrieli Consort, The King’s Consort and The Purcell Quartet. He is frequently invited abroad by continental groups such as the Collegium Vocale of Ghent, Les Talens Lyriques, Il Seminario Musicale and The Netherlands Bach Society, and had the honour of singing the St John Passion with the choir of St. Thomas’, Leipzig ("Bach’s choir"), on their first visit to England, and subsequently in Leipzig for a Good Friday performance. Peter Harvey’s eighty solo recordings cover a wide variety of works from the seventeenth century to the present day, and from the well-loved to the completely unknown.
Canadian soprano Gillian Keith, winner of the Kathleen Ferrier Award in 2000, studied at McGill University in Montréal and at the Royal Academy of Music in London. She appears frequently with many leading orchestras including the Academy of Ancient Music, Orchestra of the Age of Enlightenment and English Baroque Soloists. Her recordings include Debussy: Early Songs for Deux-Elles, Purcell The Tempest for Naxos, Handel Gloria with John Eliot Gardiner for Philips and Bach Cantatas for Gardiner on his recently-launched label Soli Deo Gloria. Operatic roles include Nannetta Falstaff (English National Opera), Dew Fairy Hansel and Gretel (BBC Proms), Iole Hercules and Silvia in Mozart’s Ascanio in Alba (Buxton Festival), Poppea (Theater Basel), Woodbird Siegfried, Papagena Magic Flute and Amor Orfeo ed Euridice (all for Scottish Opera). 
Throughout her career Emma Kirkby has fielded questions-such as "What will you do next? Lieder, romantic repertoire? Have you thought of opera?" by insisting that there is plenty to challenge and delight her in her chosen field of Renaissance, Baroque and Classical song, and that she has no intention of growing out of it. This is still her position, but she has lately dipped her toe into a few other areas-Mahler (just one piece), Stravinsky (a handful of works), the odd German lied, preferably with fortepiano, and, most recently, the songs of Amy Beach. Each excursion has been great fun and highly educational, but she still likes to spend most of her time back home with the likes of Dowland, Lawes, Purcell, Blow, Bach and Handel. To date, she has made well over a hundred recordings of all kinds, from sequences of Hildegarde of Bingen to madrigals of the Italian and English Renaissance, cantatas and oratorios of the Baroque, and works of Mozart and Haydn. 
Jan Kobow initially studied the organ and church music,before taking up vocal studies at the Academy of Music in Hamburg under Sabine Kirchner. In 1998 he won first prize at the International Bach Competition in Leipzig. He performs with conductors such as Philippe Herreweghe, John Eliot Gardiner, Gustav Leonhardt, Jeffrey Tate, Masaaki Suzuki and René Jacobs, and with the Leipzig Gewandhaus Orchestra, the Freiburg Baroque Orchestra and the Akademie für Alte Musik Berlin. Jan feels a strong attachment to Lied, particularly German art song of the romantic period. He also performs with noted fortepiano players. In 2004 he sang at the Kissinger Sommer festival and was awarded the Luitpold prize. As an opera singer he sang the role of Pamphilius in Conradi’s Ariadne at the Boston Early Music Festival in 2003. In January 2004 he made his début at the Théâtre Royal de la Monnaie in Brussels. He performs regularly with the vocal ensemble Himlische Cantorey,of which he is a founding member.
Specializing in repertoire from the early baroque to the classical period, Suzie LeBlanc divides her time between concert performances, opera and festival appearances worldwide. She has been involved in a number of critically acclaimed productions. Solicited by some of the most distinguished period orchestras, she tours extensively with Teatro Lirico, Amsterdam Baroque Orchestra, Tafelmusik, Musica Antiqua Koln, Australian Brandenburg Orchestra, Musica Classica and Freiburger Barockorchester and performs at home with Les Violons du Roy, the Montreal Symphony Orchestra and the Metropolitan Orchestra (Montreal). In the more intimate setting of chamber music, she sings regurlarly with Tragicomedia, Les Voix Humaines, the Purcell Quartet and Fretwork, and forms a duo with lutenist Stephen Stubbs, with whom she has recorded several discs including the 1st book of Airs de cour by Etienne Moulini (CBC Records), which received unanimous praise from the critics. 
Acclaimed as one of Canada’s finest concert and oratorio singers, Daniel Lichti is a frequent guest soloist with major North American symphonic, choral, and concert organizations, and is heard throughout Europe, Japan, and Argentina. Active in opera as well, he has performed with many of Canada’s opera companies, most recently returning to L’Opéra de Montréal for Bartolo in Le Nozze di Figaro and bowing at the 2004 Guelph Spring Festival in a comic double bill of The Telephone and Three’s Company. He has performed at Teatro dell’Opera di Roma in Handel’s Giuliio Cesare and has appeared often with Toronto’s Opera in Concert. Mr. Lichti has been an Associate Professor, teaching Voice for the Faculty of Music at Wilfrid Laurier University, Waterloo, Ontario since 1998.
Joanne Lunn studied at the Royal College of Music in London, where she was awarded the prestigious Tagore Gold Medal. She performs around the world as a soloist with many of the leading early music groups including the English Baroque Soloists, the Orchestra of the Age of Enlightenment, the Musicians of the Globe, the New London Consort, the Academy of Ancient Music, The Hilliard Ensemble, Philippe Herreweghe’s Collegium Vocale Gent, The King’s Consort and The Gabrieli Consort. She appeared frequently as a soloist on Sir John Eliot Gardiner’s celebrated Monteverdi Choir Bach Cantatas Pilgrimage. Joanne features as a soloist on many CD recordings. Her discography includes Vivaldi’s Laudate Pueri with The King’s Consort (Hyperion), Haydn Masses with Sir John Eliot Gardiner and the Monteverdi Choir (Philips), John Rutter’s Mass of the Children with the City of London Sinfonia conducted by the composer (Collegium), Sir John Eliot Gardiner’s Bach Cantatas cycle recorded during the Bach Pilgrimage in 2000. 
Peter McGillivray is an emerging Canadian talent of both the concert and operatic stage.
Two years ago he walked away with the Deuxième Grand Prix as well as the Chalmers award
for Best Canadian Performance at the 2005 Montreal International Musical Competition
broadcast live to a national radio audience in Canada. He then followed this success
by winning another 2nd prize at the Queen Sonja Competition in Oslo, Norway and broadcast
live over Scandinavian television. As a recent member of the Ensemble Studio of the Canadian
Opera Company, he made his professional debut as Aeneas in Purcell’s Dido and Aeneas and as
Schlendrian in a staged production of Bach’s Coffee Cantata in 2003. Performances in past
seasons with the Canadian Opera Company include turns as Sid and as th Vicar in Britten’s
Albert Herring, and as Schaunard in Puccini’s La Bohème. Mr. McGillivray is a graduate of
the University of Toronto’s Opera Division where he was a student of soprano,
Lynn Blaser and mezzo-soprano, Patricia Kern. He also holds an honours degree in
Canadian History and Literature from the U of T’s University College.
Rufus Müller made his debut as Bastien in Mozart’s Bastien un Bastienne at the Kent Opera in 1984 and received the first prize at the
English Song Award in Brighton during the following year. Rufus has worked under Gustav Leonhardt, Frans Brüggen, Ivan Finscher, René
Jacobs, and other conductors. His performances in song recitals and oratorios have taken him to numerous European countries and to Puerto Rico,
the USA and Japan. His numerous CD recordings include performances in Bach’s St John Passion (BWV 245) under John Eliot Gardiner as well
as in Mozart’s The Magic Flute and Beethoven’s Choral Fantasy under Roger Norrington. At 1997 Händel’s Festival in
Göttingen, Rufus Müller was heard in the role of Lurcania in Händel’s Ariodante under Nicholas McGegan.
He was also a guest at the Holland Festival of Early Music in Utrecht and has been invited to sing in Haydn’s Creation
with the Drottningholm Baroque Orchestra.
Renowned for the richness of his voice and his compelling musical insights, bass-baritone Gary Relyea is one of the most distinguished artists currently before the public. He has thrilled audiences in Britten’s War Requiem, Handel’s Messiah, Mahler’s Symphony No. 8, and Verdi’s Requiem with prestigious orchestras including those of Cleveland, Montreal, Toronto, Baltimore, Detroit, San Francisco, Calgary, Vancouver and Ottawa’s National Arts Centre Orchestra. Mr. Relyea performs extensively in opera singing such roles as Raimondo in Lucia Di Lammermoor, and Friar Laurence in Gounod’s Roméo et Juliette. His debut as Rocco in Beethoven’s Fidelio coincided with the release of his CBC disc featuring scenes from Boris Godunov and Lucia Di Lammermoor with the Vancouver Symphony. 
One of the most exciting young sopranos to emerge in recent years, Carolyn Sampson was born in Bedford, studied music at the University of Birmingham and lives in London. She made her opera debut with English National Opera as Amor in The Coronation of Poppea, returning to the company for Pamina in The Magic Flute and most recently, a highly-acclaimed interpretation of Handel’s Semele. Her French opera début was at the Opéra de Paris as First Niece in Peter Grimes and she has taken the role of Asteria Tamerlano in Lille, Caen and Bordeaux. In concert, she has sung Euridice and La Musica L’Orfeo, Morgana Alcina and Antonia Les Contes d’Hoffmann. Carolyn Sampson has recorded Vivaldi, Zelenka, Monteverdi, Handel, Rameau, Lalande and Mozart for Hyperion, Bach and Handel for BIS, Robert Johnson lute songs for Avie, Monteverdi’s L’Orfeo for Virgin Classics and Gluck’s Paride ed Elena for DG Archiv. 
Tenor Michiel Schrey is being hailed by critics and public alike for his committed performances in a wide range of music, from the Baroque to contemporary opera and the great works of the 19th century. Mr. Schrey has sung in concert across Canada as well as in the United States and Europe. He has recently appeared with the symphonies of Montreal, Edmonton, Regina, Hamilton, Kingston, Buffalo and Quebec City, and with numerous other choral societies and chamber orchestras. Michiel Schrey is a passionate exponent of contemporary works, dating back to his prize-winning performances at the 1993 Eckhardt-Grammaté Competition. He is often heard as a soloist on CBC Radio and Radio-Canada, and has recorded CDs with the Bach Consort of Toronto and with the vocal quartet, Figaro. 
Paul Whelan studied at the Wellington Conservatoire and the Royal Northern College of Music, where he won several prestigious prizes and scholarships. He pursues a busy concert and recital career. Engagements have included concerts under Rattle, Nagano, Hickox, Menuhin and Sinaisky. He has performed with many leading UK orchestras, as well as with the RIAS Berlin Chamber Choir and the Budapest Symphony Orchestra. He has given recitals at the Wigmore Hall, St David’s Hall in Cardiff, the Cheltenham Festival, for the BBC Pebble Mill, all accompanied by Julius Drake; and a recital at the Châtelet Theatre in Paris, accompanied by David Harper. Recordings include A Midsummer Night’s Dream with the LSO under Sir Colin Davis (Philips), Kurt Weill’s Silbersee under Markus Stenz (BMG) recordings with the BBC Philharmonic for Chandos and the BBC Scottish Symphony for Hyperion. 
The English soprano, Deborah York, graduated from Manchester University with a First Class Honors Degree in
music and went on to study at The Guildhall School of Music and Drama, London, with Laura Sarti.
She now studies with Janice Chapman.Deborah York has established a reputation as one of the finest baroque singers and performs regularly with
many of Europe’s leading baroque ensembles. These include The King’s Consort, Collegium Vocale Gent,
The English Concert, the Amsterdam Baroque Orchestra, Freiburger Barockorchester and La Stagione, Frankfurt.
In 2004, she formed the Amrita Ensemble with a group of fellow musicians to explore more fully
the baroque solo cantata repertoire for soprano in an intimate chamber music setting.
Also much in demand in operatic roles and classical repertoire, Deborah York performs and broadcasts regularly all over Europe.
Her extensive discography includes cantatas by J.S. Bach with Philippe Herreweghe and with Ton Koopman, St Matthew Passion with the Gabrieli Consort
and a Grammy-winning version of Stravinsky’s The Rake’s Progress with the London Symphony Orchestra and John Eliot Gardiner.
Young Canadian Soprano Agnes Zsigovics "whose clear, liquid soprano voice makes her arias soar," appears with leading orchestras and choirs around Canada.
In November 2007 she made her debut with the Toronto Symphony Orchestra in Bach’s St. John Passion under the direction of Maestro Helmuth Rilling.
At the 2007 Ottawa Chamber Music Festival she was a guest soloist with Daniel Taylor and the TEM and was given a "ravishing review" in the Ottawa Citizen. Following this Ms. Zsigovics recorded Bach duets with Daniel Taylor on a CD for Sony BMG records.
Other engagements in 2007 include: Handel’s Messiah with the Windsor Symphony Orchestra and Chorus Niagara, Mozart’s Coronation Mass and Requiem, J.S. Bach’s Cantata BWV 4, 71 & 84, Buxtehude’s Schlagt Kunstler die Pauken and Poulenc’s Gloria.
Her additional solo performance credits include: Schubert’s Mass in G Major, Vivaldi’s Gloria, The Faure Requiem, J.S. Bach’s Cantata BWV: 23, 106, 137 & 140, and Vaughan Williams’ Dona Nobis Pacem.
Agnes has performed in the International Bach Festival for the past three years at the University of Toronto where she is currently completing her Masters in Voice Performance.