Last updated: December 13, 2022
Libretto
PART ONE
Sinfony: Grave – Allegro moderato
Accompagnato (Tenor): Comfort ye, comfort ye, my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness, “Prepare ye the way of the Lord, make straight in the desert a highway for our God.”
Air (Tenor): Ev’ry valley shall be exalted, ev’ry mountain and hill made low, the crooked straight, and the rough places plain.
Chorus: And the glory of the Lord shall be revealed, and all flesh shall see it together, for the mouth of the Lord hath spoken it.
Accompagnato (Bass): Thus saith the Lord, the Lord of Hosts: yet once, a little while, and I will shake the heav’ns, and the earth, the sea and the dry land; and I will shake all nations, and the desire of all nations shall come: the Lord whom you seek, shall suddenly come to His temple, ev’n the messenger of the covenant, whom ye delight in: behold He shall come, the Lord of hosts.
Air (Alto) : But who may abide the day of His coming? And who shall stand when He appeareth? For He is like a refiner’s fire.
Chorus: And He shall purify the sons of Levi that they may offer unto the Lord an offering in righteousness.
Recitative (Alto): Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel: “God with us.”
Air (Alto) and Chorus: O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, “Behold your God: Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee.”
Accompagnato (Bass): For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee, and the Gentiles shall come to thy light, and the kings to the brightness of thy rising.
Air (Bass): The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined.
Chorus: For unto us a Child is born, unto us a Son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace.
Pifa: Pastoral Symphony
Recitative (Soprano): There were shepherds abiding
in the field, keeping watch over their flocks by night.
Accompagnato (Soprano): And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.
Recitative (Soprano): And the angel said unto them: Fear not, for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David, a Saviour, which is Christ the Lord.
Accompagnato (Soprano): And suddenly there was with the angel a multitude of the heavenly host, praising God, and saying,
Chorus: Glory to God in the highest and peace on earth, good will toward men.
Air (Soprano): Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem; behold, thy King cometh unto thee: He is the righteous Saviour, and He shall speak peace unto the heathen.
Recitative (Alto): Then shall the eyes of the blind be open’d, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
Air (Alto and Soprano): He shall feed His flock like a shepherd, and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. Come unto Him, all ye that labour and are heavy laden, and He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls.
Chorus: His yoke is easy, and His burthen is light.
PART TWO
Air (Alto): He was despised and rejected of men; a man of sorrows, and acquainted with grief. He gave His back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting.
Chorus: Surely, He hath borne our griefs, and carried our sorrows. He was wounded for our transgressions. He was bruised for our iniquities, the chastisement of our peace was upon Him.
Chorus: And with His stripes we are healed.
Chorus: All we like sheep have gone astray; we have turned every one to his own way, and the Lord hath laid on Him the iniquity of us all.
Accompagnato (Tenor): All they that see Him, laugh Him to scorn; they shoot out their lips, and shake their heads, saying:
Chorus: He trusted in God that He would deliver Him: let Him deliver Him, if He delight in Him.
Accompagnato (Tenor): Thy rebuke hath broken His heart; He is full of heaviness; He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him.
Arioso (Tenor): Behold, and see if there be any sorrow like unto His sorrow.
Accompagnato (Tenor): He was cut off out of the land of the living; for the transgression of Thy people was He stricken.
Air (Tenor): But Thou didst not leave His soul in Hell, nor didst Thou suffer Thy Holy One to see corruption.
Chorus: Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory shall come in. Who is this King of Glory? The Lord strong and mighty, the Lord mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory shall come in. Who is this King of Glory? The Lord of Hosts, He is the King of Glory.
Air (Bass): Why do the nations so furiously rage together, and why do the people imagine a vain thing? The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed, saying:
Chorus: Let us break their bonds asunder and cast away their yokes from us.
Recitative (Tenor): He that dwelleth in Heaven shall laugh them to scorn: The Lord shall have them in derision.
Air (Tenor): Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter’s vessel.
Chorus: Hallelujah for the Lord God omnipotent reigneth. The kingdom of this world is become the Kingdom of our Lord and of His Christ; and He shall reign for ever and ever. King of Kings, and Lord of Lords, Hallelujah!
PART THREE
Air (Soprano): I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth; and though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first-fruits of them that sleep.
Chorus: Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Accompagnato (Bass): Behold, I tell you a mystery: we shall not all sleep, but we shall all be changed in a moment, in the twinkling of an eye, at the last trumpet.
Air (Bass): The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
Chorus: Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and pow’r, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever.
Chorus: Amen.
— Text from the King James version of the Bible, selected and arranged by Charles Jennens. Carus Edition, Ton Koopman & Jan H. Siemons, editors.
Repertoire
Messiah, HWV 56
Probably Handel’s most famous work, Messiah (1741) is the only composition of its time to be performed continuously since its premiere in Dublin on April 12, 1742. The remarkable frequency of its performance was due in part to the accessibility of the score (which was published in 1767), and its enduring popularity owes much to the unique qualities of its text and the ways Handel set it to music.
Messiah is an oratorio—a semi-dramatic genre akin to opera but on a religious topic. Like an opera, an oratorio may have a narrative plot with characters, and unfold with operatic elements such as recitatives, arias, and choruses. However, unlike an opera, it’s performed in concert form—that is, without scenery, costumes, and acting (though action would be implied). In Italy during the first half of the 18th century, oratorios were substitutes for opera during Lent, a solemn season during the Christian liturgical calendar when one had to abstain from opera among other worldly activities. Messiah is, notably, a certain kind of concert oratorio that Handel had developed in England, as an alternative to Italian opera, which, by mid-century, was falling out of favour and fashion with audiences there. After its premiere, he introduced Messiah to London theatres beginning in 1743. Initially, the oratorio’s sacred subject appearing in a secular context provoked controversy but later, shifts in circumstance and audience tastes eventually made this a non-issue. In subsequent revivals, Handel always scheduled performances of it at the end of the theatre season, within a couple of weeks before Easter. Today, Messiah is usually performed around Christmas.
Messiah tells the story of God’s redemption of mankind through Christ the Saviour. Charles Jennens, a friend of the composer’s, created the libretto by selecting and adapting verses from the Old and New Testaments in the Authorized Version of the Bible. The verses are grouped so the drama unfolds in three main parts: Part One presents the prophecies about the Messiah’s coming, and their fulfillment in his birth; Part Two follows the passion story of Christ, his crucifixion, death, and resurrection, the rejection of Christ, and God’s ultimate victory; Part Three is a meditation on what is accomplished through Christ’s victory—the promise of eternal life and triumph over death. While the story has clear religious significance, Jennens avoids a dogmatic interpretation. As a result, Messiah’s narrative, rich in complex human themes and emotions, can be appreciated by anyone, regardless of belief or creed.
Handel’s Messiah is unique to the oratorio genre because its story is presented, not through the personification of characters, but rather, in a descriptive format by the voices of the four soloists and chorus. The text thus becomes something to be contemplated, enhanced by the composer’s deft use of recitative, aria, and chorus, to infuse variety and drama. In the recitatives, there’s a notable distinction between those accompanied by continuo (i.e. keyboard and cello) versus those accompanied by orchestra (“accompagnato”). While the former serve to introduce new topics, the latter drive the narrative forward in key moments, for example, “And lo, the angel of the Lord came upon them” (Part One), “Thy rebuke hath broken His heart” (Part Two), and “Behold, I tell you a mystery” (Part Three). For the ensuing airs (or arias) during which matters are more deeply reflected upon, Handel uses a mixture of forms. He had originally planned four arias to be set in the elaborate Baroque da capo (ABA) form but only the one for alto, “He was despised”, was not shortened before the first performance. This aria carries deep emotional weight, setting the stage for the dramatic arc of Part Two that ultimately culminates in the glorious “Hallelujah” chorus.
Regarding the choruses, shifting musical textures—from unison declarations to layered counterpoint to majestic chordal statements—enliven these commentaries to powerful effect. The aforementioned “Hallelujah” chorus is a particularly brilliant example, incorporating monophonic (“King of Kings”), homophonic (the opening “Hallelujah”), and polyphonic (“And he shall reign for ever and ever”) textures. Listen also to how it goes from low and quiet on “The kingdom of this world is become” to suddenly loud on “the Kingdom of the Lord, and of his Christ”, on a similar motif but in a higher register, as if radiant—a musical representation of the transformation described in the text. In the final “Amen” chorus, Handel inventively contrasts homophonic and polyphonic textures as well as vocal and orchestral timbres to bring the oratorio to a magnificent close.
Program note by Hannah Chan-Hartley, PhD
Artists
Patrick Dupré Quigley is a GRAMMY-nominated American conductor, Founder and Artistic Director of the intrepid indie-classical ensemble Seraphic Fire, and guest conductor with North America’s top professional orchestras. Quigley is known for his engaging performances of historically informed programming that draw in new audiences and delight regular concertgoers. Through recordings, performances, and new editions, Quigley has championed the culturally relevant voices of Spanish Renaissance composer Tomas Luis de Victoria, the 11th-century polymath and saint Hildegard of Bingen, and 18th-century Cuban composer Esteban Salas y Castro. He has made significant contributions to American music by fostering vibrant musical education programs, commissioning contemporary American composers, and producing revival performances of neglected masterworks.
This season, Quigley returns to Music of the Baroque and the New World Symphony, and debuts with Opera Lafayette. Other upcoming projects include a return to lead Chicago’s Music of the Baroque in the music of Johann Sebastian Bach; Handel’s Messiah in debuts with the National Arts Centre Orchestra and Kansas City Symphony; a subscription debut at the Hamilton Philharmonic Orchestra in Stravinsky and Vivaldi, and Seraphic Fire’s second Enlightenment Festival featuring the music of Purcell and Bach.
Quigley founded Seraphic Fire in 2002 in Miami, Florida. The ensemble’s recording catalogue contains 16 albums; two titles have received GRAMMY nominations. Seraphic Fire enjoys a residency at the Aspen Music Festival, where Quigley teaches and conducts.
A singer deemed “a treasure” by the Toronto Star, soprano Mireille Asselin enjoys a diverse, international career spanning concert, opera, and recital work. To date, Mireille has sung five seasons at the Metropolitan Opera, where she debuted as Poussette in Manon and has since covered many lead roles. Her performance there as Adele in Die Fledermaus under the baton of James Levine, was hailed by critics as “show stealing” and one of New York’s “most enchanting” of the season. She is a respected interpreter of contemporary and early music and performs regularly with leading orchestras and period ensembles in North America and Europe.
This season she appears with the Canadian Opera Company (Barbarina in Le nozze di Figaro), Opera Atelier (Belinda in Dido and Aeneas), Edmonton Opera (Pergolesi’s Stabat Mater) and sings Zerlina (Mozart’s Don Giovanni) as well as Handel’s Messiah with the National Arts Centre Orchestra. Recently, she has debuted at the Théâtre des Champs Elysées in Paris and Garsington Opera in the UK as Zerlina in Don Giovanni, as well as with the Orchestre de Chambre de Paris in Mozart’s Requiem, returning also to Carnegie Hall for Bach’s Christmas Oratorio.
Mireille is a graduate of the Canadian Opera Company Studio, Yale University, and the Royal Conservatory of Music. She is a core member of the Mirror Visions Ensemble, a group which creates and tours innovative song recitals worldwide. Her discography includes solo discs recorded for Marquis Classics and Centrediscs, as well as Haydn’s Harmoniemesse with the Handel and Haydn Society on the CORO label.
French-Canadian mezzo-soprano Julie Boulianne is acclaimed for the vocal agility and expressive power of her dark-hued tone, focusing on the works of Berlioz, Mozart, and Rossini.
During the 2021–22 season, she returned to the Metropolitan Opera as the title role in Massenet’s Cinderella, in a new production for family audiences; the Wiener Staatsoper as Charlotte in Werther, and both the Royal Opera House at Covent Garden and the Glyndebourne Festival as Dorabella in Così fan tutte. Additionally, in her native Québec, she joined Opéra de Montréal as Rose Valland in the world premiere of Julien Bilodeau’s La beauté du monde and Opéra de Québec as Donna Elvira in Don Giovanni. On the concert stage, she performed César Franck’s Redemption with the Netherlands Radio Philharmonic Orchestra, Berlioz’s Les nuits d’été with the Gulbenkian Orchestra in Lisbon, and Ravel’s Shéhérazade and Cinq mélodies populaires grecques with Orchestre Classique de Montréal.
In March 2009, Naxos Records released a recording of Shéhérazade and L’enfant et les sortilèges featuring Julie Boulianne and the Nashville Symphony, which was nominated for the GRAMMY Award for Best Classical Album. She can also be heard on a 2011 ATMA Classique release of Mahler’s Lieder eines fahrenden Gesellen and Kindertotenlieder. She recorded L’Aiglon by Ibert and Honegger under the baton of Kent Nagano released by Decca in 2016, and two CDs with Luc Beauséjour released by Analekta: Handel & Porpora – The London Years, and recently, Alma Opressa, Vivaldi – Handel: Arias.
Lauded for his luminous projection, lyrical sensitivity, and brilliant coloratura, American-Canadian tenor Lawrence Wiliford is in high demand in concert, opera, and recital repertoire. In 2022–2023, he joined both the Houston Symphony and NAC Orchestra for Handel’s Messiah, and returned to Early Music Vancouver for vocal selections by Schütz. In the 2023–2024 season, Wiliford appears as the tenor soloist in Messiah with the NAC Orchestra as well as the Toronto Korean Canadian Choir. He also returns to the Hamilton Philharmonic for Beethoven’s Symphony No. 9.
Lawrence Wiliford’s concert engagements encompass the major symphony orchestras and early music groups in the U.S. and Canada. Recent season highlights include performances of Beethoven’s Symphony No. 9 with the Vancouver Symphony Orchestra; Mozart’s Requiem with the Calgary Philharmonic Orchestra and Seattle Symphony; and Britten’s Serenade for Tenor, Horn, and Strings, Op. 31 with the Hamilton Philharmonic. Additional appearances of note include Handel’s Messiah with the Toronto Symphony Orchestra, Detroit Symphony Orchestra, National Symphony Orchestra, Naples Philharmonic, Louisiana Philharmonic, Philharmonia Baroque Orchestra, Edmonton Symphony Orchestra, and Tafelmusik Baroque Orchestra. With the National Arts Centre Orchestra, he has previously sung in J.S. Bach’s Mass in B minor and Christmas Oratorio, Mozart’s Requiem, and Haydn’s Nelson Mass.
His recorded projects appear on several labels and include a Grammy-nominated and Juno Award–winning recording of music by Vaughan Williams with the Toronto Symphony Orchestra and Peter Oundjian (Chandos); J.S. Bach’s St John Passion under the direction of Alex Weimann (ATMA Classique); a program of late works for tenor and harp by Benjamin Britten (ATMA Classique); and sacred songs by Edmund Rubbra, Ralph Vaughan Williams, and Gustav Holst (Stone Records). He is also a featured soloist on the 2020 Juno Award–nominated recording of Zachary Wadsworth’s oratorio When There is Peace by Chor Leoni Men’s Choir. In addition to his performing schedule, Lawrence Wiliford is co-artistic director of the Canadian Art Song Project.
American baritone Norman Garrett, who has been called “scene-stealing” by The New York Times, is enjoying a varied and exciting career. In the 2021–22 season, he made his house and role debut at Seattle Opera as the Count in Mozart’s Le nozze di Figaro. He also returned to the Metropolitan Opera and Lyric Opera of Chicago as the Foreman/Adult James in Terence Blanchard’s Fire Shut Up in My Bones, and reprised the role of Jim in Porgy and Bess at the Metropolitan Opera. He also sang Jake in Porgy and Bess with the NDR Elbphilharmonie Orchestra on tour at the Lucerne Festival and the Schleswig-Holstein Musik Festival, with conductor Alan Gilbert.
On the concert stage, Norman Garrett has made many important appearances, including Carmina Burana with the Los Angeles Philharmonic at the Hollywood Bowl and the Toronto Symphony Orchestra, in a Gershwin program with the Philadelphia Orchestra, and as the Marchese in La traviata with the Los Angeles Philharmonic at the Hollywood Bowl. He has also sung a concert of American music with the Cleveland Orchestra, Escamillo in concert with the Lubbock Symphony Orchestra, and Beethoven’s Symphony No. 9 with the National Philharmonic at The Music Center at Strathmore and the Rogue Valley Symphony in Ashland, Oregon.
Norman Garrett is a former winner of the George London Foundation Competition, and has received top prizes in more than a dozen international vocal competitions, including the Gerda Lissner Foundation, the William Matheus Sullivan Foundation, the Jensen Foundation, the Giulio Gari Foundation, Fort Worth Opera’s McCammon Competition, and the Licia Albanese-Puccini Competition.
Cantata Singers of Ottawa (CSO) is marking 60 years and Artistic Director Andrew McAnerney has programmed “A Season of Celebration.”
CSO’s concert series for 2023–2024 includes Rachmaninoff’s Vespers (in November), Arctic Soundscapes with music from Arctic countries (in April), and the CSO@60 Anniversary Concert (in June) with works from the choir’s 60 years of music making, specially commissioned pieces, and Haydn’s Nelson Mass with The Ottawa Baroque Consort.
Founded in 1964, the choir of approximately 45 voices has distinguished itself in the performance of music of many styles and musical periods from early music to minimalism, and is at home singing a cappella, with orchestra, or with small ensembles. The choir aspires to perform choral music to the highest standards, promotes choral music in Ottawa, and supports Canadian musical talent by commissioning Canadian composers, engaging Canadian musicians, providing scholarships to young Canadian singers, and including works by women and Canadian composers in seasonal programming.
With the exception of the COVID period, CSO has performed annually with the National Arts Centre Orchestra under the baton of every NAC Artistic Director, plus visiting guest conductors, since the NAC’s opening in 1969.
The choir has been an invited guest at a number of Canadian music festivals, including Festival de Lanaudière and Festival of the Sound. It has also partnered with such well-known Canadian choirs as Pro Coro Canada of Edmonton, the Vancouver Chamber Choir, and Montreal’s St. Lawrence Choir in joint concerts. Thanks to numerous CBC and Radio Canada broadcasts, the choir is well known across Canada.
The Capital Chamber Choir (CCC) is an auditioned ensemble of experienced choral singers from the National Capital Region. The choir and Artistic Director, Jamie Loback, are committed to bringing a diverse range of choral music—in particular, modern, Canadian, and local works—to audiences through high-calibre and engaging performances. Founded in 2009 by Dr. Sara Brooks, the choir is a true collaboration, emphasizing the importance of collegiality in generating an integrated choral sound. CCC is a volunteer-led organization, drawing Executive Board and Committee members from within the ensemble itself.
Each season, CCC presents its own concert series in addition to undertaking collaborative projects with other musicians. The choir has collaborated with notable ensembles including the National Arts Centre Orchestra, Thirteen Strings Chamber Orchestra, Elmer Iseler Singers, and Canadian Chamber Choir, and has hosted masterclasses or performances with composers including John Rutter, Morten Lauridsen, Ola Gjeilo, and Ēriks Ešenvalds.
CCC released its all-Canadian debut album, The Delight of Paradise, in April 2017. In 2018, the choir performed a Spotlight concert in St. John’s, Newfoundland as part of the Podium Choral Conference & Festival. CCC won second prize in the Mixed-Voice Adult Choirs category of the National Competition for Canadian Amateur Choirs in 2019 and was invited to perform at Rideau Hall for recipients of the Order of Canada.
Though the COVID-19 pandemic put a halt to live performances in 2020 and 2021, CCC took advantage of the break to record two series of video sessions on YouTube. The choir re-emerged on stage in Fall 2021 and has since been building up to consistent seasons! CCC is looking forward to a full 2023–2024 season program including innovative works and exploring new spaces in the heart of Ottawa.
Since its debut in 1969, the National Arts Centre (NAC) Orchestra has been praised for the passion and clarity of its performances, its visionary educational programs, and its prominent role in nurturing Canadian creativity. Under the leadership of Music Director Alexander Shelley, the NAC Orchestra reflects the fabric and values of Canada, reaching and representing the diverse communities we live in with daring programming, powerful storytelling, inspiring artistry, and innovative partnerships.
Alexander Shelley began his tenure as Music Director in 2015, following Pinchas Zukerman’s 16 seasons at the helm. Principal Associate Conductor of the Royal Philharmonic Orchestra, and former Chief Conductor of the Nuremberg Symphony Orchestra (2009–2017), he has been in demand around the world, conducting the Rotterdam Philharmonic, DSO Berlin, Leipzig Gewandhaus, and Stockholm Philharmonic, among others, and maintains a regular relationship with the Deutsche Kammerphilharmonie and the German National Youth Orchestra.
Each season, the NAC Orchestra features world-class artists such as the newly appointed Artist-in-Residence James Ehnes, Angela Hewitt, Joshua Bell, Xian Zhang, Gabriela Montero, Stewart Goodyear, Jan Lisiecki, and Principal Guest Conductor John Storgårds. As one of the most accessible, inclusive, and collaborative orchestras in the world, the NAC Orchestra uses music as a universal language to communicate the deepest of human emotions and connect people through shared experiences.
NAC Orchestra
Conducteur: Patrick Dupré Quigley
Soloists: Mireille Asselin, soprano; Julie Boulianne, mezzo-soprano; Lawrence Wiliford, tenor; Norman Garrett, baritone
- First Violins
Yosuke Kawasaki (concertmaster)
Jessica Linnebach (associate concertmaster)
Noémi Racine Gaudreault (assistant concertmaster)
Jeremy Mastrangelo
Marjolaine Lambert
Emily Westell
Manuela Milani
Emily Kruspe - Second Violins
Mintje van Lier (principal)
Winston Webber (assistant principal)
Leah Roseman
Carissa Klopoushak
Frédéric Moisan
Zhengdong Liang
Mark Friedman
*Martine Dubé
**Karoly Sziladi
**Edvard Skerjanc - Violas
Jethro Marks (principal)
David Goldblatt (assistant principal)
David Marks (associate principal)
David Thies-Thompson
Paul Casey - Cellos
Rachel Mercer (principal)
**Julia MacLaine (assistant principal)
Leah Wyber
Timothy McCoy
*Karen Kang
**Marc-André Riberdy - Double Basses
Max Cardilli
Vincent Gendron
Marjolaine Fournier
**Hilda Cowie - Oboes/Hautbois
Charles Hamann (principal)
Anna Petersen - Bassoons
Darren Hicks (principal) - Trumpets
Karen Donnelly (principal)
Steven van Gulik - Timpani
*Michael Kemp - Harpsichord
* Mélisande McNabney - Organ
* Thomas Annand - Principal Librarian
Nancy Elbeck - Assistant Librarian
Corey Rempel - Personnel Manager
Meiko Lydall - Assistant Personnel Manager
Laurie Shannon
*Additional musicians/Musiciens surnuméraires
**On Leave/En congé
Cantata Singers of Ottawa
Andrew McAnerney, Artistic Director
- Soprano
Kristi Aruja
Bonnie Day
Valerie Douglas
Deirdre Garcia
Natasha Harwood
Victoria Holland
Erica Loughlin
Cathy Patton
Debbie Smith
Anna von Holzendorff - Alto
Barbara Ackison
Meghan Boersma
Trish Brooks
Vickie Classen Iles
Janet Cover
Nichole Ekkert-Vine
Hannah Feagan
Liz Gray
Mateya Hughs
Diana James
Eileen Johnson
Grace Mann
Sheri Meyerhoffer
Andi Murphy - Tenor
Loyal Beggs
Gary Boyd
Neil Crawford
Richard Fujarczuk
Dorian Gerdes
Ross Jewell
Karl Mann - Bass
Kevin Day
Andrew Hodgson
Greg Huyer
Björn Johansson
J.P. McElhone
Sean Robertson
Daniel Savoie
Glen Seeds
Mike Vanier
John Young
Capital Chamber Choir
Jamie Loback, Artistic Director
- Soprano
Maura Forrest
Jasmine Lyengar
Janessa Mann
Katarina Michalyshyn
Sophia Nickel
Nicola Oddy
Sonja Peters
Lily Polowin - Alto
Sam Greve
Alison Hamer
Olivia Harvey
Katy Quinn
Valeria Rincon
Aidan Shenkman
Jocelyn Veevers
Alice Yoch - Tenor
Jamie H. Bell
Simon Cavanagh
Cameron Climie
Dorian Gerdes
Ian Silk
Kelly Symons
Max Von Holtz - Bass
Spencer Cripps
Christopher Mallory
Alan Rempel
Madox Terrell
Justin Willette
Nicolas Zuluaga
- Official Car of the NAC Orchestra
