Belshazzar’s Feast & Fauré’s Requiem

Saturday, May 4, 2019 at 7:30 pm
Emmanuel United Church (formerly George Street United), Peterborough

Featuring: Andrew Tees, baritone | Agnes Zsigovics, soprano |

Walton’s sensational premier performance of Belshazzar’s Feast in 1931 was a huge critical and public success. This fiery and strongly rhythmic drama will be presented with organ and a full array of timpani and brass.

In contrast, Fauré’s serene composition is, in his own words, “dominated from beginning to end by a very human feeling of faith in eternal rest.”

From fiery drama to serene contemplation…


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Baritone Andrew Tees is one of the most dynamic singers of his generation. Blessed with a rich baritone, he is at home whether singing opera, oratorio, pops, or musical theatre.

On the operatic stage, Tees has performed for companies such as the Canadian Opera Company, Pacific Opera Victoria, Cleveland Opera, Opera Lyra Ottawa, Edmonton Opera, Manitoba Opera, Vancouver Opera, Opera Ontario, and Opera York, singing roles such as the title roles in both Nozze di Figaro and Don Giovanni (Mozart), Silvio in I Pagliacci (Leoncavallo), Escamillo in Carmen (Bizet), Sonora in La Fanciulla del West (Puccini), Marcello in La Boheme (Puccini), Danilo in The Merry Widow (Lehar), Monterone in Rigolett, Figaro in Barber of Seville, and the title role in Puccini’s Gianni Schicchi, among others.

A frequent guest of Maritime Concert Opera, Andrew sang Tonio in I Pagliacci last season. His other roles for them include Scarpia (Tosca), Marcello (Boheme), Escamillo (Carmen), and Germont (Traviata). For Toronto’s Opera by Request, Andrew has performed Golaud in Pelleas et Melisande as well as Wotan in Rheingold, Die Walkure & Siegfried. While a member of the Canadian Opera Company’s Ensemble Studio, Tees made frequent appearances on the main stage. He won praise for the as Tarquinius (Rape of Lucretia), Donald in Billy Budd, Sonora in La Fanciulla del West, as well as Fiorello in Il Barbiere di Siviglia. While with the COC, he covered many roles including Marcello, Belcore, Don Giovanni, Figaro, Billy Budd, and Krusina. With the COC Ensemble, he sang Papageno in the Magic Flute tour and Peter in the Hansel and Gretel tour. Since leaving the Ensemble Studio, Andrew has returned to the COC to sing several roles including the Mill Hand in Lady McBeth of Mtstensk and Marquis D`Aubigny in La Traviata.

No stranger to debuting new works, Tees has premiered Ian McAndrew’s Cassandra for Amphion Opera. He sang the role of the unprincipled oil executive Walter Swenson in Isa Suarez’s Carpe Diem for Bravo Television. He played Gandalf in Dean Burry’s The Hobbit with the Canadian Children’s Opera Chorus. For the Stratford Summer Music Festival, he depicted a tyrannical Claudius in the Premier of Mark Richard’s Hamlet. He was a Madrigalist in Henze’s Venus und Adonis for the Canadian Opera Company, a role he repeated at Amsterdam’s Concertgebou. He made a sympathetic Stash in the North American premiere of And the Rat Laughed by Israeli composer Ella Milch-Sheriff.

Passionate about oratorio, Andrew has had the pleasure of singing with many choirs and orchestras across the country. He has received praise for his interpretation of Verdi’s Requiem; Orff’s Carmina Burana, Handel’s Messiah, Saul, and Solomon; Brahms’s Requiem; Durable’s Requiem; Mendelssohn’s St Paul; and Faure’s Requiem. He has sung several works of Haydn: The Creation, The Seasons, Mass in a Time of War, and the Lord Nelson Mass. Andrew has performed the haunting Five Mystical Songs as well as the Fantasia on Christmas Carols, both by Vaughan Williams. He has performed as soloist in Beethoven’s Ninth Symphony and the composer’s Mass in C. He has also sung the Jean Gilles Requiem and Howard Goodal’s Eternal Light Requiem.




Agnes Zsigovics is a Canadian soprano soloist. She sings internationally, records on major labels, and specializes in Early Music repertoire. The Early Music Review (UK) wrote she is “icily perfect” and “among the best ever.” The New York Times praised her ardent lines and style at Carnegie Hall. A recent write-up in theWholeNote recognizes Agnes as “one of today’s finest sopranos specializing in Early Music.” Agnes is featured on several acclaimed albums, including Juno-nominated The Heart’s Refuge and The Voice of Bach with Daniel Taylor, and OPUS-nominated Bach Johannes-Passion with Alexander Weimann. Her most recent feature is on The Vale of Tears, released in 2015.

Agnes recently sang Bach’s Mass in B Minor with the Calgary Philharmonic Orchestra under the direction of Ivars Taurins. This season marked her seventh appearance as guest soprano soloist at the Bethlehem Bach Festival and her debut singing Monteverdi’s Vespers with Music of the Baroque (Chicago) under the direction of Jane Glover. Another highlight of this season was singing Bach’s St. Mark Passion at Festival d’Ambronay in France with the Paris based Early Music ensemble Le Concert Étranger. Last season’s engagements include her solo debut with Tafelmusik, Dido and Aeneas (Theatre of Early Music), Bach’s Mass in B Minor (King’s Chapel Choir), Bach’s St. Matthew Passion (Grand Philharmonic Choir) and a solo recital at the Elora Festival.

Other career highlights include Carnegie Hall, Washington Bach Consort, The National Ballet, The Oregon Bach Festival, I Musici, Toronto Symphony Orchestra, and tours to Peru, Brazil and Germany.