The Creation Tickets

The rumours are true. I’m retiring! After 35 years, this year’s Messiah concerts will be my last as Artistic Director of the Peterborough Singers.

This is a bittersweet moment. Bitter, because the Singers has given many of the most memorable moments of my life. How can I ever forget directing Handel’s Messiah the night my son, James, died of cancer? The dozens of Messiah concerts since have played a key role in the healing journey of everyone who grieved with us, and healed with us.

But, this moment is also sweet. While I will desperately miss standing at that podium, I can rest knowing that, after 35 years, the choir is healthier than ever. After much reflection, I decided that now, when the choir is at its best, is the time to pass on the baton. I want to hand my successor – whoever they may be – a healthy, thriving, well-oiled machine.

This is what Syd’s Legacy Fund is for — not a monument, but a toolkit. It will help with the things that make the choir soar: world-class soloists who lift the roof, programs that bring music into communities, and all the invisible gears that keep the machine running. It’s about ensuring the next conductor walks into a room full of possibility.

If the Peterborough Singers has ever made you smile, cry, sit up straighter, or hum on the way home, I hope you’ll consider supporting this next chapter. Your gift will help keep the music alive…for the next 35 years!

Jacob Abrahamse is a critically acclaimed tenor, praised by Opera Canada as a “gifted tenor” and an “impressive Alfredo” in La Traviata. Known for his dynamic stage presence and refined vocal artistry, he regularly performs across North America in opera, oratorio, and concert settings.

In the 2025/2026 season, Abrahamse debuts at The Dallas Opera as The Snake/The Vain Man in Rachel Portman’s The Little Prince and returns to The Santa Fe Opera as an Apprentice Singer, performing as the Street Vendor in Puccini’s La Bohème and covering Don Curzio in Mozart’s Le nozze di Figaro. As an oratorio soloist, Abrahamse performs in the North American premiere of Norbert Palej’s Missa Super Terminos (Elmer Iseler Singers/MacMillan Singers) and in Haydn’s Die Schöpfung (Peterborough Singers/Peterborough Symphony Orchestra).

In 2023/2024, Abrahamse performed as the Tenor Soloist in Mozart’s Requiem (Mississauga Chamber Singers) and Handel’s Messiah (St. James Cathedral Choir and Orchestra; Choral Connection). As a member of Santa Fe Opera’s internationally renowned Apprentice Program for Singers, Abrahamse performed as Count Almaviva in scenes from Il barbiere di Siviglia and covered Faninal’s Major Domo and First Lackey in Richard Strauss’s Der Rosenkavalier. Abrahamse earned praise for his portrayal of Alfredo in La Traviata (Brott Opera), with Opera Canada calling his performance “remarkable” and highlighting his “particularly stellar passages” in De’ miei bollenti spiriti; O mio rimorso!” He also portrayed Frederic in Gilbert and Sullivan’s Pirates of Penzance (COSA Canada), Ralph Rackstraw in Gilbert and Sullivan’s H.M.S. Pinafore (Saugeen Opera Festival), and Broddess/Overseer Pitts in Okoke’s Harriet Tubman: When I Crossed that Line to Freedom (Nathaniel Dett Chorale).

Abrahamse has performed with the Toronto Symphony Orchestra at Roy Thomson Hall as the Tenor Soloist in Mendelssohn’s Elijah. He also appeared as the Tenor Soloist in Bach’s Mass in B Minor with the Toronto Mendelssohn Choir and as the Tenor Soloist in Handel’s Messiah with ensembles including the choir and orchestra of St. James Cathedral, members of the Toronto Symphony Orchestra, the Peterborough Singers, and the Georgian Bay Concert Choir.

A champion of contemporary opera, Abrahamse has performed roles in works by Dean Burry, Lloyd Burritt, and Abigail Richardson-Schulte. He made his operatic debut by creating the starring role of the Holy Child in the Dora Mavor Moore award-winning production of R. Murray Schafer’s The Children’s Crusade.

Music Director Michael Newnham is best known for his intense and inspiring conducting style, based on a deep knowledge of the score and informed by a strong interest in languages, cultures and history. A born communicator, his open and direct contact with musicians and audiences creates performances full of expression and energy.

Along with his duties at the PSO, he is also presently (since 2018) Music Director of Orchestra Toronto. During his tenure as Music Director of Symphony New Brunswick (2009-2018), Newnham was instrumental in bringing that orchestra to new artistic heights and raising its profile on the national level.

In addition to his performances in his native Canada, Newnham has also appeared at the helm of many orchestras and opera companies throughout Poland, Slovakia, the Czech Republic, Hungary, Austria, Italy and South Korea.

Endowed with a special passion and gift for working with young musicians, Michael was the founding conductor of the Kawartha Youth Orchestra, and has been a faculty member at Music at Port Milford for several years. His involvement in educating young musicians is not limited to Canada; he spent two years as a guest professor and orchestra conductor at Taegu-Hyosung University in South Korea.

Originally from Hamilton, Newnham is a graduate of the conducting class of Prof. Bogusław Madey at the Chopin Academy of Music in Warsaw, Poland. He also studied at the Indiana University School of Music and at the University of Toronto.

He is a recipient of several awards, including the “Order of Merit” from the Republic of Poland, the “Best Conductor” Award from the East Slovakian State Opera, and the Turzanski Award for his services in promoting Polish music and culture in Canada.

Before taking up the baton, Newnham began his musical career as a trombonist, playing with the Toronto and Kitchener-Waterloo Symphonies, as well as a member of the National Youth Orchestra of Canada. He currently lives in Peterborough with his wife, cellist Zuzanna. He is an avid reader, proud father to two daughters and a passionate home barista.

Polish-Canadian soprano Karoline Podolak is recipient of many international awards and prizes, most recently including Grand Prize at the 2023 George and Nora London Foundation, First Prize and Audience Choice Prize Winner at the 2022 Canadian Opera Company Competition, and Second Prize at the 2023 Loren L. Zachary Vocal Competition. Podolak has participated in various young artist programmes and has twice been named ‘Jeunes Ambassadeurs Lyriques’ of Théâtre Lyrichorégra 20.

Operatic highlights of the 2024/25 season include a house debut as Adele Die Fledermaus at Edmonton Opera, Kate Pinkerton Madama Butterfly for Canadian Opera Company as well as concert performances as Papagena Die Zauberflöte at Daegu Opera House. Elsewhere this season, performances include Markopoulos Liturgy of Orpheus at the Odeon of Herodes Atticus in Athens, an appearance with Orchestra Toronto, and recital at Opéra National de Bordeaux.

In November 2019, Podolak made her operatic debut at Silesian Opera House as Zuzia in the academic premiere of Stanislaw Moniuszko Verbum Nobile, returning later that season as Adele Die Fledermaus. Other previous highlights include the title role in The Cunning Little Vixen at Canadian Opera Company, Violetta La Traviata for Bulgaria National Opera, Staatstheater Augsburg and Southern Ontario Lyric Opera, as well as Le Feu, La Princesse & Le Rossignol in Ravel L’Enfant et les sortilèges for Opéra de Montréal.

In concert, Podolak has appeared with the Toronto Concert Orchestra, Southern Ontario Lyric Opera, Toronto Sinfonietta, Opera de San Miguel in Mexico, Meininger Staatstheater, The Symphony Orchestra of Zabrze Philharmonic and Silesian Philharmonic. She has performed regularly for the Polish Consulate and Legislative Assembly of Ontario in Toronto, and has been a featured soloist in the Congregation of Polish Choirs in Warsaw.

Karoline Podolak graduated from Ryerson University’s RTA School of Media and completed a Master’s degree in Opera Performance at the K. Szymanowski Academy of Music, Katowice. She continues her studies with Kinga Mitrowska.

Melissa Wotherspoon is a distinguished musician and educator, renowned for her artistic vision and dedication to community engagement. Since 2010, she has been an integral member of the soprano section of the Peterborough Singers, where she has also championed the choir’s outreach and fundraising initiatives through innovative YouTube videos. Melissa’s passion for music is evident in her commitment to excellence and her ability to unite individuals from diverse backgrounds in a warm, inclusive atmosphere.

Her musical journey began at Markham District High School, where an inspiring music program and dedicated teachers ignited her passion for musical excellence. This experience also fostered her commitment to education, leading her to pursue studies at the University of Toronto’s Ontario Institute for Studies in Education after completing her undergraduate degrees in science and music at the University of Guelph.

Currently, Melissa serves as the Arts Lead at Clarington Central Secondary School, where she directs vocal and theatrical ensembles, mentors young artists, and advocates for inclusive arts education with creativity, compassion, and a deep belief in the power of music to bring people together.

Canadian countertenor Ian Sabourin is a rising star in the world of early music and opera, known for his exceptional timbre, powerful high notes, and dynamic artistry. Raised in Ottawa and now based in Montreal, Ian is rapidly making a name for himself in Canada’s classical music scene. Described as “stunning” with a “powerful timbre” that listeners can enjoy for hours, Ian has captivated audiences at renowned festivals such as the Lamèque Baroque Festival and with esteemed ensembles including Orchestre Classique de Montréal, Ensemble Caprice, and Studio de musique ancienne de Montréal. He has been recognized for his artistry with several prestigious awards, including the Stingray Rising Star Award from Opéra de Montréal and Discovery of the Year – Vocalist from Mécénat Musica. These accolades have greatly supported his growing career, providing invaluable exposure and opening doors to new opportunities. A former street performer, Ian is deeply passionate about making the countertenor voice more accessible to a wider audience. This love for sharing the beauty of his voice with listeners from all walks of life has been a guiding force in his artistic journey. His recent season has featured key performances such as Bateau B in Laurence Jobidon’s new opera Le Phare and Ottone in Monteverdi’s L’incoronazione di Poppea at Opéra de Montréal – Atelier Lyrique and David in Handel’s Saul with and Caelis Academy Ensemble, Ian’s voice is increasingly sought after for both concert and opera stages, with upcoming performances that include Tolomeo in Giulio Cesare at the Lachine Music Festival (July 2025) and Giulio Cesare in Giulio Cesare at OperOttawa (November 2025), and Bach’s St. John Passion with Choeur Classique de Montréal (January 2026) and Bach’s Magnificat with Ensemble Art Choral and Ensemble Caprice (June 2026). In addition to his stage performances, Ian’s recent concert work has included Handel’s Dixit Dominus with the Saskatoon Symphony Orchestra and Handel’s Giulio Cesare scenes with Galileo Orchestra. His extensive training has included a Master’s in Vocal Performance from McGill University, where he studied with mezzo-soprano Annamaria Popescu, and a Bachelor’s in Vocal Performance from the University of Toronto, where he studied with countertenor Daniel Taylor. Ian is currently continuing his development at Opéra de Montréal’s Atelier Lyrique, where he is their first-ever countertenor, and studying with renowned teachers Lena Hellström-Färnlöf and Laura Brooks Rice. Ian’s growing success is a result of his hard work and dedication, supported by recognition from several award organizations. The Developing Artist Grant from the Hnatyshyn Foundation, where he placed second in 2024, has provided vital resources for his continued artistic growth. Other honours, such as being a semi-finalist on the TV show Quel Talent! (2024) and winning 3rd Place in the Emerging Artist Award from Early Music Vancouver (2023), have further fueled his journey and helped raise his profile within the industry. Ian also received the Aida Fund Scholarship from Jeunesses Musicales Canada Foundation (2024), which has supported his vocal development. Fluent in both English and French, Ian continues to make a name for himself as an artist with a promising future, one performance at a time. With a passion for making the countertenor voice accessible and a growing repertoire of roles, Ian is poised to become a leading figure in the classical music world in the years to come.
www.iansabourin.com

British-Canadian baritone Alexander Dobson has been praised for his musical and dramatic artistry on both opera and concert stages.  He was lauded for his “gripping embodiment of Wozzeck” (Journal Voir) in a production of the Berg opera with Théâtre du Nouveau Monde and Orchestre Métropolitain, conducted by Yannick Nézet-Séguin. Other roles of note include the title role in Don Giovanni, the Count/Le Nozze di Figaro and Thomas Betterton/Prince of Players, all with Florentine Opera, and Guglielmo/Così Fan Tutte, Belcoré /L’elisir d’amore and Ned Keene/Peter Grimes, all with L’Opera de Montréal.

Acclaimed for his accomplished blend of stagecraft and vocal ability, Mr. Dobson is particularly in demand for contemporary stagings. His recent performance as “The Master” in Coleman Lemieux & Compagnie’s production of Against Nature was praised for its “clarity and sustained feeling” (The Globe and Mail ) More recently Alex sang in the world premiere of The Night Falls by Ellis Ludwig Leone with Ballet Collective and made the Canadian premiere in Angels Bone with Loose Tea Theatre in Vancouver and Toronto singing the role of Mr. XE. Dobson was also acclaimed as “The Pilot” in Soundstreams’ production of Airline Icarus, a new opera by Brian Current. The recording of Airline Icarus was the winner of the JUNO for Classical Composition of the Year in 2015. The recording of Carlisle Floyd’s Prince of Players, with Florentine Opera and the Milwaukee Symphony, was released in April 2020 on the Reference Recordings label and received two GRAMMY(r) nominations. Alexander made his London debut at the Linbury Theatre with the Royal Opera House, Covent Garden in the premiere of The Midnight Court by Ana Sokolovic. He was also acclaimed for his appearances in a staged performance of Zemlinsky’s Lyric Symphony directed by Atom Egoyan at Spoleto Festival USA, and as King Karl in Schubert’s Fierrabras with Toronto’s VOICEBOX: Opera in Concert.

Other opera engagements include Raimbaud/Le Comte Ory for Edmonton Opera, Maximilian/Candide with Calgary Opera; “Guillaume” in the French version of Così fan tutte with Opera Lafayette; Count Almaviva/The Marriage of Figaro with Against the Grain; Marcello/La Bohème with Saskatoon Opera, Pacific Opera Victoria, and on television in BRAVO’s StreetScenes version of the work; Silvio/Pagliacci for L’Opéra de Québec; Mercutio/Roméo et Juliette for L’Opera de Montréal and also for Opera Ontario; Harlequin/Ariadne auf Naxos for Calgary Opera,  Sonora/La fanciulla del West with L’Opera de Montreal; and Aeneas/Dido and Aeneas with The Theatre of Early Music. He has sung Escamillo/Carmen in concert with the Kitchener-Waterloo Symphony. 

Concert performances of note include Walton’s Belshazzar’s Feast with Toronto Symphony and Sir Andrew Davis, Mahler’s Songs of a Wayfayer with Orchestre Métropolitain, Faure Requiem with the Windsor Symphony, and Mahler’s Symphony No. 8 with Yannick Nézet-Séguin conducting the combined National Arts Centre Orchestra and Orchestre Métropolitain. He has sung Mozart’s Requiem with the Milwaukee Symphony and San Antonio Symphony and Haydn’s Seasons with the Cleveland Orchestra. Alexander has sung Handel’s Messiah with Philadelphia Orchestra (Cristian Macelaru, conductor), Calgary Philharmonic (Nicholas McGegan), Kansas City Symphony, Orchestra London, National Arts Centre Orchestra (Paul Goodwin), St. Thomas Church in New York, Edmonton Symphony, Grand Philharmonic Choir, Elmer Isler Singers, Boris Brott Festival, and Spiritus Chamber Choir, Brahms Requiem with Pacific Chorale, Orchestre Metropolitain, Peterborough Symphony, Seattle Symphony and Bach’s St. John Passion with Bach Society of St. Louis. Among his many Canadian engagements this past season were Beethoven’s Symphony No. 9 with the Hamilton Philharmonic.

Mr. Dobson is also a dedicated recital artist. Composer Derek Holman wrote the song cycle Daybreak and a Candle End especially for Alexander and the Talisker Players. Mr. Dobson has also performed Dichterliebe with Talisker Players Chamber Music and Coleman Lemieux Dance Company, and Schubert’s Winterreise to great acclaim in Montréal, Victoria, England, Paris, and, with Yannick Nézet-Séguin at the piano, in Toronto. Alexander has also been heard frequently on CBC Radio Canada in recital and concert.

Alexander graduated from the University of Toronto Opera Division and the Faculty of Music at the University of Western Ontario with Honours.  He is also an alumnus of the Music Theatre Program at the Banff Centre, the Music Academy of the West in Santa Barbara, the Steans Institute for Young Artists at Ravinia, and L’Atelier Lyrique de L’Opéra de Montréal.  Alexander is the recipient of numerous awards and prizes, including those from the International Voice Competition of Paris (including the Edward Marshall Association Award for Outstanding Baritone), the Jeunesses Musicales National Competition, the Marilyn Horne Competition (Music Academy of the West), and the Jacqueline Desmarais Competition.

An ardent singer since childhood, Alexander’s solo début was at twelve years old, as a treble soloist in the Canadian premiere of Lloyd Webber’s Requiem under conductor Elmer Iseler.

Alex is currently Professor of Applied Voice at Mount Allison University.

Highly in demand on prestigious stages around the world, Irish-born, Canadian-raised tenor Michael Colvin has garnered critical acclaim for appearances as Duke of Cornwall in new productions of Reimann’s Lear at Opéra National de Paris, Teatro Maggio Musicale di Fiorentino and Salzburg Festival; Monostatos Die Zauberflöte, Bardolfo Falstaff and Rodolphe in a new production of Guillaume Tell at Royal Opera House, Covent Garden; The Witch Hansel and Gretel and Monostatos Die Zauberflöte at the Canadian Opera Company; Herod Salome, Bob Boles Peter Grimes, and Painter/Second Client in William Kentridge’s acclaimed production of Lulu for English National Opera.

Following on the heels of a successful return to the 2023 Salzburg Festival as Bardolfo Falstaff, Michael’s 2023/24 season began with a highly anticipated company debut at Milan’s Teatro alla Scala in one of his signature roles: Bob Boles in Robert Carsen’s new production of Peter Grimes conducted by Simone Young. Other highlights of the season include his debut at Madrid’s Teatro Real in Reimann’s Lear and his Hamburg Opera debut as Arturo Lucia di Lammermoor.

The 2022/23 season marked a return to Opéra National de Paris for Monostatos in Robert Carsen’s Die Zauberflöte and Spoletta Tosca under the baton of Gustavo Dudamel. He also appeared with the hometown Canadian Opera Company as Basilio Le Nozze di Figaro, Second Jew/Herodes cover Salome and Spoletta Tosca. Other recent highlights include Monostatos at both the Royal Opera House and the Canadian Opera Company and Don Basilio Le Nozze di Figaro at the Opéra National de Paris, also conducted by Gustavo Dudamel.

Closely associated with English National Opera, Michael’s many appearances with the company include Herod in a new production of Salome; Arturo in David Alden’s production of Lucia di Lammermoor; Painter/Second Client Lulu; Flute A Midsummer Night’s Dream; Peter Quint The Turn of the Screw under the baton of the late Sir Charles Mackerras and the title role in Peter Grimes conducted by Edward Gardner.

At home in Canada, he has been seen as Dr Caius Falstaff, Basilio Le Nozze di Figaro, and the Witch Hansel and Gretel, all with the Canadian Opera Company. Other engagements include Cornwall in Reimann’s Lear at Opéra National de Paris and Teatro Maggio Musicale di Fiorentino; Laios in Enescu’s Oedipe and Cornwall Lear at the Salzburg Festival; Rodolphe Guillaume Tell and Bardolfo Falstaff at the Royal Opera House, Covent Garden; L’Aumonier Dialogues des Carmélites for Dutch National Opera; and Jaquino Fidelio with Le Cercle de l’Harmonie in Lyon and Paris. A fine Britten interpreter, he has performed to great acclaim the role of Bob Boles Peter Grimes at English National Opera; the Enescu Festival; Opera de Oviedo; Vlaamse Opera; with the London Philharmonic Orchestra under Vladimir Jurowski; and Accademia di Santa Cecilia and Sir Antonio Pappano. 

Recent concert engagements include Shepherd Oedipus Rex at the Edinburgh International Festival; a recital with Scottish Opera as part of their Sir Walter Scott and Opera series; Beethoven Missa Solemnis for the Richard Eaton Singers of Edmonton; Mahler Das Lied von der Erde for Louisville Orchestra; Handel Messiah with National Arts Centre Orchestra in Ottawa, Seattle Symphony, Vancouver Symphony and Toronto Symphony Orchestra; Haydn Creation with New Mexico Symphony; Schubert Mass in A Flat at Festival Vancouver; Beethoven Symphony No.9 with Vancouver Symphony Orchestra, Toronto Symphony Orchestra, Detroit Symphony Orchestra, and l’Orchestre Symphonique de Quebec; Elgar Dream of Gerontius; Haydn Die Schöpfung and Verdi Requiem for the Elora Festival.

Canadian mezzo-soprano Lillian Brooks has been praised for her “lyric sound” (Ludwig van Toronto), “easy handling of coloratura” (Schmopera), and noted for her “wonderful sensitivity to story and the development of song” (FYI Music). The 2024/2025 season sees Lillian debut with the Calgary Philharmonic Orchestra for Mozart’s Kronungsmesse, and make returns to both Chorus Niagara and the Grand Philharmonic Choir for Bach’s B Minor Mass and Handel’s Messiah, respectively.
This past season, she made her debut with the Grand Philharmonic Choir for Bach’s Christmas Oratorio, and joined both the Peterborough Singers and Chorus Niagara for their presentations of Handel’s Messiah. Other recent engagements include Handel’s Messiah with Brott Opera, Beethoven’s Missa Solemnis with Chorus Niagara, and Mahler’s Ruckert Lieder with innerCHAMBER.
In 2015, Lillian made her professional debut with Chorus Niagara singing Mozart’s Requiem under the baton of Robert Cooper. Her love for oratorio and concert work continues to grow as she finds herself in high demand for her interpretations of oratorio repertoire, including Handel’s Messiah and Dixit Dominus, Bach’s St John Passion and St Matthew Passion, Vivaldi’s Gloria, Durufle’s Requiem, and Mahler’s Das Lied von der Erde. She was elated to perform the Canadian premieres of both Last Light Above the World by Alan Bevan and The Cross of Christ by Romulo Delgado.
Equally at home on the operatic stage, her roles include Fenena in Nabucco and Lucia in Cavalleria Rusticana with Toronto City Opera, and a return to Toronto’s Koerner Hall for the Royal Conservatory’s production of Sondheim’s A Little Night Music. Futher opera credits include Bradamante in Alcina (Handel), Annio in La clemenza di Tito (Mozart), Mrs. Nolan in The Medium (Menotti), Filipyevna in Eugene Onegin (Tchaikovsky), Third Lady in Die Zauberflöte (Mozart), Flora in La Traviata (Verdi), Cornelia in Giulio Cesare (Handel), and Cherubino in Le nozze di Figaro (Mozart).
Lillian enjoyed two years with Calgary Opera as a member of their McPhee Artist Development Program during their 2019/20 and 2020/21 seasons. During her time in Calgary, Lillian had the pleasure of performing as The Mother in Amahl and the Night Visitors, and Hansel in Hansel & Gretel. Lillian also had the opportunity to participate in new-music workshops as part of Calgary Opera’s “Opera Labs” series, working with Canadian conductors and composers such as John Estacio, Dean Burry, Kelly Marie Murphy, Jean-Claude Picard, and Johannes Debus.
Lillian’s musical journey has led to numerous accolades for her dedication to the craft. In 2015, she was awarded the prestigious Hnatyshyn Foundation Developing Artists Grant, while graduating cum laude from York University, where she studied with Canadian mezzo-soprano Catherine Robbin, and earned first prize in their annual Concerto Competition. Lillian received her Artist Diploma in Vocal Performance from the Glenn Gould School in 2017 and went on to participate in the 2018 Britten-Pears Young Artist Programme in Aldeburgh, UK, where she studied with internationally acclaimed faculty including Matthew Rose and Anne-Sofie von Otter.
Canadian mezzo-soprano Lillian Brooks has been praised for her “lyric sound” (Ludwig van Toronto), “easy handling of coloratura” (Schmopera), and noted for her “wonderful sensitivity to story and the development of song” (FYI Music). The 2024/2025 season sees Lillian debut with the Calgary Philharmonic Orchestra for Mozart’s Kronungsmesse, and make returns to both Chorus Niagara and the Grand Philharmonic Choir for Bach’s B Minor Mass and Handel’s Messiah, respectively.
This past season, she made her debut with the Grand Philharmonic Choir for Bach’s Christmas Oratorio, and joined both the Peterborough Singers and Chorus Niagara for their presentations of Handel’s Messiah. Other recent engagements include Handel’s Messiah with Brott Opera, Beethoven’s Missa Solemnis with Chorus Niagara, and Mahler’s Ruckert Lieder with innerCHAMBER.
In 2015, Lillian made her professional debut with Chorus Niagara singing Mozart’s Requiem under the baton of Robert Cooper. Her love for oratorio and concert work continues to grow as she finds herself in high demand for her interpretations of oratorio repertoire, including Handel’s Messiah and Dixit Dominus, Bach’s St John Passion and St Matthew Passion, Vivaldi’s Gloria, Durufle’s Requiem, and Mahler’s Das Lied von der Erde. She was elated to perform the Canadian premieres of both Last Light Above the World by Alan Bevan and The Cross of Christ by Romulo Delgado.
Equally at home on the operatic stage, her roles include Fenena in Nabucco and Lucia in Cavalleria Rusticana with Toronto City Opera, and a return to Toronto’s Koerner Hall for the Royal Conservatory’s production of Sondheim’s A Little Night Music. Futher opera credits include Bradamante in Alcina (Handel), Annio in La clemenza di Tito (Mozart), Mrs. Nolan in The Medium (Menotti), Filipyevna in Eugene Onegin (Tchaikovsky), Third Lady in Die Zauberflöte (Mozart), Flora in La Traviata (Verdi), Cornelia in Giulio Cesare (Handel), and Cherubino in Le nozze di Figaro (Mozart).
Lillian enjoyed two years with Calgary Opera as a member of their McPhee Artist Development Program during their 2019/20 and 2020/21 seasons. During her time in Calgary, Lillian had the pleasure of performing as The Mother in Amahl and the Night Visitors, and Hansel in Hansel & Gretel. Lillian also had the opportunity to participate in new-music workshops as part of Calgary Opera’s “Opera Labs” series, working with Canadian conductors and composers such as John Estacio, Dean Burry, Kelly Marie Murphy, Jean-Claude Picard, and Johannes Debus.
Lillian’s musical journey has led to numerous accolades for her dedication to the craft. In 2015, she was awarded the prestigious Hnatyshyn Foundation Developing Artists Grant, while graduating cum laude from York University, where she studied with Canadian mezzo-soprano Catherine Robbin, and earned first prize in their annual Concerto Competition. Lillian received her Artist Diploma in Vocal Performance from the Glenn Gould School in 2017 and went on to participate in the 2018 Britten-Pears Young Artist Programme in Aldeburgh, UK, where she studied with internationally acclaimed faculty including Matthew Rose and Anne-Sofie von Otter.

Venabrass is a brass ensemble from Toronto, Ontario. Formed primarily from the Venables family, this brass group displays ensemble virtuosity at its finest. As individuals, members of the Venabrass have travelled around the world as both soloists, conductors and composer both as freelance, professional and through The Salvation Army. The early days of the group was merely family members playing music together. This grew into touring at Christmas time, performing annual concerts, recording, and travelling to Africa. Venabrass now exists beyond just the Venables name with other high caliber musicians included. However, it still maintains its Salvation Army musicianship, to which, they desire to serve God first and foremost through their music and strive towards the highest degree of music excellence in that service.