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  • Get to Know NYCC
    • About NYCC
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  • 2026 Choir & Tour
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    • 2026 Apprentice Conductor
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Reflections from the 2024 NYCC Cohort: Musical Highlights

9/23/2024

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The 2024 National Youth Choir of Canada. Photo: Julie St-Georges
Guest post by Dr. Hilary Apfelstadt, Professor Emerita of Choral Studies at the University of Toronto, NYCC Guest Conductor (2014)
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The year 2024 marked the 40th anniversary of the National Youth Choir of Canada. NYCC is a unique entity in Canadian choral culture, an ensemble that meets biennially and comprises auditioned singers from across the country, ranging in age from 19 – 26. This year’s group met in the province of Québec, led by Roseline Blain, a Francophone conductor who received all of her musical education in her home province. Mme. Blain is the first NYCC conductor to have applied for the position, the previous leaders having been invited through a nomination process. As a member of the committee who reviewed applications from aspiring conductors, I was struck by her focus on the singers’ welfare and her relative lack of self-promotion in the interview. It was clear that for her, choral community is paramount. This was evident in a conversation we had in the spring of 2023 which was recorded in an article in  Anacrusis 41(2), 17–20, 2023. At that time, I thought it would be interesting to do a follow-up article in which singers reflected on their experience in the 2024 choir, so sent an invitation through their manager, Émilie Versailles, seeking six to eight participants, and was pleased to have eight volunteers. In addition, I contacted staff members including the conductor, apprentice conductor, collaborative pianist, and manager, and will report their thoughts in a follow-up report in the next issue of Anacrusis. 

In the meantime, this article will summarize responses of the singers who communicated with me both via e-mail and also on Zoom during the month of June 2024. Each person received a set of prompts to consider prior to our conversations:
  1. Tell us about your history with NYCC – is this your first time or is it a repeat experience? What were your expectations – musical and otherwise – coming into NYCC 2024?
  2. How has the experience affected you as a musician? What are some of the most powerful moments of this experience?
  3. Please share some takeaways about rehearsal, music-making, or any part of the professional experience that will affect you in the future.
  4. How did being a part of this community affect you personally? 
  5. What would you tell a prospective singer about considering NYCC in the future?
  6. If you have additional thoughts you would like to share, please do so. 

Of the eight singers who volunteered to participate in the project, five identified as female and three as male; three were from NS,  and one each from AB, SK, MB, ON, and NB. Three were in the choir for the second time; five were first-time members, with two of those at the upper age limit, meaning that they cannot audition again. One of the first time members was the youngest singer, at age 19.  Depending on the singers’ backgrounds, their expectations differed somewhat.
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Josiah (left) and fellow 2024 NYCC choristers taking a ferry from the village of Tadoussac, QC. Photo credit: Josiah Maxfield
Having heard his brother sing twice in NYCC, Josiah (left) had “incredibly high expectations in terms of music making, and most of those were met.” His expectations were so high in fact, that he didn’t audition for NYCC until his final year of eligibility, citing conflicting choral commitments and a feeling that he was “not good enough,” despite having extensive choral experience, including professional singing in Edmonton. Although he has aged out and cannot audition again, Josiah would be interested in applying for the apprentice conductor position, inspired by his experience as a singer in NYCC. Josiah also said that he “didn’t expect to be changed on a personal level as (he) was” but he “connected more quickly with people in this group than he expected,” contributing to a richer experience.

Will expected “a very fulfilling and busy two weeks,” and knew he would make lasting friendships. He anticipated “an experience that would not only deepen (his) love of choral singing but also give (him) space to learn unique skills and approaches to choral music that can be achieved” only with an advanced and passionate group like NYCC.
Emma expected “everyone to have the same passion and love” for singing, “strong musicianship skills,” and readiness “to make great music.” Elisa, who moved to Canada from France five years ago, was eager to meet other Canadian singers, and curious about “how this conductor would make a choir out of us.”​​
​Carrie (left), whose father sang in NYCC in 1988 and 1990, returned for the second time, and looked forward to the lack of Covid restrictions that were imposed on the 2022 NYCC members. She enjoyed “more freedom,” from masks and from social barriers. Patricia, a returning member, expected some things to carry over from 2022 but was also happy with the increased freedom. She noted that “the community came together very quickly because there wasn’t the fear of Covid.” Because the choir was younger than the group in 2022, she noticed the “sound was younger,” and thought her returning peers were equally surprised by this. Maiti (right), who is pursuing a doctorate in medical physics, sings for pleasure in several choirs in Halifax, and had met someone from a previous NYCC in one of her choirs and noted their excitement about the group. She expected “a group of people who were passionate and capable of doing challenging music,” with “greater technical difficulty” than she typically sings. This is similar to Max’s expectation of a music making that was “the next level above” his previous experience.
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Carrie (left) and Maiti (right) with fellow 2024 NYCC altos in Montreal, QC during PODIUM 2024. Photo credit: Julie St-Georges
​Each of the singers described how they were affected as musicians by the experience. Josiah said NYCC left him “with a desire to further develop (his) voice, to gain more knowledge and expertise about (his) craft and to search for opportunities to audition and perform in high-level ensembles.” He mentioned increased confidence as another outcome. Max said that “this program felt like a culmination of my music journey so far.” Maiti said that NYCC “definitely reinvigorated my musical spirit” and said she would “like to bring more energy to (her) choral experience” in the future and “be helpful with the people who have less experience.” The idea of energy sparked by competence and shared passion is easy to understand if one is an accomplished choral musician, but for someone with less experience and perhaps meeting only once a week for rehearsal, this level of intensity would not be familiar or easy to duplicate. The fact the NYCC is such a condensed experience with multiple rehearsals daily makes it unique and especially inspiring. Will mentioned that this experience “make it almost hard to return to regular rehearsals,” as they seem so short.

​Emma mentioned how her sight-reading skills improved, partly because “in choir you have to be on your game all the time.” She also appreciated the variety in repertoire, especially all the French music, which she found challenging. In addition, Emma noted that the conductor “set great expectations from the beginning” by starting to make music immediately, and making it enjoyable. Elisa said: “we were making music.” Josiah expressed a similar feeling: “we were making art; we weren’t just singing.”  Max said he feels as though he “can tackle any sort of piece now” and has grown in his confidence.
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A beautiful display of the aurora borealis during a historic geomagnetic storm at Église Notre-Dame-de-Bon-Désir in Les Bergeronnes.
​Almost without exception, the singers described the impact of the first concert on them as a group and as individuals. Carrie spoke for the group when she said “one of the most powerful moments … was our first performance as a choir. We were in Les Bergeronnes and had such a lovely concert with great reception from the community. That was the night the northern lights were supposed to be seen across the country… we were so excited and started taking pictures and singing as we experienced this incredible moment.” Josiah mentioned that this experienced “bonded” the group; it was a highlight for Patricia as well, and Carrie described the northern lights “as the most magical thing I have ever experienced.” Max mentioned that “the stars had aligned” at the first concert and after this experience, everyone felt they could continue to excel.

Other highlights of the NYCC residency occurred on tour. Besides the Podium performance, which was the culmination of their time together, the singers enjoyed hearing other choirs perform at the conference, and also appreciated the conducting masterclass opportunity where they served as the demonstration choir. In this context they experienced “a new way of seeing Roseline work,” as Elisa said, and it was “interesting to watch the conductors.” Being at Podium enabled the singers to feel connected to the larger choral community in Canada.
The outreach events had an especially strong impact on the singers, particularly the performances in a women’s prison and a visit to a palliative care centre. For two singers, it was a way to see a part of the country new to them, and for another, an insight into the conductor’s roots in the province. Carrie said she “loved hearing (Roseline) in the small towns in Québec,” and although Carrie could pick up “the gist not the nuances,” she felt Roseline could be “fully herself” when she was leading in her native language.

Several people described the prison visit in detail. Because security was tight, it was somewhat daunting, but once inside and making music, the singers saw the full impact of their presence. Carrie said, “They (the inmates) appreciated us so much. We overlook people in prison and think they don’t deserve these things. But we don’t know their stories. There were people struggling with mental illness so (they) didn’t always get to do things together. Some people cried; they were so moved.” Will described the space: “The chapel felt like a regular community chapel; the prison was white everywhere but the chapel had color in it. Once we were on risers and singing, it was ok. (We were) in choir mode (and) it felt like a regular performance.” He noted that it was “moving for some of the people. They rarely get to experience something like this. If they weren’t in prison, they might not choose to go to a choir concert, but they were so moved. It made me think about the power of music; the human connection aspect of choral music is unique.” Josiah agreed: “These people need the connection more than anyone. For some of the pieces we knew best, a few of us sang from memory, giving us an even better opportunity to connect with our audience. They needed to be seen. There were so many tears.” The palliative care centre was also moving for the singers. Again, at this point in their lives, the patients do not necessarily get exposure to live music, but it may have been a big part of their lives before. Music is comforting and therapeutic for people.
​Max thought the workshops added to the uniqueness of the NYCC experience in that the group performed not only in standard performance venues but also sang for “everyday” people. He was struck in particular by how deeply the prisoners were moved to experience something so removed from their daily life in isolation, and said “I really want to keep doing this to bring people together; it’s really compelling.” “We need to perform in places where people don’t hear choral music often.” If even a handful of these singers are able to initiate similar efforts in the future, in their own communities, it could have a powerful impact on many people.

Several singers commented on the wide variety of repertoire, with a heavy concentration of French music. The fact that the conductor sent them marked scores well in advance was very helpful in their preparation and saved considerable rehearsal time.
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Will (2nd from left) and Max (centre) with fellow 2024 NYCC tenors in Montreal, QC during PODIUM 2024. Photo credit: Julie St-Georges
Different singers had various favorites but there seemed to be consensus that the Rachmaninov held special significance for the group. Patricia said that the Podium performance of this piece was “one of the biggest musical moments” for her; “we finally got every single nuance.” Maiti thought that the conductor’s personal investment in this piece made its impact especially strong; by sharing her perspective as a mother, Roseline Blain personalized the text. NYCC overlapped with Mother’s Day, which heightened attention on the maternal role referenced in the text. Learning over sixty minutes’ worth of music made for very intense rehearsal periods. The singers noted the conductor’s excellent pacing, the ability to keep things enjoyable, the use of movement, and the personal level of energy she displayed. Josiah said “Roseline was very expressive, and it took a little while for the choir to follow her musical direction as she intended. In rehearsal she frequently used count-singing to learn our pieces, which was especially helpful for the polyphonic sections.” Maiti said “Roseline is so energetic – always dancing. She is a “physical presence” in the room, moving “to the choir and amongst them.” In turn, the singers’ physical involvement helped them embody the music. Will credited Roseline Blain with exploring the context of the repertoire and focusing on the “composers’ intentions,” especially with the older pieces.

Elisa noted that Roseline exemplified “what to do” (in rehearsal); her love of music and approachability “help(ed) a lot in making connection and making music together.” This inspired Elisa to create “safe spaces” in her own teaching. During our conversations I noted how all the singers spoke with excitement about the rehearsals, saying these seemed to go quickly, and praising the conductor’s energy, passion, and commitment to the music and to building community. Elisa thought “(Roseline) gives sense to everything,” because she loves music, not because she operates out of obligation to lead the group. Patricia said, “Roseline makes everything fun.” No wonder rehearsals seemed to move quickly.
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Elisa (behind and to Max's right), Emma (to the left of Will) and Patricia (front row, 2nd from the left) take a group picture with the 2024 NYCC following their participation in a PODIUM 2024 conducting masterclass at the Delta Hotel Montreal.  – Photo: Kitbielle Pasagui
In addition to musical cohesion, the group jelled as a community linked by their similar passion for music, and their access to social interaction in a friendly rehearsal environment as well as after hours. In addition, the conductor’s “approachability” facilitated a comfort level that encouraged “a feeling of family,” as Will said. Max said “people were so supportive, all wanting it to be really good.” Josiah wrote this: “being part of a choir of young, passionate singers brought me hope for the future of choral music, and encourages me to improve myself as a musician.” He cited their “emotional connection” to the music and noted that the singers formed “an intense bond” over the music. Will says, “We will be lifelong friends connected through choral music; shared experiences link you.” For Will, the “community aspect of choral singing is one of the main drivers for me.”

Without exception, all the respondents heartily endorsed the opportunity to audition for NYCC. Several mentioned that even if a person auditions and does not get in the first time, they should try again. Josiah believes it is vital to “get in as soon as you can,” rather than waiting until you reach the age limit. For him, NYCC has been “life changing – it changes your whole perspective of not just music but also gives you a broader view of society.” Elisa valued the chance to meet many other people who share the love of singing, and to develop professionalism. She also appreciated the travel and the chance to meet the families with whom the choir stayed on tour. Patricia responded to this question with an enthusiastic “yes!” saying that “everyone leaves a different person.” Josiah suggested that “NYC is what the singers make of it” and encourages people to connect before, during, and after the NYCC session ends. “There are few experiences like NYCC … it’s invigorating to be around such talented and musical people.”

As a group, these singers were highly enthusiastic about the NYCC program and believe it is of great value to anyone who participates. One of the major assets is the opportunity to make music with people who share the same love of and passion for choral music, and to share that with audiences who are moved by their music making. Many of them spoke about the ongoing benefits of the experience that will affect their own ensemble work at home, thus influencing choral ensembles throughout the country. Max said, “If you come back from this program with unwavering certainty that you want to continue pursuing all kinds of music-related dreams, I think you did it right.” The singers also valued the opportunity to meet people from other parts of the country and to travel to parts of Canada they might not have visited before, all as musical ambassadors. One singer mentioned that the level of support from her provincial choral organization in 2024 was half what is was in 2022, raising the issue of financial access. There are likely fine young singers in Canada who cannot afford the cost without significant help. Whether through grants, individual donations, or business sponsorships from their communities, many singers may need assistance in order to participate. NYCC has a forty-year history which must continue uninterrupted and it will take a solid financial commitment to assure that. In speaking with these singers, I was reminded of the central role that NYCC plays in the life of Canada’s choral culture and the breadth of its impact, and recall my experience as conductor of the 2014 version of the choir as one of my own musical highlights.

Participating singers (in these interviews) and their provinces were:
  • William Austin, NS
  • Max Eyre, SK
  • Josiah Maxfield, AB
  • Maiti McGrath, NS
  • Emma Proctor, NS
  • Carrie Schulz, MB
  • Elisa Soucaille, NB
  • Patricia Wrigglesworth, ON

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​Dr. Hilary Apfelstadt is Professor Emerita of Choral Studies at the University of Toronto where she held the Elmer Iseler Chair in Conducting. From 2013 – 2018, she was artistic director of Exultate Chamber Singers, a semi-professional ensemble in Toronto. After retiring from U of T, she served as Interim Executive Director of the American Choral Directors Association (ACDA) for a year and has recently done significant conducting residencies at McGill University in Montreal and at the University of Illinois at Urbana-Champaign. Previous full-time university teaching appointments in the U.S. were at the Ohio State University and the University of North Carolina at Greensboro.
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All That I Was, I Am: The 2024 National Youth Choir of Canada

8/12/2024

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The 2024 NYCC takes a group picture following their participation in a PODIUM 2024 conducting masterclass at the Delta Hotel Montreal. – Photo: Kitbielle Pasagui
​When music sounds, all that I was I am
Ere to this haunt of brooding dust I came;
And from Time’s woods break into distant song
The swift-winged hours, as I hasten along.


— Walter de la Mare (1873-1956)
Thirty young choral singers from across the country recently embarked on an unforgettable journey throughout the province of Quebec, sharing their voices and vibrant energy as members of the 2024 National Youth Choir of Canada. 

The program officially launched in early January with Zoom gatherings and repertoire meetings with Guest Conductor Roseline Blain and Apprentice Conductor Kitbielle Pasagui, and a virtual roundtable discussion on contemporary career avenues for choral artists. The choir also had a chance to meet and learn from Quebec-based composer Ana Sokolović who was commissioned by Choral Canada to write Two Studies for Choir for the 2024 ensemble, and Kanien’kehá:ka dancer Barbara Diabo, as they explored connections to nature, art and movement in Katia Makdissi-Warren’s Clairière.

The group then convened in person at Université Laval in Quebec City for five days of intensive rehearsals and workshops, which included Estill voice training with Julie Cimon Racine​. The singers excitedly dove into the repertoire under the expert guidance of Blain, Pasagui and collaborative pianist Pierre McLean, supported by Tour Manager Émilie Versailles.
The Grand Opening
The tour kicked off in Les Bergeronnes on May 10, where the choir performed at Église Notre-Dame-de-Bon-Désir. A warm welcome and a generous audience awaited the singers for their first concert thanks to the kind hospitality provided by Tourisme Bergeronnes and l'Odyssée artistique. The evening was made even more special as it was capped off with a beautiful display of the aurora borealis during a historic geomagnetic storm!

The tour continued with a workshop on performance anxiety led by Claude Webster, author of The Performance Handbook and concerts in Jonquière (May 11) at Salle Pierrette-Gaudreault and Rimouski (May 12) at Cathédrale Saint-Germain. ​
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Photo: Josiah Maxfield

“We were impressed by the quality of the National Youth Choir of Canada, their teamwork and, what's more, their vocal control! They should feel proud of being worthy representatives of Canada. We were simply dazzled by their exceptional display of talent; it was a pleasure to see and hear young singers with such pride and professionalism. It was a memorable concert.”

— Board of Directors of the Chorale du CRDA (Rio Tinto) in Jonquière, QC

And what’s a choir tour without some sight-seeing and public singing?
Choristers taking a ferry from the village of Tadoussac, QC. – Photo: Josiah Maxfield
A visit to the beach in Les Bergeronnes, QC. – Photo: Natalie Ross
Enjoying some time off exploring rainy Quebec City, near Château Frontenac. – Photo: Jocelyn Heroux
Engaging with Local Communities
Part of what makes the National Youth Choir of Canada so special is the opportunity to engage with communities through workshops, concerts, and collaborations with local choirs and singing groups. These events not only provide essential opportunities for personal growth and cultural exchange for all involved, but they help bring exciting musical experiences to communities that may not otherwise have access to them.

This year, the NYCC shared their music with multiple community organizations at no cost. They sang for patients at Maison St-Raphaël, a palliative care home in Montreal, a special mother’s day concert at Leclerc Institution women’s prison in Laval, and for students and staff at École de musique Vincent-d’Indy. 

A Grand Finale at PODIUM 2024
The tour concluded in Montreal at PODIUM 2024, Choral Canada’s national choral conference and festival. As part of the NYCC program, all singers are provided with full access to the 4-day event where they attend lectures and concerts, network with new colleagues, and create memories to last a lifetime. 

Their final concert at the Church of St. Andrew and St. Paul was a true culmination of the choir’s work together and served as a fitting end to the tour. The choir was surrounded by hundreds of colleagues, friends, and new acquaintances, including past alumni who joined them for their closing piece, a bilingual performance of Stephanie Martin’s Nothing Gold Can Stay.

We sincerely hope the NYCC left feeling energized and inspired to bring back all that they learned and experienced to their local choral communities!
The National Youth Choir of Canada performing at the Church of St. Andrew and St. Paul in Montreal during PODIUM 2024. – Photo credit: Julie St-Georges
The 2024 National Youth Choir of Canada. – Photo credit: Julie St-Georges
The 2024 NYCC Team (L-R): Kitbielle Pasagui (Apprentice Conductor), Roseline Blain (Guest Conductor), Émilie Versailles (Tour Manager and Pierre McLean (Collaborative Pianist). – Photo credit: Julie St-Georges
The 2024 Quebec tour of the National Youth Choir of Canada was more than just a series of concerts; it was a journey of connection, learning, and celebration. The choir not only showcased their exceptional musical talent but also embraced the cultural richness of Quebec, leaving a lasting impression on all who heard them. 

A special highlight of the tour, and one that seemed to resonate with the singers, was performing Katharine Petkovski’s When Music Sounds, winner of the Diane Loomer Award in Choral Canada’s 2024 Competition for Choral Writing. As the choir members returned to their respective homes across the country, they carried with them memories of joy, friendship and good music, with the piece’s poetry (by Walter de la Mare) reminding them of the transformative power of music:

“« When music sounds, all that I was, I am ». It’s impossible to describe the full experience of NYCC, even though it is my second time doing it. Two weeks that feel like a lifetime, making music with as much passion as your soul can muster while you’re surrounded by lifelong friends and colleagues who are doing the exact same. It was two weeks of learning, of laughter, tears, joy, wonder, and so much more. From almost getting blown away in front of the Chateau Frontenac to traditional French dancing to mildly explosive science experiments, this experience had it all… Here’s to choir, here’s to family, here’s to song.”

— William Austin (NS), NYCC tenor: 2022, 2024

​The National Youth Choir of Canada continues to exemplify the power of music to unite, inspire, and create a brighter future for all.

It cannot be said enough times: THANK YOU to everyone who helped make this program possible. Choral Canada is beyond grateful for the support from every single donor, sponsor, singer scholarship provider, tour and concert host, billet, volunteer, member of the NYCC committee, all those who shared ideas and made connections for us in the province of Quebec, and the list goes on... Lastly, we want to thank all the incredible singers, artistic and administrative staff, and the incredible composers without whom this would not be possible. The future of the choral art form is in good hands!

Stay tuned for updates on the 2026 edition of the program by visiting our website, connecting with us on social media, and signing up for Choral e-Bytes, Choral Canada’s bi-weekly newsletter.

Would you consider making a donation this year to help us reach our goal?

Plans are already underway for the 2026 program in British Columbia and we need your help to continue the growth and success of this program. As you may have heard, we are celebrating the 40th year of the NYCC program this year and we have set an ambitious goal to raise $40,000. Although we’ve reached 45% of this goal ($18,000), we’re not stopping there! 

To help us reach $40,000, we are happy to announce that we are launching a Matching Campaign to further support our fundraising efforts. Through the generosity of a long-time donor and supporter of NYCC, every donation received today through to September 30, 2024 will be matched, dollar for dollar, up to $10,000!
DONATE TO OUR MATCHING CAMPAIGN TODAY
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Announcing the 2024 Apprentice Conductor and Collaborative Pianist

11/7/2023

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(L) Kitbielle Pasagui, (R) Pierre McLean
We are thrilled to introduce both the Apprentice Conductor and Collaborative Pianist for the 2024 National Youth Choir of Canada:

Kitbielle Pasagui
2024 NYCC Apprentice Conductor

Kitbielle Pasagui is an Edmonton based Filipino-Canadian Conductor, Vocal Coach, Vocalist and Novice Composer. Proud alumna of the Philippine Madrigal Singers, Korora Youth Choir (formerly known as Kokopelli), ‘Nuf Sed, Alberta Youth Choir and Ellison Canadian Honour Choir. Kitbielle is currently the associate conductor of Edmonton, Alberta's Korora Youth Choir and voice teacher at Purple Door Music Academy.

Click here to learn more about Kitbielle.


The NYCC Apprentice Conductor program is made possible by the generous support of the Sir Ernest MacMillan Memorial Foundation.
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Pierre McLean
2024 NYCC Collaborative Pianist

Montreal-born pianist Pierre McLean earned a master’s degree in piano performance from Université de Montréal and then continued his studies in Europe and the United States (Tanglewood Music Festival). His passion for voice soon led him to participate in the apprentice program of l’Atelier lyrique de l’Opéra de Montréal where he trained as a vocal coach and rehearsal pianist.

Click here to learn more about Pierre.

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Please join us in congratulating both Kitbielle and Pierre! We welcome them to NYCC's vibrant musical family and look forward to working with them both. Stay tuned for more exciting updates, including the announcement of the 2024 roster of singers, details on the Québec program and tour, and more...
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Roseline Blain named 2024 GUEST CONDUCTOR of the National Youth Choir of Canada

3/16/2023

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Roseline Blain conducting. She is wearing a red shirt with her hair up, and both hands are raised. Wooden pews are seen in the background.
Roseline Blain. Photo credit: Guy Rochette
Choral Canada, the National Arts Service Organization for the choral and group singing arts sector and community, announced yesterday that Roseline Blain has been chosen as the 2024 Guest Conductor for the National Youth Choir of Canada (NYCC), one of Canada’s finest youth choirs.

“We are delighted that Roseline will lead the 2024 National Youth Choir of Canada. She is a tour de force in the Montreal community and will bring fabulous energy and expertise to the singers. What an opportunity for all of us to experience her repertoire choices and interpretive approach in this, Choral Canada's flagship program” says President, Morna Edmundson.

With nearly twenty-five years of experience, Roseline is known for her dynamic and expressive qualities, her inspired interpretations and her leadership that combines energy and finesse. Originally trained as a pianist, she holds a master's degree in performance from the University of Ottawa and a master's degree in choral conducting from Université de Sherbrooke.

Roseline is very active on the Québec and Canadian choral scene; she directs the Musica Orbium ensemble, Chœur du Plateau, Ensemble Phoebus, Ensemble Gaïa and the Chœur du Musée d'art de Joliette. Roseline is now the Artistic Director of the Festival de chant choral de Montréal. Until recently, she was the General and Artistic Director of Les Petites Voix du Plateau, a choral organization of 125 young people that she founded in 2012.

Roseline says: “I am honoured to be the Guest Conductor of the 2024 National Youth Choir of Canada! I feel grateful and privileged to follow in the footsteps of the choral conductors who came before me. It is a unique opportunity for me to share my great love of music with young ambassadors of choral singing. I look forward to seeing and hearing them flourish through music and song, in a respectful, fun and inclusive environment, while sharing in a rich and memorable experience, both personally and artistically."

Roseline is currently teaching choral conducting courses at Université de Sherbrooke while Robert Ingari is on sabbatical. In the summer of 2023, she will be the Guest Conductor of the École d’été de chant choral at the Université de Sherbrooke, CAMMAC and the Stage de chant choral at Domaine Forget de Charlevoix in Saint-Irénée, Québec.

Past NYCC Guest Conductors
Jean-Sébastien Vallée (2020 & 2022), Jeff Joudrey (2018), Timothy Shantz (2017), Michael Zaugg (2016), Hilary Apfelstadt (2014), Ivars Taurins (2012), Victoria Meredith (2010), Julian Wachner (2008), Richard Sparks (2006), Kathryn Laurin (2004), Lydia Adams (2002), Leonard Ratzlaff (2000), Iwan Edwards (1998), Robert Cooper (1996), Diane Loomer (1994), Elmer Iseler (1992), James Fankhouser (1990), Wayne Riddell (1988), Jon Washburn (1986), and John Standing (1984).

Learn more: Roseline Blain

Press Release (PDF)
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NYCC Fall 2022 Updates

11/25/2022

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The NYCC Fall 2022 newsletter open on a wooden table.
Are you looking to learn more about the National Youth Choir of Canada and what we've been up to? We've got the perfect thing for you! Read the NYCC’s Fall 2022 Newsletter featuring program highlights from NYCC 2022, news about our extensive online recording archive, important dates for the 2024 program, and information on the Guest Conductor search.

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Connections: The 2022 National Youth Choir of Canada

6/30/2022

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Article by Kiley Venables – 2022 NYCC Alto

After over two years of virtual concerts and rehearsals and frustrating closures, it would be easy for the magic of choral singing to be lost amid costs, risks, and logistical nightmares. But choirs are above all else about connection, and we need that now more than ever.

It was my great privilege to sing with the National Youth Choir of Canada in 2022—my second time, but after a gap of six years. Like many of my colleagues, I auditioned in the fall of 2019 and expected to sing in May 2020. The cancellation of NYCC during that first lockdown felt cataclysmic; I knew what I was missing.

As it became clear that we would attempt a choir in 2022, I began to rehearse the music, even when it made no sense without the rest of the choir around me. The pieces were challenging and would demand the concentration and collaboration of the full artistic team. From the frantic rhythms of Eric Whitacre’s “Little Man in a Hurry” to the slowly building chords of Hussein Janmohamed’s “Sun on Water,” from the trumpet calls of the fiendishly difficult “La Guerre” by Clément Janequin to the joyful celebration of Sydney Guillaume’s “Nou Se Limyè”—none of these pieces could be fully experienced alone.

On May 8th, the forty singers of the 2022 National Youth Choir slowly trickled into the residences at UOttawa. There would be many restrictions placed on us to protect us as much as possible: we would wear masks to sing, our social time would have to take place outdoors, and we would not billet like previous choirs had. Some of the choristers had waited months, and others years, and we were ready to sing together for the first time.

The program chosen by Jean-Sébastien Vallée for the 2020 choir had only become more urgent. In his program notes, Dr. Vallée wrote: “This program is both a reflection on our society and a tribute to our world – a world where music allows us to find common ground and look towards a better and more inclusive future.” Each of the four sets in “Make Me a World” spoke to urgent issues of social justice and human connection, each opening with a setting of the Agnus Dei prayer and its call for peace: dona nobis pacem. These four composers wrote their music in different centuries but reached for the same text to express four very different moods: Josef Rheinberger’s pleading; William Byrd’s reassurance; Rupert Lang’s comfort; and Frank Martin’s yearning.

Between these touchstones, the music explored how people live together—and how they should. Set one ended with Laura Hawley’s “Rise up my love” and J.S. Bach’s “Brich dem Hungrigen dein Brot”: wildly different pieces, but each a call to connect in a complicated world. Carmen Braden’s “Crooked by Nature” depicted a dialogue between misogyny and feminism, ending in a powerful war speech by Elizabeth I of England—only to segue immediately into Clément Janequin’s onomatopoeic depiction of 16th -century war, “La Guerre.” Roderick Williams’ passionate “O Guiding Night” and Sydney Guillaume’s celebratory “Nou Se Limyè” both spoke to the search for meaning from different angles; Nicholas Kelly’s sweeping “Wind Rising in the Alleys” and Saunder Choi’s powerful “The New Colossus” addressed current social change with new settings of older poetic works. Our concerts usually ended with Matthew Emery’s “Breathe,” a gentle tribute to victims of Covid-19. Even the structure of the music was dialogue: between soloists and choir; between parts in a fugue; and between double choirs.

Our personal connections made these musical connections possible. Apprentice conductor Thomas Burton and collaborative pianist Irene Gregorio generously shared not only their musical talents but their own stories with us. Tour manager William Duffy shouldered the stress and panic of Covid logistics so that we could focus on the music. And I can never adequately express my thanks to our conductor, Jean-Sébastien Vallée, for everything he gave us: his patience in rehearsal, his passion for the music, his humour in small moments, his sensitivity in big ones, and his perseverance in waiting four years to share these magical days with us.

It was an even more emotional two weeks than I remember from my experience in 2016. Our discussions of the two new commissioned pieces, Andrew Balfour’s “Music Is Vibration” and Shireen Abu-Khader’s “I Forgive,” struck chords so deep we needed a break to hold each other in shared consolation. There were times when we held a chord together so lovely that I had to fight back tears. The tour was shortened, and some choristers had to self-isolate. We took Covid rapid tests every morning, hearts pounding with fear that we had already sung our last note together.

These challenges bonded us, but so did moments of laughter and joy. We performed in Ottawa, Kingston, Manotick, and Toronto; we grew every performance in expressiveness and artistic intention. Anyone who has sung in National Youth Choir will know how the running jokes proliferate, and this year was no different. We shared smiles expressed only with our eyes over our masks; we communicated memes and logistics through a magnificently active 40-person group chat; we celebrated birthdays; we colour-coordinated outfits; and we found ways to make our Covid test pictures every morning so
entertaining that tour manager William Duffy organized a bracket-style competition for the best one.

Our relief to be together and singing allowed us to be sentimental, knowing how quickly the ending of the program approached and how bittersweet that final concert would be. The first thing we sang together was Stephanie Martin’s “Nothing Gold Can Stay,” which perfectly captures that wistful hope to stay in a perfect moment. Dr. Vallée led us into the same song on the most difficult morning of the rehearsal week, and anytime that we needed to remind ourselves that we were here, singing together. As the rehearsals drew to a close, we found ourselves singing it everywhere. We would settle into a circle, wrap our arms around each other, and sing: at midnight on the steps of Tabaret Hall on the UOttawa campus; on Parliament Hill, with tourists looking on; with the alumni at our Podium concert; at the end of our Podium masterclass; and in Toronto’s busy Yonge-Dundas square, to send Ryan Doyle on his way.

When I asked my colleagues what the choir had meant to them, connection was the theme above everything else. Emma Yee, an alto representing New Brunswick, wrote to me that “NYCC 2022 was truly a life changing experience. I learned so much and made so many incredible friends across the country that I hope I will keep for the rest of my life. I am happy that anywhere in Canada I go, there are folks I have shared this experience with whom I will be able to sing with, work with, and hang out with.” The choir group chat has already been filled with pictures of different combinations of choristers singing together back home, or simply visiting each other. After two strange years, it feels like we are a part of a
wider community again, and the future is filled with music. Chenuka Lakwijaya, a tenor representing British Columbia, summed it up beautifully: “The 2022 NYCC experience unearthed every singer’s yearning to connect in song and heart. I felt safe and supported throughout, connected by beautiful music and conversation.”

Usually, the National Youth Choir experience ends with a full weekend at the Podium Festival, but this year half of the choir could not stay. We had started our time together in Ottawa on May 8th with a rolling series of hellos, and we ended as we began, with a slow trickle of goodbyes as choristers left Toronto. The half that remained took in everything we could: the seven incredible concerts that followed our own, the many fascinating sessions at the conference, and the chance to meet with inspiring singers, conductors, and composers. We enthusiastically participated in every opportunity for community singing, including at the Toronto Mass Choir concert and in the song sharing sessions led by Shannon
Thunderbird and Sandy Horne. After 11pm at the closing reception of Podium, the last fourteen of us wrapped each other in a hug and sang “Nothing Gold Can Stay” one final time.

Back now to ordinary life—but with the Bach runs stuck in my head, and a lingering joy to take with me. Weeks after we sang that last note together, I am still filled with gratitude. I know those thirty- nine other singers I met in May will go on to do amazing things, in music and beyond. But even though we have years of music and life ahead of us, there is something about this program that will never be replicated. In two short weeks together, we layered personal and artistic connections over each other until they could not be extricated. In the plaintive chords of the Rheinberger and the final, unified breath of “The New Colossus,” we overcame the obstacles that had kept us apart for two years and shared our joy
with our audiences and each other. I am no longer a youth by the NYCC definition, and I already envy everyone who will sing in Montreal in 2024—this time is precious.

Late in rehearsal week we were having trouble with an entry in Frank Martin’s introspective and achingly beautiful “Agnus Dei.” Dr. Vallée raised his hands for us to try again, and into the brief silence, said: “No fear, only music.”

We sang together.
NYCC 2022 in Ottawa, ON. Photo: Kiley Venables
NYCC 2022 in Ottawa, ON. Photo: William Duffy
NYCC 2022 in Ottawa, ON. Photo: Kiley Venables
NYCC 2022 at PODIUM 2022. Photo: Sam Moffatt
NYCC Artistic Team 2022. Photo: Sam Moffatt
NYCC 2022 at PODIUM 2022. Photo: Sam Moffatt
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Highlights from NYCC 2022 on CBC Music's Choral Concert

6/28/2022

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Join host Frédéricka Petit-Homme as she shares highlights from the National Youth Choir of Canada's concert at the 2022 Podium Festival. The show will be broadcast on Sunday, July 3 on CBC Music's Choral Concert from 9-11am ET.
CBC Music – Choral Concert
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Get to know our 2022 NYCC Basses: Part 2

5/19/2022

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Basses: Part 2

Kai Leung - Ontario
Arthur Jack - Saskatchewan
Luke Munchinsky - Manitoba
Aidan Reimer - British Columbia
Tim To - Alberta
When did you first start singing/singing in choirs?

KL - I've been singing since I was born and started singing in choirs in high school after my voice changed. I was fortunate to go to an arts high school with many opportunities to sing in different kinds of choirs, including jazz choirs and a pop acapella group.

TT - I sang all throughout elementary school, but I really got back into singing in 2016.


What are your other passions/hobbies/interests? What inspires you? 

AR - I love cooking and baking, and taking really really really long walks in the wilderness. Like, days at a time preferably. Anything active will have me riled up. I love to play the guitar and piano and any instrument I can get my hands on. I am inspired by live performances and creating music with others. There is a certain “je ne sais quoi” about live music that you can't get through any other medium.

TT - I love climbing (bouldering), reading, linguistics, and playing video games. I'm inspired by the grassroots nature of the choral community, and our resilience in these trying two years that we have faced!


How did you learn about NYCC and/or what made you decide to audition?

KL -  I learned about NYCC through the Ontario Youth Choir program, which I participated in for 5 years. I decided to audition because the OYC program was so much fun, introduced me to so many wonderful people, and contributed significantly to my musical growth, and I think the NYCC program will be amazing in the same ways.

AR - I learned about NYCC through the BC Youth Choir. They held an audition in 2018 during the BCYC weekend and I thought "yeah, that would be pretty cool". Then, one thing led to another and here we are.


What are you most excited about for NYCC 2022?

KL - I'm most excited to meet all of the wonderful singers and artistic staff, and to get to work with them for an extended period of time!

TT - Singing the program – some of these pieces have been stuck in my head since 2020! However, meeting my peers and spending time at Podium are a very close joint second place. A friend and I looked through the list of alumni recently, and we were elated at all the familiar names that we encountered along the way – and so I like to think that NYCC is a glimpse at the future of Canada's choral community for the next decade or so.
We hope you enjoyed learning more about the 2022 NYCC. See you tonight!
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Get to know our 2022 NYCC Basses: Part 1

5/18/2022

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Basses: Part 1

Matthew Adam - Québec
Graeme Climie - Alberta
Mark Daudlin - British Columbia
Trevor Flemings - Saskatchewan
William Ireton - Saskatchewan
When did you first start singing/singing in choirs?

GC - I started with Kodaly classes at age 3 and then sang in Cantare Children's Choir for 14 years.

MD - I first joined choir in Grade 11 in high school. At the time I had little to no singing experience and only joined because a friend convinced me to give it a try- I never would have realized how much I'd grow to love it! I stayed throughout the rest of high school, and singing in choirs has been a steady passion since.


What are your other passions/hobbies/interests? What inspires you? 

TF - Outside of music, I have a love for taking care of animals and gardening, as well as an express interest in trying out new vegan baking recipes. I am inspired most notably by interdisciplinary art practices, and the exploration of combining mediums of visual art and music especially in contemporary performance.

WI - Hmmm. I love to be by myself, but I do also love spending time with others. By myself, I enjoy walking/hiking, exploring a city if it's new to me. With smaller, more intimate groups of people (2-3), I like to talk about everything under the sun.


How did you learn about NYCC and/or what made you decide to audition?

GC -  I originally heard the National Youth Choir with Michael Zaugg at Podium in Edmonton in 2016 and it was such an incredible performance that it made me want to audition.

MD - I first heard of NYCC when I participated in the BC Youth Choir program back in 2017, and immediately made it a goal to be a part of it one day. That goal was achieved initially when I was accepted into the 2020 iteration of NYCC, but unfortunately the program was cancelled due to the pandemic. I'm excited and grateful to have been invited back for 2022.


What are you most excited about for NYCC 2022?

TF - I am most excited to meet and work with other dedicated musicians from across Canada!

WI - There is so much that I am looking forward to: Singing this rep, working with JS, singing with a high-level ensemble, spending time in Ottawa (and area). Perhaps most of all, I am looking forward to to getting to know Everyone involved in this project. In my experience, music making can allow for a degree of closeness/togetherness that transcends, or at least is different from just talking with someone, or getting to know things "about" them. I suppose I am really looking forward to seeing how the dynamic takes shape between this group of people, with this music.
Last, but certainly not least, the 2022 NYCC Basses: Part 2 is up next!
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Get to know our NYCC Tenors: part 2

5/17/2022

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Tenors: part 2

Ryan Henwood - Nova Scotia
Chenuka Lakwijaya - British Columbia
Spencer Sweet - Nova Scotia
Andrew Whiteside - Alberta
Frank (Enquan) Yu - New Brunswick
When did you first start singing/singing in choirs?

RH - I was somewhat of a late bloomer to choir! I began singing with my high school choir in grade 12 as I was preparing for my university auditions. Since then, I have had the opportunity to work with many inspiring choral conductors during my time at Dalhousie University and through participation in the Nova Scotia Choral Federation’s programs like the Nova Scotia Youth Choir and Adult Choir Camp.

FY - I first started singing in choir back in Grade 9 in Fredericton. Our choir director encouraged me to join as they needed tenors, just like every other choir! I started taking voice lessons in Grade 8 when I first started doing theatre and continued throughout high school with both classical and musical theatre repertoire.


What are your other passions/hobbies/interests? What inspires you? 

CL - I love to read (favorite book at the moment: Nocturnes by Kazuo Ishiguro), play sports (ultimate frisbee, cricket, and table tennis), and listen to podcasts (my favorites being the Anthropocene Reviewed and Philosophize This)! 

SS - I enjoy spending time with friends and family and playing games of all sorts. I am inspired by the chance to better the lives of people around me and to enjoy those moments of happiness with others, no matter how big or small.


How did you learn about NYCC and/or what made you decide to audition?

RH -  My decision to audition for the NYCC in 2018 was the culmination of many factors. I had just participated in the Nova Scotia Youth Choir for the first time in 2017, led by Rachel Rensink-Hoff, and she recommended that I look into the program. Many of my friends and fellow choristers had participated in prior years and I was already working with Jeff Joudrey through the Halifax Camerata Singers. Feeling as if the universe was urging me to audition, I sent in my audition tapes and was excited to be picked as the Tenor for Nova Scotia in 2018!

FY - After hearing about NYCC through Dr. Jamie Hillman here at the University of Toronto, I decided it would be an excellent opportunity for me to not only create music with great singers, but also to represent New Brunswick and the Chinese community. I have heard many amazing things about NYCC through teachers, peers and friends which makes the experience even more exciting.


What are you most excited about for NYCC 2022?

CL - Getting to know my NYCC colleagues and perform with them on tour and at PODIUM!

SS - I’m most excited to create an extremely high quality of music with some of the best musicians I’ve met. I’m also excited to get a chance to make music with my fellow Canadians from all across the country and to share that bond with them.
Next up... the NYCC Basses: Part 1!
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