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)
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.
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.
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.
They always came back to NS with so much new music, friends, and experiences that sounded like the provincial program but even larger and longer. Choir for me was my safe space, and when I could spend a whole weekend touring Nova Scotia with friends singing, what better time could be had. So, 2 weeks sounded like one of the best experiences I could possibly imagine. When I finally turned of age, I jumped at the opportunity. I still remember auditioning for Heather Fraser and Christina Murray at St Georges in Halifax. To this day it is an experience I will always remember.
What were you doing at that point in life?
When I was in National Youth Choir I had just moved home to Halifax, started working as a Music Director at a church in downtown. I had started singing with Halifax Camerata Singers and working part time at the Gap. I was just kind of getting my bearings and living at home, had just done a tour with the Canadian Chamber Choir (CCC) and was starting off my life in Halifax.
What are you doing now?
Currently I am a Store Manager Trainer with Starbucks in St. John’s Newfoundland. I manage a busy drive thru location and train new managers when they start with the company here in Newfoundland.
How is choir still a part of your life?
I still sing as much as I can. I play piano for a good friend’s women’s choir in Conception Bay South, I sing Tenor with Projekt Chamber Voices and when COVID isn’t rearing their horns, I sing Tenor with the CCC and tour with them. COVID seems to prevent some of these activities some of the time, but when possible, you will find me out there singing.
What is your favourite memory of NYCC?
My favourite memory is hard to pinpoint. There were so many highlights from singing at Podium in Saskatoon, rehearsing with Dr Meredith at the University of Saskatchewan, and working with her which is still a highlight of my life until this day. Her technique of changing seating order based on blend was mind blowing, and her trust in the choir to fix mistakes. But I have to say the memory that I still picture was singing Danny Boy of all things in Marysburg, Saskatchewan. I can remember Dr Meredith explaining the reason behind the song, it was not because it was challenging, or the next new choral hit, instead it was so that when we toured rural areas of the province, they would be left with a song they knew, and we were going to knock their socks off with how well we would sing it. And Marysburg is this town that comes out of nowhere like Brigadoon, (I have since been back touring with the Canadian Chamber Choir and it’s as if nothing had changed) and this town has this beautiful cathedral in the middle, with gorgeous acoustics, and the friendliest people you will ever meet. I can remember how Danny Boy sounded in there and it was simply divine. She started off the piece with 45 singers from across the country singing as softly as we could and bloomed into the beauty of the space and music. When we arrived at our billets house, we would inevitibely talk about the concert, provincial politics, music, you name it. Well, our billets could not say enough about Danny Boy, and that’s when I realized exactly the impact a piece like that can have. Did they enjoy the Childs, Whitacre, and Rossini? Of course, but what really impacted them was that one song. I don’t know why that still sticks with me until this day, but it reminds me of impact to audiences and knowing who you’re singing for.
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Are you an NYCC alumna/us or know someone who is? Connect with the Alumni Committee here, or email [email protected] for more information.
Choral Canada is thrilled to announce the 2022 National Youth Choir of Canada singers!
These 40 singers will be meeting in Ottawa May 8-20th to rehearse at the University of Ottawa School of Music facility. This intensive training week also includes time for cultural learning in Ottawa, as well as workshops and community engagement in the Ottawa-Gatineau area.
Prior to the training week in Ottawa, singers will participate in 3 professional development workshops and have access to NYCC Mentorship Pilot Project, launching in early 2022. These opportunities will offer the singers learning and connections with professionals in the choral arts sector.
The 2022 tour will kick off on May 14th, and includes the following performances, with more to come:
Box Office and Ticket Information
Saturday May 14, 2022 | 7:00 PM
Thursday May 19, 2022 | 8:00 PM
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COVID-19 has kept us all working diligently to secure accommodations, facilities, and performances for the 2022 NYCC and we’re thankful for the faculty and staff at the University of Ottawa School of Music and their enthusiastic support of this program. We would also like to thank our program sponsors the Sir Ernest MacMillan Memorial Foundation and the Azrieli Foundation, as well as our many private donors. Your support is vital to the success and continuation of this program. Donations can be made by visiting our DONATE page.
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