Wolfgang Amadeus Mozart’s Missa Brevis in F Major, Joseph Haydn’s Mass in Time of War

Rideau Chorale and Kevin Reeves, Guest Music Director, are joined by:

Susan Elizabeth Brown, Soprano 
Danielle Vaillancourt, Alto
Adam Sperry, Tenor 
Geoffroy Salvas, Baritone
Matthew Larkin, Organ 
Dominique Moreau, Timpani

Saturday, April 15, 2023 @ 7:30pm

Southminster United Church, 15 Aylmer Ave, Ottawa

Visit the concert page for live streaming information and post-performance recording.


Program | Word of Welcome | Program Notes | Program Text & Translation | Biographies | Rideau Chorale | Special Acknowledgements | Donors & Sponsors


Missa Brevis in F Major by Wolfgang Amadeus Mozart

  1. Kyrie
  2. Gloria
  3. Credo
  4. Sanctus
  5. Benedictus
  6. Agnus Dei


Mass in Time of War by Joseph Haydn

  1. Kyrie
  2. Gloria
  3. Credo
  4. Sanctus
  5. Benedictus
  6. Agnus Dei


Thank you so much for joining us at Rideau Chorale’s spring concert. We’ve enjoyed preparing these beautiful works and very much look forward to performing them for you this evening.

Ottawa is full of incredible musical talent, and we are grateful to be able to learn from and perform with some of the best. This season we are fortunate to sing under the direction of Kevin Reeves, a talented choral conductor with deep experience in the classical music field. Tonight, we also welcome back our previous Guest Director, Matthew Larkin, as organist for this performance.

Rideau Chorale is grateful to our local business sponsors and our donors, who have enabled us to engage the professional leadership and support that makes these performances possible. As do you, by being here tonight. Thanks as well to our many hard-working volunteers, including my fellow Board members.

Rideau Chorale continues to welcome aspiring choristers from the National Capital Region. I invite you to check out the choir’s website – www.rideauchorale.com – for news, updates, and details on how you can help support our music and efforts.

We are fortunate to be able to be here together in peace and companionship to share in this musical experience. We cannot forget that elsewhere others are not so fortunate. We stand with the people of Ukraine, and all those in the world who are suffering from the ravages of senseless wars and violence. We dedicate this performance to them.

Elizabeth Tromp
Chair, Rideau Chorale Executive


Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-91) were reportedly great friends who connected despite many differences.

Haydn’s family was musical, but untrained. At six, his talent led to him being apprenticed to obtain musical training. By eight, he was recruited to work as a chorister in Vienna. He never lived with his parents again and his employers believed hunger made him more likely to impress. He did learn a few instruments, but received no training in composition or musical theory. These he picked up on his own.

His growing inability to sing the treble part led to his firing when he was 17 and a subsequent patchwork of employment. But within a few years, he began earning a name as a composer and by age 25 he had his first full-time employment as music director for a member of the aristocracy.

Mozart was born not long after Haydn took on these duties. His father was a composer and a teacher, who was surprised to find his five-year old son composing small pieces on his own initiative. By six, Mozart was traveling and performing as a child prodigy. During this time Mozart wrote his first symphony. 

At 17, Mozart, at his father’s urging, accepted employment with Hieronymus von Colloredo, the ruler of Salzburg. 

During the next eight years, Mozart wrote numerous pieces, including his Missa Brevis in F Major, which was completed in 1774. It is one of his earliest masses and has been named the “Little Credo Mass,” due to the Credo calls throughout the third movement. In fact, he used this motif later in his Jupiter Symphony.

This period was difficult as his employer paid little and repeatedly prevented Mozart from performing in venues that could lead to other opportunities. Mozart finally persuaded his patron to let him quit, but he was dismissed with a literal “kick in the arse” delivered by Colloredo’s steward. Mozart promptly moved to Vienna.

It was in Vienna that the two composers met and quickly bonded. They played together in concerts and Hadyn joined Mozart’s Masonic Lodge. They were vocal about their respect for one another. Mozart penned a series of works called the Haydn Quartets. For his part, Haydn told Mozart’s father “your son is the greatest composer known to me either in person or by name.”

There was one other thing the two had in common –  each married the sister of the woman they actually loved. Neither marriage went well.

The French Revolution took place in 1789 and the friends likely had spirited discussions about it. Haydn, 29 years the senior, was comfortable with the patronage of the aristocracy. Mozart, for his part, was no revolutionary, although some note that his opera The Marriage of Figaro features what was at that time the subversive statement that a servant is as good as his master. 

Haydn moved to London twice in the early 1790s. Upon his first departure, the two friends had a sad parting. Mozart reportedly said “We are probably saying our last farewells in this life.” Haydn had no idea it would be his young friend who would die the next year.

Haydn returned to a changed Austria in 1794. The French Revolutionary Wars were underway and Austria was mobilizing, but doing poorly against Napoleon’s forces. Haydn wrote Mass in the Time of War in 1796, as French forces marched toward Vienna. Haydn integrated references to these battles in the Benedictus and Agnus Dei movements.

Some scholars believe this mass expresses an anti-war sentiment, particularly in the Benedictus and Agnus Dei movements, where the music is unusually unsettled for Haydn. Nonetheless, the overall feeling of the Mass is lyrical and joyful.

Haydn’s health deteriorated during this period and steadily worsened although he continued working and composing. As he was dying, Napoleon took Vienna in early May 1809. Haydn was such a respected figure that Napoleon asked to meet him, but Haydn refused. A French cavalry officer was sent over to the composer’s house – outside which Napoleon had stationed an honour guard – to sing one of Haydn’s arias. Haydn died peacefully in late May 1809.


1. Kyrie

Mozart and Haydn

Kyrie eleison. Christe eleison. Kyrie eleison.

Lord, have mercy. Christ, have mercy. Lord, have mercy.

2. Gloria


Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus. Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus. Agnus Dei. Filius Patris, qui tollis peccata, peccata mundi.

And give peace to men of good will. We praise you. Thank you. We adore you. We glorify you. We thank you for your great glory. Lord God. Heavenly King. God the Father almighty. Lord, only begotten Son, Jesus Christ. Lord God. Lamb of God. Son of the Father, who takes away sins, the sins of the world.

Miserere nobis qui tollis peccata, peccata mundi. Suscipe deprecationem nostram qui sede ad desterà, ad dextral Patris. Miserere miserere nobis.

Have mercy on us who take away the sins, the sins of the world. Accept our supplication who sit on the far side, on the right hand of the Father. Have mercy on us.

Quoniam tu solus Sanctus, tu solus Sanctus. Quoniam tu solus Dominus, tu solus Dominus, tu solus Altissimus, Jesu, Jesu Christe.

Because you are the only Holy One, you are the only Holy One. Because you are the only Lord, you are the only Lord, you are the only Most High, Jesus, Jesus Christ.

Cum Sancto Spiritu in gloria Dei Patris. Amen.

With the Holy Spirit in the glory of God the Father. Amen.


Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te, glorificamus te. Gratias agimus tibi propter magnum gloriam tuam. Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

Glory to God in the highest. And peace on earth to men of goodwill. We praise you. We bless you. We worship you, we glorify you. We give You thanks for Your great glory. Lord God, King of Heaven, God the Father Almighty. Lord, only-begotten Son, Jesus Christ, Lord God, Lamb of God, Son of the Father.

Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

You who take away the sin of the world, have mercy on us. You who take away the sin of the world, hear our prayer. You who sit at the right hand of the Father, have mercy on us.

Quoniam tu solus sanctus, Tu solus Dominus, Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris, Amen.

For You alone are holy, for You alone are Lord, You alone are the Most High, Jesus Christ. With the Holy Spirit in the glory of God the Father, Amen.

3. Credo


Credo in unum Deum, Patrem omnipotentem factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesu Christum Filium Dei, unigenitum et ex Patre, ex Patre Natum.

I believe in one God, the Father almighty, maker of Heaven and earth, of all things visible and invisible. And in one Lord, Jesus Christ, the only begotten Son of God and of the Father.

Ante omnia saecula. Deum de Deo, Lumen de lumine, Deum verum de Deo vero. Credo, credo. Genitum non factum substantialem Patri, per quem omnia facta sunt. Credo, credo.

Before all the ages. God from God, man from light, true God from true God. I believe, I believe. Begotten was not made substantial to the Father, by whom all things were made. I believe, I believe.

Qui propter nos homines et propter nostram salutem. Descendit, descendit, descendit,  descendit, descendit de coelis. Credo, credo. Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est.

Who for the sake of us and for the sake of our salvation He went down from Heaven. I believe, I believe. And he was incarnated by the Holy Spirit from the Virgin Mary and became man.

Crucifixus etiam pro nobis sub Pontio Pilato passus et sepultus est.

He was also crucified for us under Pontius Pilate, died and was buried.

Et resurrexit tertia die secundum Scripturas, et ascendit in coelum; sedet ad dexteram Patris. Credo, credo. Et iterum venturus est, venturus est cum gloria judicare vivos et mortuos.  Cujus regni non erit finis. Credo, credo.

And he rose again on the third day, according to the Scriptures, and went up to Heaven; he sits at the right hand of the Father. I believe, I believe. And He will come again, He will come with the glory to judge the living and the dead. Whose kingdom will have no end. I believe, I believe.

Et in Spiritum Sanctum Dominum et vivificantem. Qui ex Patre Filioque procedit.

And in the Holy Spirit, the Lord and the giver of life. He who proceeds from the Father and the Son.

Quicum Patre et Filio simul adoratur et conglorificatur, qui locutus est per Prophetas. Et unam sanctam catholicam et apostolicam Ecclesiam.

With whom the Father and the Son are imitated and glorified, who spoke through the Prophets. And one holy Catholic and Apostolic Church.

Confiteor una baptisma in remissionem peccatorum, et expecto resurrectionem mortuorum.

I acknowledge one baptism for the remission of sins, and I await the resurrection of the dead.

Et vitam venturi saeculi. Amen. Credo, credo.

And the life of the age to come. Amen. I believe, I believe.


Credo in unum Deum, Patrem omnipotentem factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum non factum, consubstantialem Patri; per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis.

I believe in one God, the Father, the Almighty, maker of Heaven and earth, of all that is, seen and unseen. And in one Lord Jesus Christ, the only Son of God, eternally begotten of the Father, God from God, light from light, true God from true God, begotten, not made, being of one substance with the Father; through Him all things were made. For us and for our salvation He came down from Heaven.

Et incarnatus est de Spiritu Sancto, ex Maria virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato; Passus et sepultus est.

He became incarnate from the Virgin Mary by the power of the Holy Spirit, and was made man. For our sake He was crucified under Pontius Pilate; He suffered death and was buried.

Et resurrexit tertia die secundum Scripturas, et ascendit in coelum, sedet ad dexteram Patris, et iterum venturus est cum gloria, judicare vivos et mortuos, Cujus regni non erit finis. Et in Spiritum Sanctum Dominum, et vivificantem, qui ex Patre Filioque procedit, qui cum Patre et Filio simul adorateur, et conglorificatur, qui locutus est per Prophetas. Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum, et expecto resurrectionem mortuorum, et vitam venturi saeculi, Amen.

He rose again on the third day in accordance with the Scriptures. He ascended into Heaven and is seated at the right hand of the Father. He will come again in glory to judge the living and the dead and His Kingdom will have no end. And I believe in the Holy Spirit, the Lord, the giver of Life, who proceeds from the Father and the Son, with the Father and the Son, He is worshiped and glorified, He has spoken through the prophets. I believe in one holy catholic and apostolic Church. I acknowledge one baptism for the forgiveness of sins and I look for the resurrection of the dead and the life of the world to come. Amen.

4. Sanctus

Mozart and Haydn

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

Holy, holy, holy, Lord God of Hosts. Heaven and earth are full of your glory. Hosannah/Ossanna in the highest.

5. Benedictus

Mozart and Haydn

Benedictus qui venit in nomine Domini. Osanna in excelsis.

Blessed is He who comes in the name of the Lord. Hosannah/Osanna in the highest.

6. Agnus Dei

Mozart and Haydn

Agnus Dei qui tollis peccata mundi, miserere nobis. Agnus Dei qui tollis peccata mundi, dona nobis pacem.

Lamb of God, who takes away the sin of the world, have mercy on us. Lamb of God, who takes away the sin of the world, grant us peace.


Kevin Reeves, Guest Music Director

As a chorus master, Kevin has prepared choirs for many international conductors – mostly through the National Arts Centre – including Trevor Pinnock, Franz Paul Decker, Lydia Adams, Jiri Belohlavek, Iwan Edwards, Robert Cooper, Jean-Francois Rivest and Pinchas Zukerman. Kevin is also a composer and three years ago presented the world premiere of his comic opera ‘Nosferatu’ – based on the filming of the 1922 silent classic.  He has also recently completed a full-length opera based on the true story of Anahareo and Grey Owl’s life in the bush.

In his spare time, Kevin directs documentaries, short films, dramas and Classical music videos and has won several international awards as a result. His hobbies include drawing caricatures, collecting original cartoon art, painting landscapes, and watching a lot of television – good and bad.

Susan Elizabeth Brown, Soprano

Canadian soprano, Susan Elizabeth Brown, has appeared throughout Canada with various ensembles. In 2023, she appeared as Primera Sola Niña in Ainadamar by Osvaldo Golijov with Opéra de Montréal, where she previously covered the role of Erste Dame in Barry Kosky’s production of Mozart’s Die Zauberflöte in 2022. 

In 2018, she appeared as Donna Anna in Don Giovanni (Mozart) with Festival d’opéra de Québec, and on tour with Jeunesses Musicales Canada. She joined Jeunesses Musicales Canada again in 2020 in the title role of Lucia di lammermoor (Donizetti). 

She is an alumnus of the National Arts Centre of Canada Young Artists Program. 

Highlights of her concert repertoire have included Handel’s Messiah, Brahms Requiem, Orff’s Carmina Burana, and Pergolesi’s Stabat Mater, among many others. Her technical capacity has allowed her to explore a wide range of operatic repertoire on professional stages. She is most at home in light lyric roles across genres, having performed, among others, Adina (Elisir d’amore/Donizetti), Gilda (Rigoletto/Verdi), Giannetta (Elisir d’amore/Donizetti), Frasquita (Carmen/Bizet), Sophie (Der Rosenkavalier/Strauss), La Princesse (L’enfant et les sortileges/Ravel), Juliette (Roméo et Juliette/Gounod), and Belinda (Dido and Aeneas/Purcell). She is recognized for her exceptional “jewel-like” tone, even throughout her range and both brilliant and warm, and for her “effortless”, “beautiful extension that cuts through an ensemble”. 

Her voice has inspired composers to write for her, and she is currently preparing premieres of new Canadian works, to be announced. An enthusiast of chamber music and song, some other pieces in preparation include Knoxville: Summer of 1915 by Barber, Seven Early Songs by Berg, and Three Songs for Soprano and Orchestra by Golijov. 

Susan has a diploma in musical theatre performance from St. Lawrence college, and has studied voice exclusively in private studios, including those of acclaimed Canadian pedagogues and singers Nadia Izbitskya, Maria Pellegrini, Donna Brown, and Aline Kutan, among others.

She grew up in Kingston, Ontario, where she sang in choirs and performed in community theatre, and lived in Ottawa for many years before recently settling in Montreal, Quebec.

Danielle Vaillancourt, Alto

Renowned for her rich and velvety timbre, mezzo-soprano Danielle Vaillancourt is no stranger to the Ottawa region. She started her career in Ottawa by singing in former Opera Lyra Ottawa’s performance of Verdi’s Rigoletto singing the role of Il paggio when she was 15 years old. 

Originally from Renfrew in the Ottawa Valley, Danielle’s singing brought her to Montreal where she completed her music education and performance degrees at the Conservatoire de Musique de Montréal in 2012.  

Ms. Vaillancourt has participated in many singing competitions where she stood out and won major recognition. [Maria Callas Competition in Athens, GR and the Prix d’Europe in 2015 as a semi-finalist). In 2017, we heard Danielle as a finalist in the Brian Law singing competition in Ottawa and she also sang in South Ottawa Performing Arts Collaborative’s (SOPAC) production of Cendrillon as one of the stepsisters. 

Although Ms. Vaillancourt has sung several operatic roles, her heart leans towards a vast repertoire of romantic, early music and oratorio repertoire. Danielle has been invited on many occasions to sing as alto soloist and chorister with the Ottawa Bach Choir directed by Lisette Canton. In May 2018, Danielle was a soloist in their performance and recording for their JUNO award-winning album, Handel, Bach & Schütz (Classical Album of the Year: Vocal or Choral), released in 2019 on the ATMA Classique label, which presents Handel’s Dixit Dominus, and motets by Bach and Schütz, with Ensemble Caprice and countertenor Daniel Taylor.  

Recent engagements include being selected as one of eight singers in the Toronto Summer Music Academy – Art of Song directed by Steven Philcox with guest vocal mentors, Julius Drake and Christoph Prégardien in 2018.  

During the last few pandemic years, Danielle has been keeping musically busy despite our world being on lockdown. This past summer of 2022, she was one of twelve singers to be part of a world creation and partnership of Opera de Québec & Opéra de Montréal’s premier of the opera, Yourcenar: Une Île de Passions. Inspired by the life and work of Marguerite Yourcenar, this Quebec creation by librettist Hélène Dorion and the late Marie-Claire Blais is set to music by composer Éric Champagne.  

Upcoming performances include the closing season concerts of Opéra de Montreal’s Madama Butterfly by Puccini featuring Ottawa’s Joyce El-Koury, the Orchestre symphonique de Montréal’s concerts Cantata Criolla by Antonio Estévez and their closing performance of Mahler’s Symphony No. 3 both conducted by Rafael Payare.

Adam Sperry, Tenor

Praised for his “rich vocals and dynamic palette” (Holly Harris, Opera Canada, Fall 2019), Manitoban tenor Adam Sperry has had the privilege of performing with many companies across Canada. 

Adam is a recent graduate of the Schulich School of Music with a Masters of Opera and Voice under the tutelage of John Mac Master. 

Recent performance highlights include Peter Quint in Britten’s The Turn of the Screw and Sam in Weill’s Street Scene with Opera McGill, Zadok in Handel’s Solomon with Caelis Academy Ensemble and Ottawa Baroque Consort, Danny in Manitoba Underground Opera’s virtual production of Green Envelopes by Brenna Corner, Don Ottavio in South Ontario Lyric Opera’s production of Don Giovanni, and the tenor soloist in Carmina Burana with the Winnipeg Symphony Orchestra. 

Adam is thrilled to join Rideau Chorale as tenor soloist for Haydn’s Mass in Time of War and Mozart’s Mass in F Major.

Geoffroy Salvas, Baritone

Baritone Geoffroy Salvas was recognized as First Prize winner of the Concours International de Chant de Marseille 2017 in the Operetta category, New England Finalist of the Metropolitan Opera National Council 2019, Laureate of the French melody competition Classica 2019 and recipient of the Jacqueline Desmarais Foundation Grant for Young Singers. He studied with Gabrielle Lavigne and Aline Kutan at the Conservatoire de musique de Montréal before joining the Atelier Lyrique at the Opera of Montreal for 2 seasons.

In 2018, he premiered the role of Mantoo, for the opening season concert of the Montreal Symphony Orchestra conducted by Kent Nagano, as one of the two main characters in Chaakapesh, an opera by Matthew Rickets. In 2019, he made his debut at Opera de Toulon (France) in the rôle of Mathieu (Andrea Chénier). In 2021, he was reinvited by the Montreal Symphony Orchestra under the baton of Otto Tausk for Berlioz’s Les nuits d’été.

His performed repertoire includes Valentin (Faust), Don Giovanni (Don Giovanni), Morales (Carmen), Mercutio (Roméo et Juliette), Nero (Nero and the fall of Lehman Brothers), Ein deutsches Requiem (Brahms), Requiem (Fauré), Messiah (Handel), Matthäus-Passion (Bach), Winterreise (Schubert).

Highlights among his future and recent engagements include Germont in La Traviata at the Seine Musicale in Paris, Masetto in Don Giovanni for Opéra de Québec, Morales in Carmen at Pacific Opera Victoria, Vater in Hänsel und Gretel for the Music Conservatory of Montreal and Poulenc’s Le bal masque with Camerata-RCO – members of the Amsterdam’s Royal Concertgebouw Orchestra.

Matthew Larkin, Organist

Matthew Larkin was born in Oxford, England, and came to Canada shortly before his sixth birthday. He was educated at Lord Strathcona School in Kingston, Ontario, and received his early musical training as a chorister at St. George’s Cathedral, later serving as assistant organist.

He attended the University of Toronto as organ scholar of Trinity College, where he was a student of John Tuttle, and subsequently the Royal College of Music. One of Canada’s most influential liturgical musicians, he has held appointments in Toronto, Ottawa, and Victoria, and was director of music at Christ Church Cathedral, Ottawa, for fifteen years.

Active as a choral director and conductor, he founded the Caelis Academy Ensemble and has served as musical director of a number of other noteworthy Canadian ensembles. His recital work has taken him worldwide, and his collaborative projects have produced commercially successful recordings on several labels, including his most recent release on the ATMA Classique label.

He is conversant in a number of musical genres, and is well-known as a composer, arranger, and educator. Matthew is a Fellow of the Royal Canadian College of Organists and has served as a member of its Examinations Committee. He currently serves as Custodian for Music at St. Andrew’s Church in Ottawa, dividing his time between there and Toronto, while attending to choral, conducting, recital, recording, and live-streaming projects.

Matthew Larkin is represented by Domoney Artists Management.

Dominique Moreau, Timpanist

On top of being a member of the Ottawa Symphony Orchestra, with whom he has been featured as a soloist, Dominique is a freelance player in the local classical, jazz, and rock scenes. 

Active in the education community, Dominique teaches at Gisèle-Lalonde High School, where he conducts a concert band, and at the Ottawa Youth Orchestra Academy. He also conducts the handbell choir at St. Andrew’s Church in downtown Ottawa.

Carson Becke, Accompanist

Canadian pianist Carson Becke ( www.carsonbecke.com ) has performed worldwide.
He holds a doctorate in musicology from the University of Oxford, and is the director of Pontiac Enchanté, a concert series in Quebec. His recordings can be heard on Spotify, iTunes, and YouTube.

He forms one half of Duo Octavian, a two-piano ensemble that he co-founded with fellow pianist Suren Barry in 2016. Duo Octavian seeks to expand the two-piano repertoire with their own arrangements of various works and with arrangements/commissions by other performers/composers.

Carson is committed to raising awareness about climate change and other environmental challenges through music. He is enacting those ideas through his directorship of the Pontiac Enchanté concert series: environmental sustainability is one of the cornerstones of its mission.

Carson lived in the United Kingdom for fifteen years: first in London, and then in Oxford. In 2019 he moved home to Ottawa, Canada, where he currently lives with his partner Madeline, and their dog Jerry.


Executive Members

Chair: Elizabeth Tromp
Treasurer: Hélène Caron
Secretary: Greg Lopinski
Membership Coordinator: Susan Robertson
Members-At-Large: Rhona Einbinder-Miller, Frances Isaac, Hilary Esmonde-White

Artistic Leadership

Guest Music Director: Kevin Reeves
Accompanist: Carson Becke

Performing Members

Soprano: Susan Ambrose, Hilary Esmonde-White, Irenka Farmilo, Sylvia Grambart, Liz Irvine, Frances Isaac, Aditi Magdalena, Anne McGorrian, Nancy Savage, Krisha Seguin, Jocelyn Stoate, Elizabeth Tromp, Anna van Holst Pellekaan, Dorothy Wood, Allison Woyiwada, Hiroko Yokota-Adachi.

Alto:  Iris Arnon, Miriam Bayly, Elspeth Butterworth, Cristina Campbell, Hélène Caron, Janice Gray, Isabella Grigoroff, Olivia Hadwen, Angela Kelly, Donna Lougheed, Lori Marsh, An Ngo, Mary Nightingale, Pamela Robinson, Linda Russell, Margaret Schatzky, Mary Wilson.

Tenor: Keith Bider, Guy Bujold, Lawrence Cumming, Michael Koros, Janice Manchee, Yves Menard, Peter Robb, Tug Williams.

 Bass: David Dawson, Don Leek, Greg Lopinski, Martin McCurdy, David Oliver, Geoffrey Oliver, Mark Olo, Lee-Pierre Shirey.

Administrative Support

Webmaster and Technology: Emily Walpole

Choir Coordinator: Miriam Carpenter


Rideau Chorale and its members respectfully acknowledge that the land on which we gather, rehearse, and perform our music is the traditional unceded territory of Algonquin Anishnaabeg People. We are grateful to have the opportunity to be present in and perform on this land.


Section Leads: Lucia Marc (Soprano), Mary Wilson (Alto), Tug Williams (Tenor), Mark Olo (Bass)
Social Media: Monika Rahman
Website: Hilary Esmonde-White
Sponsorship, Fundraising and Communications: Janice Manchee
Rehearsal Set-up: Anne McGorrian and Krisha Séguin
Score Procurement: Anna van Holst Pellekaan, Elspeth Butterworth and Mary Wilson
Front of House: Rosmarie Gerber and her team
Choir Marshall and Concert Set-up: Anna van Holst Pellekaan
Supplies and Storage: Paula Hurtig, Dorothy Wood and Sylvia Grambart
Program Compilation: Janice Manchee and Lawrence Cumming
Ticket Sales: Hélène Caron

Additional Credits

Audio & Video: Ken Parlee
Technical Support: Reid Smith
Graphics: Peter Polgar



Rideau Chorale wishes to acknowledge the generosity of our valued donors in helping us to present this concert. Gifts such as these make it possible for the choir to cover the considerable costs involved. If you are interested in making a donation (tax-deductible), learn more on our website.


We would also like to thank the Ottawa businesses whose generous sponsorships have supported this concert. We encourage you to patronize our sponsors and let them know that you appreciate their support of Rideau Chorale.