Toronto Classical Singers open their season with new Artistic Director Dr. John Holland, and a performance of three choral masterworks — the Magnificats in D. The concert on December 7 will present three settings of the Magnificat in D major by Jan Dismas Zelenka, C.P.E. Bach, and J.S. Bach.
Artistic Director Dr. John Holland succeeds Director Emeritus Jurgen Petrenko.
“It is a great honour to be the caretaker of this important and vibrant choral organization. Choral music is vital to our community, and the Toronto Classical Singers have been enriching the music scene for over 30 years,” says John Holland in a statement.
“Our concert features an excellent group of soloists; sopranos Allison Arends and Grace Quinsey, mezzo-soprano Alexandra Beley, tenor David Walsh, and baritone Christopher Dunham. They are not only fine singers, but wonderful friends, and it is a pleasure to make music with them. My brother Todd Holland is in the trumpet section. This concert brings together family and friends on stage, making the occasion even more meaningful. It is a joyful beginning for me.”
The choir is joined by the Toronto Classical Players orchestra, and soloists Allison Arends, Grace Quinsey, Alexandra Beley, David Walsh, and Christopher Dunham.
Three Magnificats
The Magnificat is based on Mary’s joyful song as depicted in the Gospel of Luke. It has inspired composers throughout the centuries, and the program includes three musical interpretations of the text.
Jan Dismas Zelenka (1679 – 1745)
Zelenka’s version of the Magnificat is characterized by the high spirited approach of the Bohemian Baroque. The bold and rhythmic work is filled with drama. Zelenka is often dubbed the forgotten master of the Dresden court.
C.P.E. Bach (1714 – 1788)
Carl Philipp Emanuel Bach’s Magnificat in D was written in 1749, and was something of a declaration of independence from the long shadow of his father’s fame. The work is emotional and intimate, and displays stylistic innovation for its time, in a sense bridging both the Baroque and Classical eras.
J.S. Bach (1685 – 1750)
J.S. Bach’s Magnificat in D, BWV 243 completes the program. The work began its musical life as a setting of the Biblical text in E-flat major. In 1733, the composer revised it, adding timpani and trumpets, and changed the key to D major. Over the centuries, it has become a beloved staple of the Advent and Christmas season.
Soloists
Allison Arends, soprano
Canadian soprano Allison Cecilia Arends incorporates opera, new music, and concert music in her repertoire. She is a graduate of the University of Victoria, where she performed Madame Herz (Der Schauspieldirektor), and the University of Toronto, where she performed Adina (L’elisir d’amore), Ginevra (Ariodante), Lucia (The Rape of Lucretia), Ida (Die Fledermaus), and the Queen of the Night (Die Zauberflöte). She is also an alumna of Calgary Opera’s Emerging Artist Program, where she performed Despina (Cosi fan tutte), Mary (cover in The Inventor), and the Wealthy Woman (The Inventor). She has performed with Soundstreams, Opera York, Tapestry Opera, and Southern Ontario Lyric Opera, as well as with the Milton Symphony, and the Cambridge Symphony, and Cathedral Bluffs Symphony Orchestra.
Grace Quinsey, soprano
A native of Windsor, Ontario, Grace Quinsey works as an operatic soprano, as well as a dancer, actor, and musician. Recent roles include Josephine in HMS Pinafore and Giannetta in L’elisir d’amore with Opera York, along with Mařenka in Smetana’s Prodaná nevěsta and Terinka in Dvořák’s Jakobín as part of the Year of Czech Music Opera Festival. Other recent highlights include a last-minute appearance as First Lady in Die Zauberflöte with OperOttawa in December 2023. When she’s not on stage, Grace works as a software developer, and is a video game aficionado.
Alexandra Beley, mezzo-soprano
Ukrainian-Canadian Alexandra Beley recently completed two years at L’Atelier Lyrique with Opéra de Montréal, where she made her debut with the company singing Berta (Il barbiere di Siviglia). Other recent credits include singing the role of the Second Maid in Strauss’s Elektra under the baton of Yannick Nézet-Séguin. Previously, as part of Calgary Opera’s Emerging Artist Program, she made her debut singing the title role in The Rape of Lucretia. Since 2013, Alexandra has regularly worked with the Bicycle Opera Project, including participating in their tour of and film version of Sweat.
David Walsh, tenor
A native of Toronto, David Walsh completed his Diploma of Opera Performance at the University of Toronto with Honours in 2022. Recent performances include singing the role of Martin in Toronto City Opera’s Production of The Tender Land, and performing as the Tenor Soloist for Chorus Niagara’s Messiah. He debuted the role of Nemorino in North York Concert Orchestra’s production of Donizetti’s The Elixir of Love, as well as Conception in a new production with new libretto of Ravel’s A Spanish Hour in Vancouver in 2024. He recently made his debut with the Kingston Choral Society as the tenor soloist in a unique production of Mozart’s Requiem in November 2025.
Christopher Dunham, baritone
Based in Niagara Falls, Ontario, Christopher Dunham performs a wide ranging repertoire that includes concert, opera, recital, circus and burlesque music. He is a graduate from L’Atelier Lyrique de L’Opéra de Montréal and Atlanta Opera’s Young Artist Residency. He was the winner of the Desmarais Development Bursary three years in a row and the Jeunesses Musicals Canada’s Young Mentorship position. His operatic repertoire includes performances in The Brother in Seven Deadly Sins (Atlanta Opera), Figaro in The Barber of Seville (Brott Opera), Mercutio in Roméo et Juliette (Jeunesses Musical Canada), Argante in Rinaldo (Pacific Opera Victoria), Dandini in La Cenerentola (La Musica Lyrica), Schaunard in La Bohème and Escamillo in Carmen (L’Opéra de Montréal).
Concert
The Toronto Classical Singers perform Magnificats in D on December 7 at Christ Church Deer Park in Toronto.
- Find concert details and tickets [HERE].
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