The CCC is celebrating an exciting new chapter in its history with the development of a mentorship program for young singers from coast to coast.

We have invited British Columbia-based soprano Anna-Marie Ryan to join us as our first-ever Apprentice Singer, participating in the upcoming tour of Manitoba (September 21-29) and assisting our Artistic Team in shaping the parameters of this program as we head into a busy 2019 season of touring and recording.

We are thrilled to welcome Anna-Marie to the CCC family, and in an effort to get to know her a little better we’ve asked her 10 questions about her musical upbringing, favourite repertoire, and the things that inspire her the most:

1) How and when were you first introduced to ensemble singing?

Elementary school choir at age eight was my first official introduction to ensemble singing. I remember loving every minute of it – especially the performances! My first encounter with classical choral music occurred when Capilano University’s Chamber Choir performed at my high school in tenth grade. I recall listening in awe to the first sopranos float clear melodies above cluster chord harmonies in Mia Makaroff’s “Butterfly.” I had only ever sung pop and jazz music in choirs before this, and I’d had no idea such ethereal sounds and harmonies could be created by the human voice. Imagine my delight when I entered university and discovered I could participate in their creation!

2) What groups are you most inspired or excited by?

A few years ago I discovered recordings of the British a cappella group Voces8. I love the finesse of their artistry and their ability to deliver convincing performances in a variety of genres (they’ve sung everything from liturgical motets and hymns to folk songs like “Shenandoah,” and even Simon and Garfunkel’s “The Sound of Silence”). I am inspired by Voces8’s unique arrangements, the way they work independent vocal lines into a tapestry of unified harmonies, and their emphasis on promoting choral music education. Other groups at the top of my choral listening list include The King’s Singers, the Eric Whitacre Singers, The Tallis Scholars, Salt Lake Vocal Artists, and Tenebrae.

3) If you could conduct any choir in the world, which would it be?

Definitely the Eric Whitacre Singers. Their live recordings reveal that they are an incredibly sensitive ensemble, responding to the subtlest and most creative gestures from their conductor. Watching Eric Whitacre lead this group gives you the impression that he is simply using his facial expressions, posture, and arm movements to paint dazzling vocal colours and play with sound. I think this would be a lot of fun to experiment with as a conductor. 

4) Who is your favourite Canadian composer and why?

I think every time I am introduced to a work by a Canadian composer, that composer becomes my new favourite! There is something about Canadian choral music that I find uniquely compelling. I find myself drawn to choral works which interweave musical tradition (be it sacred liturgical tradition or secular folk tradition) and compositional innovation. I believe Canadian composers are particularly adept at this. Works I have had the privilege of performing that I believe achieve this combination strikingly well include Robert Ingari’s Psalm 23, Ben Duinker’s “Materia Ex Nihilo,” David Squires’ “Sanctuary,” and Jocelyn Morlock’s “Exaudi.”

5) What is your most memorable performance as a singer?

One performance that comes to mind is from my tour with the National Youth Choir in 2017. It wasn’t the most memorable because of the venue or the repertoire (many other performances could rival it in these categories), but because of the seemingly miraculous nature of its success. It was one of our first performances after a long week of 8+ hour rehearsal days, and we were collaborating with The Elora Singers. We had been informed that there would be important and influential audience members in attendance, including potential sponsors who could help fund future NYC tours. During our dress rehearsal we sounded worse than we’d sounded all week. Vocal fatigue, sleep deprivation, and 30+ degree heat in a non-air-conditioned church formed the perfect storm for noticeable tuning issues and rhythmic mistakes. We were sure we were about to bomb one of the most important concerts of our tour! Thankfully, the opposite occurred. We ended up performing on the top of our game and receiving many generous compliments from our guests. It was a turnaround that taught me never to assume the worst about how a performance will turn out. You never know what a little pressure, adrenaline, and focus can accomplish!

6) You have travelled extensively through your music. What are a few highlights?

My two favourite tourism moments from my travels are climbing the Great Wall of China and seeing Les Misérables performed on Broadway. My two favourite performance moments require a bit more detail to describe. While touring in Ottawa with the TWU Chamber Choir, we had the opportunity to sing a few a cappella pieces in the cavernous rotunda that marks the entrance to the Parliament buildings. Not only were the acoustics incredible, but the unique and significant nature of our venue left an impression on me. A few passers-by paused their hurried steps to listen with surprised faces and appreciative smiles. In New York on that same tour I had a similar experience singing in the Cathedral of Saint John the Divine. I have a distinct memory of singing an a cappella solo line in Eric Whitacre’s “i thank You God for most this amazing day” at the front of the Cathedral for a small audience. As I looked up in appreciative awe at the Cathedral’s Great Rose Window and towering columns and pillars, the simple words “I thank You God” took on a new and indescribable meaning for me.

7) What’s the biggest non-musical takeaway from a choral upbringing?

One of the most important things I have learned from living and breathing a chorister’s life is that vulnerability is valuable. I believe the authenticity of our relationships with other people can be measured by how vulnerable we are willing to be are around each other. Obviously there are necessary boundaries that must be respected. But contemporary culture’s emphasis on perfection (be it in the form of photoshopped Instagram accounts or auto-tuned pop recordings) has cultivated an unhealthy fear of vulnerability. In a very unique way, the vulnerability our society has lost is rediscovered in a choir’s rehearsal room. The beauty of choral singing is that it is exposed, but it takes place in an environment where you don’t have to share your voice and emotions with your audience alone. I think this is why choir members often form such strong bonds with each other. They are united by this experience of becoming vulnerable with each other and with their audience. In my experience, this often leads members of an ensemble to cultivate a greater respect for and understanding of each other. 

In a very unique way, the vulnerability our society has lost is rediscovered in a choir’s rehearsal room.

8) If you weren’t pursuing music full time, what would you be doing instead?

A challenging question! I have very few memories of considering a career in something other than music (except one time in first grade when I wanted to be a school bus driver…). That being said, I have always LOVED writing. I filled notebooks with poetry and song lyrics as a child, attempted to pen multiple novels in my early teenage years, and bewildered many of my friends by showing genuine excitement when we were given essay assignments in high school. So if I wasn’t pursuing music full time, I think I might explore a career as a writer. 

9) Do you have any favourite words to live by?

The opening lines of the Serenity Prayer have inspired me ever since I read them on a bookmark I owned as a child:

“God grant me the serenity to accept the things I cannot change, courage to change the things I can, and wisdom to know the difference.”

10) Any advice for singers and conductors at the beginning of their careers?

Never miss an opportunity to learn from professionals. Every time you encounter an established singer or conductor (whether through in person mentorship, live/recorded performances, written books and articles, etc.) you are presented with a chance to develop your own growth as a musician. Don’t waste it! Observe their techniques closely. Take notes and ask questions. Try to get to the heart of what makes them successful, and figure out how to apply this to your own practice. Most importantly, be humble and honest about your weaknesses as a musician. We can’t hope to learn or improve unless we acknowledge that there are skills we have yet to acquire and strengths we have yet to fully develop!

BONUS QUESTION! What are you most looking forward to about joining the Canadian Chamber Choir as our very first Apprentice Singer?