2025 Recipients

I am deeply grateful for the Art Song Foundation of Canada and their donors for supporting me at the Franz-Schubert-Institut in Baden bei Wien, Austria, this summer. It was an intense but enriching experience that deepened my understanding of the German art song tradition.

The program centred around masterclasses taught by legendary figures in art song. Each duo prepared around 30 songs that spanned the genre, from Mozart and Schubert to Strauss and Schoenberg. I had the privilege of working with the fantastic singer Boheng Shen. Together we overcame a host of musical challenges through hours of stimulating rehearsals and discussions. I am very thankful for his endless patience and for the magic he brought to every performance.

As a pianist, one of my biggest take-aways was learning to be a more investigative musician. Every composer conveys their intentions through the score differently. Learning when to take their notation literally and when to trust my instincts is an important skill that was only strengthened by my time at the Schubert Institute. Each teacher showed us a different way to interpret a song, which would help Boheng and me eventually identify our own approach. Because of this daily exercise in critical thinking, I am now more confident in my interpretation of music.

The festival’s emphasis on community also left a very strong impression on me. My colleagues were not only original artists, but also incredibly kind and supportive people. The resulting atmosphere was one of mutual admiration in which we were eager to learn from one another. My host family was exceptionally caring and went above and beyond to support me in my performances. Our coaches brought their passion and dedication to every class. The beauty of this festival was that everyone involved showed up with all of their heart.

I would like to thank Michael McMahon for guiding me through the uncertainties of vocal accompaniment while pushing me towards greater heights. Once again, I am honoured to be a recipient of an Art Song Foundation bursary and would like to sincerely thank the organization and their donors for their generosity. Programs like these are crucially formative experiences for young artists, but often we cannot attend without financial aid. Feeling inspired by my time in Austria, I look forward to the musical challenges that await me.

Jonathan Devey (R) with Helmuth Deutsch (C)

I am writing to express my deep gratitude for awarding me a bursary to attend the Franz Schubert-Institut in Baden bei Wien, Austria, this summer. Your generous support made it possible for me to take part in one of the world’s most prestigious art song programs, and the experience has profoundly shaped both my artistry and my sense of purpose as a singer. The Franz-Schubert-Institut is an intensive five-week program devoted to the performance and interpretation of German Lieder. Each day, we worked through poetry, language, and music in depth, engaged in diction classes, vocal coaching, and masterclasses with world-class mentors such as Elly Ameling, Helmut Deutsch, Julius Drake, Richard Stokes. and Michael McMahon. For me, as a singer committed to sharing deeply human stories through music, this immersion into the German Lied tradition was instrumental in my development.

A highlight of the program for me was performing Schubert’s Erlkönig in masterclass. The work’s psychological drama featuring a father, his son, and the sinister Erlking gave me the chance to explore vocal colour and character differentiation at a new level. The feedback I received challenged me to lean into the terror and urgency of the text while maintaining vocal freedom, and the performance ended up being one of the most fulfilling moments of my summer.

Living and working alongside an international cohort of singers and pianists was equally meaningful. Our late-night discussions about poetry, our shared struggles with German declamation, and our joy in celebrating each other’s breakthroughs created a community that felt like an artistic family. I am grateful to now have couches to crash on throughout the world.

This experience has not only deepened my interpretive skills, but also renewed my commitment to building a career as an opera and art song performer who uses music to inspire resilience and compassion. I look forward to applying what I learned not only to new Lied, but also to opera and song repertoire. This program completely changed my life and gave me a new artistic voice.

Thank you again for believing in me and for supporting young artists discovering their full potential. Your investment has made a lasting difference to my artistic journey.

Kyle Briscoe with Richard Stokes

I recently completed an incredible five weeks at the Franz-Schubert-Institut in Baden bei Wien, Austria, and I am deeply grateful to the Art Song Foundation of Canada for making this transformative experience possible through their generous support.

The program brought together singers and pianists from around the world to study German Lieder intensively with some of the most esteemed artists and pedagogues in the field. Each day was filled with masterclasses, coaching sessions, and language work, all centred around the performance and interpretation of German art song — including but not limited to works by Schubert, Schumann, Brahms, Wolf, Strauss, and Mahler.

I had the privilege of working closely with world-renowned artists such as Elly Ameling, Julius Drake, Robert Holl, and Roger Vignoles. Their mentorship was both inspiring and challenging, pushing me to explore greater emotional depth, textual nuance, and musical detail in my performances. Each brought a unique perspective to the repertoire, and their insights will stay with me for years to come.

Beyond the artistic growth, I also found the environment incredibly nurturing and inspiring. The opportunity to immerse myself in this repertoire with such a dedicated and passionate group of peers was unlike anything I’ve experienced before. The friendships and professional relationships I formed — as well as the abundance of musical training I received — will have a lasting impact for years to come.

This experience has had a profound impact on me not only as an artist, but as a person. It encouraged deeper empathy, self-awareness, and vulnerability in performance — and in life. I leave the Franz-Schubert-Institut with a renewed sense of purpose and a richer understanding of what it means to communicate through song.

Once again, I am profoundly thankful to the Art Song Foundation of Canada for supporting my participation in this extraordinary program. I will cherish this experience for the rest of my life.

Hanna Cole in masterclass with Elly Ameling

This summer, I had the pleasure of participating in the Franz-Schubert-Institut in Baden bei Wien, allowing me to immerse myself completely in the German lied. I am deeply grateful to the Art Song Foundation of Canada for their generous support, which enabled me to attend this wonderful program. It was truly an unforgettable experience that I will cherish.

Over the course of five weeks, my duo partner, Shan Jing, and I worked on 26 lieder ranging from Schubert to Schönberg. We had the incredible opportunity of participating in nine masterclasses with leading German Lieder interpreters such as Helmut Deutsch, Julius Drake, Robert Holl, Wolfgram Rieger, and Elly Ameling. Each master provided invaluable insights into performing these masterpieces and were deeply inspiring.

We had the privilege of performing these Lieder in the Haus der Kunst in Baden and the Kaisersaal in the Heiligenkreuz Abbey. Our duo was also one of the six selected to perform an intimate concert at the Künstlerheim, a retirement home for artists in Baden.

During our stay, we also received coachings for our duos on a daily basis. I particularly enjoyed the coachings with Michael McMahon, Gabrielle Jacoby, Waltraud Österreicher, and Nikolaus Firmkranz. They have been instrumental in my performance and I feel I have grown as an artist, singer, and person.

The program is perfectly situated in Baden bei Wien. This city is absolutely charming — from its residents to the architecture and the beautiful landscapes. I immediately fell in love with this place and enjoyed seeing how music is an integral part of the city’s daily life. Its residents welcomed our cohort with kindness and warmth!

I would once again like to thank the Art Song Foundation for the opportunity to participate in this program, for it has truly been a wonderful experience.

In February 2025, Alex Shafirov, pianist, and I were selected as one of 16 duos (out of 76 duo applicants) to compete in the Schubert and Modern Music Competition at the Kunst Universität Graz. We prepared over an hour of music, half of which was by Schubert, the other half by 20th and 21st century composers.

In Graz, we performed for a jury which included Joseph Breinl (chairman), Iain Burnside, SamuelHasselhorn, Manuela Kerer, Toby Spence, Astrid Ackermann, and Sarah Wegener.

Alex and I were not selected as part of the final eight duos. We received mixed feedback from the judges, some of whom seemed to be judging in a way reminiscent of Olympic gymnastics judges, others of whom mentioned they were heartbroken we hadn’t gone further because we had been amongst their favourite duos. We made the most of our trip by attending the semi-finals and final rounds, reconnecting with contacts made at the Franz Schubert Institut, and practising on the KUG’s Bösendorfer pianos.

We learned much about competitions as well as repertoire and presentation from attending this competition. Some of our feedback in the sessions was quite helpful, as well as ideas offered to us about where to go next. I have since taken advantage of the career counselling sessions offered by the competition as follow-up, helping me to finetune my social media and website and develop some ideas for future projects. More than anything, this trip cemented our status as a duo, and we are excited to take on further projects and opportunities together.

We are incredibly grateful for the support of the ASFC to attend and participate in this competition. As musicians with already a large amount of training and experience, this sort of opportunity is especially important to our career development as it helps us to gain exposure and recognition (particularly after our long pandemic hiatus). Thank you so much for helping us to make it happen!

Sara Schabas and pianist, Alex Shafirov

Thanks to the generous support of the Art Song Foundation of Canada, I was fortunate enough to return to the Orford Music Academy in the Parc national du Mont-Orford in Québec. Last year, I made profound professional connections with pianist Francis Perron and bass-baritone Christian Immler, and was delighted to be able to return this summer and to continue to work alongside them.

What made this year even more special was that my friend and collaborative pianist, Anica Warkentine, was able to attend with me. This gave us the opportunity to take familiar repertoire from our studies to the next level, and our coaches were thrilled to provide the tools to do so.

Each day, students had two lessons, one with each of our teachers for the week. This allowed us to truly dig into our repertoire and make technical breakthroughs, as well as explore new interpretive ideas. We also had several group masterclasses throughout the week, which served as an excellent opportunity to share our work with our peers and to try new ideas in a performance setting.

The highlight of the week was getting to perform three pieces at the Rising Stars Concert alongside Anica. We were happy to revisit Poulenc’s Quatre poèmes de Guillaume Apollinaire and perform a new favourite, The Clock of the Years (Gerald Finzi/Thomas Hardy). It was a privilege performing alongside the many talented musicians who made up the rest of the concert.

Our time studying at Orford culminated in a studio concert in which each duo performed several of the pieces they had worked on during the week. This was a great opportunity to share our growth with our new friends as well as with the Orford Musique community.

We ended our week at Orford Musique with a bike ride up and around Mount Orford to Lac Stukely, where we enjoyed a well-deserved swim at sunset after a week of discovery and good work.

I would like to express my sincerest thanks to the Art Song Foundation of Canada and its donors for supporting me and other passionate musicians pursuing their love of Art Song.

Particpants with Francis Perron and Christian Immler

Thanks to the generous support of the Art Song Foundation Canada, I was fortunate to attend Orford Musique this summer for an art song workshop directed by pianist Francis Perron and bass-baritone Christian Immler, The week-long intensive included masterclasses, lessons, and concerts in the beautiful town of Orford, Quebec.

I was grateful to attend alongside baritone and duo partner, Jayden Fraser. With the guidance of Francis and Christian, we had the opportunity to refine repertoire both new and old to us by Poulenc, Finzi, and Strauss. The insights we gleaned about style and language deepened my understanding of and passion for Lieder, Mélodie, and English art song. A highlight of the program was the opportunity Jayden and I had to perform in the Gilles-Lefebvre Concert Hall at the end of the week.

During my time at Orford Musique, I was able to connect with colleagues from across Canada who share a similar enthusiasm for the art song repertoire. Collaboration with singers Olivia Pryce-Digby, Nicole Chan, and Sadie Karlsson offered first-time exploration of composers Schoenberg, Messiaen, and Aboulker. Another highlight of my week was the opportunity to read through songs of Schubert and Schumann with Christian Immler, a first-rate performer and a pedagogue of German song repertoire.

Through new discoveries experienced and partnerships forged, Orford Musique was truly a time of concentrated, artistic growth for me. Thank you, Art Song Foundation Canada, for making this irreplaceable week at Orford Musique possible!

Anica Warkentine with baritone Jayden Fraser, Christian Immler (L), and Francis Perron (R)

My week studying under Liz Upchurch and Wendy Nielson at the Orford Music Academy was filled with unforgettable musical experiences. Each day offered a rich combination of masterclasses, private lessons, and public performances that deepened my knowledge of opera, art song, and concert repertoire.

We explored works ranging from Mozart’s Così fan tutte to Poulenc’s Banalités, while delving into the subtleties of text in German, Italian, and French. These languages not only present distinct phonetic challenges, but directly shape the accompanying music as each culture brings its own stylistic and expressive traditions. As a result, our exploration extended beyond language into the musical character of each tradition.

As a pianist, I gained valuable insight into the contrast between an orchestral style of playing as a repetiteur as compared to an art song style, which yields vastly different sounds, textures, and colours.

My thanks to the Art Song Foundation of Canada for providing the bursary that made my participation in the program possible.

Orford Musique was an absolutely foundational and beautiful experience. First, I must share the details of the beautiful environment. Surrounded by greenery in a secluded town in Québec, Orford was the best place to tap into the self completely, with calmness and serenity fueling passion and harnessing creativity. I have never had a stronger urge to sing, beginning some days by grounding myself physically and vocally in the gorgeous practice rooms as early as 7:00 a.m.! A joy to do, when the view outside the practice room window is a blanket of trees.

Then, of course, comes the program. I had the absolute delight of working with the fabulous Liz Upchurch and the amazing Wendy Nielsen. Wendy’s warmth and wisdom, along with Liz’s vast knowledge and encouragement, created the perfect environment for an immense amount of personal artistic growth. Along with them, my peers created a safe and warm space to take risks and truly lose myself in the music for the week. Our schedules were very rewarding, and I feel the week provided a year’s worth of learning and growth, or even more!

Special mention, of course, goes to my wonderful collaborative partner, Adrian Tsui, who was by my side every step of the way in his journey into the collaborative piano world. Thanks to the program’s specific focus on collaboration, Liz and Wendy gave great guidance to us on how to strengthen and develop a collaborative duo, from which we have benefited greatly in our projects together since.

My deepest thanks to the Art Song Foundation of Canada and all of its supporters for helping make this experience possible for me. It is thanks to you that young artists are able to embark on journeys such as these to discover their artistic identities and form meaningful relationships with other musicians, while caring for their physical and mental well-being. Your support truly makes our worlds go round!

Participants with Wendy Nielsen (centre L) and Liz Upchurch (centre R)

I am honoured to be a recipient of a bursary from the Art Song Foundation of Canada. It enabled me to attend L’Académie Orford Musique this past July, where I had the privilege of working with Francis Perron and Christian Immler. It was an incredible experience to be immersed in nature while receiving world-class instruction from leading professionals in the field.

In addition to our class performances, I had the opportunity to perform in a public concert of Lieder and chanson at the Orford Music Concert Hall, sharing music with the local community. Beyond vocal development, I connected with international instrumentalists through social activities. One highlight was a sunset bike ride around the island, during which a deer leapt from the forest and ran alongside us for a few moments. Learning in such an environment was both magical and unforgettable.

I am deeply humbled to have been selected as an Art Song Foundation of Canada bursary recipient. I am profoundly grateful for your support, which has enabled me to grow as a performer and artist. With the knowledge and experience I have gained, I hope to contribute meaningfully and give back to the Canadian community.

Nicole Chan with Christian Immler (L) and Francis Perron (R)

I would like to extend my deepest gratitude to the Art Song Foundation of Canada for awarding me the bursary that made it possible for me to attend The Art of Lied and Mélodie program this summer. Your generosity not only supported me financially, but also allowed me to immerse myself in this invaluable artistic experience without the added stress of financial strain. The nine-day program was truly transformative. I had the privilege of working closely with distinguished artists and pedagogues, including Daniel Lichti and Laetitia Bougnol, in both public masterclasses and rehearsals. These opportunities helped me to strengthen my interpretive skills, refine my German and French diction, and deepen my understanding of the subtle artistry required in song performance.

A particularly meaningful part of the program was watching my colleagues in their masterclasses. Observing their artistry, approaches, and interpretations gave me so many new insights, and I found their work deeply inspirational. It reminded me of the unique power of music to bring people together and to learn continuously from one another.

I also had the chance to perform in concerts, collaborate with talented peers, and expand my repertoire. Beyond technical growth, the program nurtured my confidence as a performer and gave me new insight into the expressive possibilities of Lied and Mélodie. I feel I have grown both as an artist and as a communicator of music.

This experience would not have been possible without the generous support of the Art Song Foundation. I am sincerely thankful for your belief in me and for your commitment to supporting young artists in their pursuit of excellence. The bursary made a tangible difference in my ability to focus wholeheartedly on my training and artistic development. Thank you once again for your generosity and encouragement. I am excited to carry the knowledge and inspiration I gained forward in my studies and future performances.

Priya Khatri in performance

This summer, thanks to the generous support of the Art Song Foundation of Canada, I was able to participate in The Art of Lied in Kitchener, Ontario. This nine-day master course, led by bass-baritone Daniel Lichti and collaborative pianist Laetitia Bougnol of the Conservatoire de Lyon, brought together six pairs of singers and pianists to explore chosen repertoire of Lied and Mélodie. My partner, pianist Natalia Sawyer, and I were grateful for the opportunity to select repertoire that reflected our own artistic goals and strengths.

The program placed special emphasis on the collaboration between singer and pianist in song repertoire. Through this experience, I gained a much deeper understanding of how nuanced, detailed, and connected a partnership must be in order to bring this music to life. Natalia and I were able to explore new depths of communication, artistry, and mutual sensitivity — skills that I know I will carry forward in our future work together.

Our daily schedule allowed for both focused preparation and immersive learning. Each morning, Natalia and I rehearsed for two hours in an assigned church space in downtown Kitchener. Afternoons were devoted to masterclasses, where we both participated and observed. Daniel and Laetitia alternated in leading the classes, giving us valuable insights from both a singer’s and a pianist’s perspective.

In addition to daily instruction, we were given five unique performance opportunities throughout the course. These included an opening concert that set the tone for the week, two intimate house concerts generously hosted by members of the community in the tradition of the Schubertiade, and two closing concerts — one devoted to Lieder and the other to Mélodie. These performances were not only an opportunity to share our work with the community, but also a meaningful way to test, refine, and celebrate the growth we experienced during the program.

I leave this experience feeling grateful and fulfilled, having grown as both a singer and a collaborator. Working closely with Daniel, Laetitia, and Natalia was an inspiring journey, and I am eager to continue exploring the art of song with renewed perspective and dedication. I would like to extend my sincere thanks to the Art Song Foundation of Canada for their generous support, without which my participation in The Art of Lied would not have been possible.

Participants with Dan Lichti

I had the privilege of attending the 2025 Source Song Festival in Minneapolis, MN, thanks to the generous bursary I received from the Art Song Foundation of Canada. The week-long experience was both rewarding and inspiring — full of learning, exploration, and connection with a diverse group of like-minded advocates for art song from all walks of life.

One of the most impressive aspects of the festival was the exceptional amount of individual attention we received from the faculty. We worked closely with some of the most prominent figures in the art song world in North America, including Margo Garrett, Arlene Shrut, Kathy Kelly, and Warren Jones. Their generosity, depth of knowledge, and commitment to the next generation of musicians were deeply encouraging. I was particularly struck by how invested each coach was in our artistic growth, offering thoughtful, constructive feedback in an environment that felt both rigorous and supportive. In addition to working with these remarkable artists, we also had the opportunity to engage with leading scholars and composers.

Highlights included lectures by the celebrated composer Libby Larsen and musicologist Dr. Emery Stephens. Dr. Stephens’ series of presentations on the repertoire and history of African-American art song was especially enlightening. These sessions added a rich historical and cultural context to our performances, deepening our understanding of the repertoire we were studying and performing.

The festival is led by Clara Osowski, Artistic Director and a beautiful mezzo-soprano, whose vision centres on the participants’ experience. Her commitment to creating an inclusive and nurturing environment was evident throughout the week. The festival is further supported by directors Juan Carlos Mendoza and Shari Feldman, both of whom brought warmth, clarity, and a sincere desire to help each participant thrive. It was clear that the entire faculty and staff were unified by a shared goal: to help us grow as musicians and communicators through song.

A special highlight of the week was an extra day spent at the Schubert Club Museum, which houses an extraordinary collection of historical instruments, manuscripts, and letters. The visit added another layer of inspiration to an already immersive experience, reminding us of the legacy and evolution of the art form we are working in to preserve and advance.

Overall, Source Song Festival is a uniquely participant-centered, artistically rigorous, and fulfilling program. I left feeling not only more equipped technically, but also more connected to the art song community. I am deeply grateful for the support of the Art Song Foundation, which made this experience possible, and I look forward to carrying forward all I’ve learned into my continuing work.

Participants of the program

Thank you so much to the Art Song Foundation of Canada for making my participation in the Ukrainian Art Song Project Summer Intensive possible. I entered the program expecting to learn a lot about Ukrainian music, language, and culture. As a non-Ukrainian singer, I was amazed by the warmth and ease with which they welcomed me and introduced me to new alphabets and sounds. These people are very organised and have developed linguistic tools that made this program very approachable and accessible. Their passion for the cause of bringing Ukrainian art song to the world is contagious and is something I will take with me throughout further musical endeavours.

What I did not expect was the depth of technical education that I received in the one week I was there. We had the privilege of being coached by five incredible artists: Andrea Ludwig, Benjamin Butterfield, Steven Philcox, Leanne Regehr, and Melanie Turgeon, and a sixth guest whom they brought in for an afternoon: Russell Braun!

It was intense — at least two coachings and two masterclasses a day. Each instructor had different approaches and ideas, but they all worked together so seamlessly that it made perfect sense. There is no doubt that I emerged from this program a vastly stronger singer and artist because of their collaborative style of coaching.

We also had the pleasure of working with composer Myroslav Volynsky and his wife, poet Anna Volynska, who were with us for the whole week. They composed two new ensemble pieces for us and contributed to our coachings and masterclasses on the interpretation of their pieces. The end of the week culminated in a sold-out final concert at the Royal Conservatory’s Temerty Theatre. This performance was open to the public, and it was wonderful to see Ukrainians and non-Ukrainians alike joining together for this special moment.

I am truly mind-blown by this experience and am so grateful to the Art Song Foundation and all its donors for making my participation possible.

Participants and instructors of the program

I am incredibly grateful to the Art Song Foundation of Canada for granting me a bursary to attend the Ukrainian Art Song Summer Institute in Toronto. It was a wonderful opportunity to learn new repertoire and to explore the history and culture of Ukraine. Having the opportunity to work with the renowned faculty, including the composer in residence, Myroslav Volynsky and his wife, Anna, was an enriching and moving experience.

The Ukrainian Art Song Summer Institute was a week-long program for eight singers and one pianist. It consisted of daily lessons with vocal coaches Benjamin Butterfield and Andrea Ludwig, and pianists Leanne Regehr and Steven Philcox. In addition, the singers had the opportunity to participate in masterclasses, which were an opportunity to get used to performing, especially in front of colleagues, which is something I personally struggle with more than performing in front of the public.

At the end of the week, we performed our repertoire at the Temerty Theatre, in a ‘concert in the round’ format, which I had not done before. I enjoyed the way we staged the concert, and I would love to see more concerts like this in the future. The ability to move throughout the concert space helped give me a sense of freedom while I sang, and I could choose movements that felt natural and comfortable to me.

I would count this program as one of the highlights of this past year and I am very grateful to the Art Song Foundation for making it possible. Since attending this program, I have been motivated to include Ukrainian art songs in my repertoire and I would like to give a recital of exclusively Ukrainian art song in the future.

Juliana Hentosz with Steven Philcox and Leanne Regehr

This past August, I had the privilege of participating in the Ukrainian Art Song Summer Institute, held at the Royal Conservatory of Music in Toronto, thanks to the generous support of the Art Song Foundation of Canada. The week brought together outstanding faculty, inspiring peers, and the powerful musical tradition of Ukrainian art song in an unforgettable experience.

The program this year included eight singers and one pianist, all committed to exploring and sharing Ukrainian Art Song. The small size of the group created an intimate and supportive atmosphere in which we learned just as much from each other as we did from the faculty. We were guided by an exceptional faculty team: co-directors Benjamin Butterfield and Melanie Turgeon, vocal coach Andrea Ludwig, and pianist-coaches Steven Philcox and Leanne Regehr. Their mentorship was incredible. Aach faculty member brought unique expertise, Whether in vocal artistry, language, or ensemble collaboration, ensuring that every participant received a rigorous learning experience.

The program offered an ideal environment for focused study and collaboration, with access to rehearsal rooms, coaching studios, and the Temerty Theatre as our performance space. Each day was structured around masterclasses, private coachings, rehearsals, and lectures, all leading to a public recital that showcased the progress we made throughout the week.

One of the most memorable highlights was working with our Ukrainian composer-in-residence, Myroslav Volynsky, and poet Anna Volynska. Together they created two new choral works for us, which we had the honour of premiering in the final recital. Having the composer present during rehearsals and offering real-time feedback provided rare insight into interpretation and expression, and deepened our connection to the repertoire.

The premiere of Volynsky’s new works showed that Ukrainian art song is not just a treasured tradition, but also a living, evolving art form. This experience was more than I could have dreamt of in a summer program. It was an immersion into Ukrainian culture and music. I am so grateful for the opportunity to sing in my native language and to help share the richness of Ukrainian art song across Canada. The friendships made, the mentorship received, and the artistry developed will continue to shape my journey as a singer for years to come.

Participants and instructors of the program

I had a very exciting opportunity to participate as one of the pianists in the Young Musicians Professional Development and Masterclass Program last August 2025 at the Mountain View International Festival of Song & Chamber Music Society. It was an eight-day intensive of masterclasses, rehearsals, soirées, and concerts focusing on songs from the French and English/American/Canadian repertoire.

I was able to work with several professional guest musicians on art songs. I had the pleasure of working with mezzo-soprano Sara Staples on The Monk and His Cat by Samuel Barber, with soprano Andrea Hill on Going to Heaven by Aaron Copland, and with soprano Lauren Woods on O Mistress Mine by Roger Quilter. These art song collaborations allowed me to balance contrasting styles and expand my expressive range and versatility as a pianist.

I always looked forward to the masterclasses led by Cuban-Canadian pianist Ariel Gonzalez and Canadian baritone Jason Nedecky, whose insights strengthened my technique and inspired me to think deeply about phrasing, interpretation, and the art of collaboration.

The final three days of the festival were especially memorable with three concerts bringing all of us together to perform and share our music. These gave me invaluable performance experience, strengthened my confidence on stage, and deepened my connections with fellow musicians.

My time at the Mountain View International Festival allowed me to explore new repertoire, strengthened my performance skills, and developed me as a musician in many ways. I am deeply grateful to the Art Song Foundation of Canada for supporting this opportunity, which has provided me with lessons and inspiration.

Arianna in concert with soprano Andrea Hill