By Tabitha Brasso-Ernst (Brand Engagement & Communications Coordinator) for Bachstage Pass
On February 28 at 7:30pm at the Orpheum Theatre in Vancouver, the Vancouver Bach Family of Choirs presents Dame Ethel Smyth’s Mass in D Major alongside Kati Agócs’ Hosanna of the Clouds. The program brings together orchestra, choir, and four soloists — all members of Vancouver Opera’s prestigious Yulanda M. Faris Young Artist Program.
Smyth, a British composer and suffragette writing in the late Romantic era, created a Mass that is expansive, dramatic, and structurally bold. Agócs, a contemporary Hungarian-Canadian composer, brings a modern sonic language to Hosanna of the Clouds, a work that challenges and expands the soprano voice in particular. At the centre of this concert are four rising artists stepping fully into that sound world.
Lyndon Ladeur, tenor
Tenor Lyndon Ladeur describes Smyth’s style as “grand romantic gestures” balanced with “joyful playfulness.” While he notes that her long phrase lengths can be demanding, he finds the writing manageable and expressive.
If asked to sum up the experience in three words, he does not hesitate:
“Dramatic, Powerful, Slay 💅.”
Known for his bright tone and expressive clarity, Ladeur leans into the theatrical instincts embedded in Smyth’s score, allowing the drama to unfold naturally from the music rather than forcing it.
Tenor Lyndon Ladeur. Photo courtesy of Velour Productions.
Marianne Bertrand, mezzo-soprano
For mezzo-soprano Marianne Bertrand, Smyth’s writing stands out for its intentional use of range. Much of the part sits low, giving it a grounded warmth, while deeper passages feel “harmonically anchored and incredibly powerful, almost elemental in their strength.” When Smyth expands upward at climactic moments, the higher register feels luminous precisely because it is used sparingly.
Bertrand also notes something audiences rarely see: the limited rehearsal time. Much of the preparation happens independently, meaning artists must arrive fully prepared so that rehearsal time can focus on interpretation rather than learning notes. Balancing this alongside Young Artist Program commitments requires strong organization and discipline — but she describes the learning process as both efficient and deeply rewarding.
Mezzo-Soprano Marianne Betrand. Photo courtesy of Velour Productions.
Julia LoRusso, soprano
Soprano Julia LoRusso performs solos in both Smyth’s Mass and Agócs’ Hosanna of the Clouds. In the Mass, the Credo quartet — where all four soloists sing together — feels especially meaningful to her.
“The blending of voices is what first sparked my love of classical music,” she says. “It’s deeply nostalgic and moving, and beautiful to share with such wonderful colleagues.”
LoRusso reflects on how large-scale choral-orchestral repertoire contrasts with opera. While opera centres on character and text, this repertoire demands sustained line, breath control, and immersion in the shared sound of choir and orchestra. Hosanna of the Clouds pushes her even further beyond operatic tradition, exploring new vocal colours and intensity.
“At this stage of my life as a young artist, I want to give my absolute best and fully embrace the opportunity to bring these works to life.”
Soprano Julia LoRusso. Photo courtesy of Velour Productions.
Mihnea Nitu, baritone
Baritone Mihnea Nitu approaches Smyth’s writing with quiet gravity. Although the bass/baritone solo material is limited, he notes that his entrances occur in some of the most intimate and solemn moments — phrases like “have mercy on us” and “peace on earth.”
“There’s a tenderness and humanity in her lines that calls for sensitivity first,” he explains, emphasizing warmth and unity over dominance. Strength, for him, emerges from grounded sincerity and shared sound with chorus and orchestra.
Performing this concert also represents a milestone. Coming from a choral background, singing alongside a full choir feels like a return to where his musical journey began. Performing music by a historically underrepresented woman composer adds deeper significance.
“Being part of this performance represents a step toward using my platform to champion underrepresented voices in the performing arts.”
Baritone Mihnea Nitu. Photo courtesy of Velour Productions.
Together, these four artists represent a new generation of Canadian vocal talent — technically prepared, emotionally engaged, and ready to bring Smyth’s monumental Mass and Agócs’ striking contemporary work to life on one of Vancouver’s most iconic stages.
Tickets can be purchased HERE
Dame Ethel Smyth: Mass in D Major
Kati Agócs: Hosanna of the Clouds
February 28, 2026 | 7:30pm
Orpheum Theatre, 601 Smithe Street
Conducted by Maestro Leslie Dala
Featuring the VBFC Symphonic Choir and the Vancouver Metropolitan Orchestra