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    • August 7 | Vivaldi’s The Four Seasons
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Pacific Baroque Orchestra on stage, led by Alex Weimann conducting from harpsichord
Home  >  About EMV

About EMV


Under the leadership of Artistic/Executive Director, and internationally acclaimed soprano, Suzie LeBlanc, C.M., Early Music Vancouver (EMV) has been a vibrant contributor to Vancouver’s cultural scene for 55 years.  With a full season of concerts, an annual Summer Festival and a large selection of digital concerts, EMV features the most  renowned artists of the international early music scene.  It also presents concerts in Victoria on Vancouver Island.

Early Music’s outreach and educational activities include an Artist-in-Residence Programme, an Emerging Artist Competition, and a Baroque Mentorship Orchestra (BOMP) in collaboration with the University of British Columbia. EMV also presents intimate concerts and lectures at Green College (UBC) and Hodson Manor.

The phrase ‘early music’ often refers to European music from the Medieval Period through to the Baroque (about 1800). At EMV it also encompasses music from outside the western European tradition to that of other cultures within the same period – Tang Dynasty China and the Ottoman and Persian empires for instance. EMV also explores music from the 19th century with historically informed performances on its restored fortepianos – recreating the original sound of the music as the composer heard it.

EMV concerts offer a platform for cross-cultural dialogue and exploration of diverse perspectives and relationships with the past. Live performances take place in Vancouver at venues such as Christ Church Cathedral, the Chan Centre for the Performing Arts, (UBC), St. Andrew’s Wesley United Church, and the Vancouver Playhouse. In Victoria, concert venues include Christ Church Cathedral Victoria and First Church of Christ Scientist.


Vision

A world in which the power of music inspires all people to engage with and value the arts.


Mission

To engage, enrich and educate through music


Values

We promote historically informed performance practices.
We deliver inspirational experiences.
We foster collaborative relationships.
We generate opportunities that support local early music professionals.
We commit to inclusivity in all our activities.
We strive for excellence and sustainability in everything we do.


EMV’s commitment to Diversity, Equity, and Inclusion

Early Music Vancouver’s mission is to engage, enrich, and educate through music. In alignment with this mission, the Board of Directors, management and staff of Early Music Vancouver are committed to Diversity, Equity and Inclusion. This extends to the consideration of who is in the audience, whose music is heard, who performs that music, and how we operate as a leading performing arts organization. We make these commitments in recognition that discrimination and exclusion in all their forms are realities in our society, and we endeavour to use the power of music to promote understanding and change.


EMV is committed to providing a productive, professional and collegial work environment based on the principles of fairness and respect. Read our Discrimination and Harassment Policy here.

To read EMV’s COVID-19 health and safety protocols, click here.

For our latest Annual Report, click here.

EMV acknowledges that we operate on the traditional, ancestral and unceded territory of the Coast Salish peoples – the Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations.


STAFF

Suzie LeBlanc, C.M. | Artistic & Executive Director

604-732-1610 ext. 2 | suzie@earlymusic.bc.ca

Suzie LeBlanc took on the position of Artistic and Executive director of Early Music Vancouver in January 2021. Born in Acadia, the charismatic soprano is well-known for her passionate performances of Early Music, art song, contemporary music and Acadian traditional repertoire. She began her international singing career in the Consort of Musicke (London) and continued to specialize in early repertoires, researching and recording a substantial amount of unpublished material.

She appears on over 75 recordings including the Grammy award-winning album Lully’s Thésée with the Boston Early Music Festival. She won an ECMA for Best Classical Album for “I am in need of music”, an album she produced on poems by Elizabeth Bishop. She has also recorded for ATMA, Hyperion, Chandos, Harmonia Mundi, Teldec, Analekta, Pasacaille and Das Alte Werk. Prior to coming to EMV, Suzie founded and directed Montreal’s Le Nouvel Opéra, a company that produces early and contemporary chamber opera performances. Appointed to the Order of Canada in 2015, she was recently awarded the rank of Knight of the Order of Arts and Letters from the French Republic.

Jonathan Evans | Production Manager

604-732-1610 ext. 6 | jonathan@earlymusic.bc.ca

Jonathan is a Vancouver native, and has worked in the cultural sector for most of his adult life with an emphasis on music. He is a graduate of Capilano University’s Arts & Entertainment Management program.

Sarah Pelzer | Operations Manager

604-732-1610 ext. 3 | sarah@earlymusic.bc.ca

Sarah is a stage director, teacher, administrator and surtitlist with a long history in the performing arts.

She has performed on stages all over Canada, and has directed and assisted on opera productions for Vancouver, Edmonton, and Manitoba Opera, Opera on the Avalon, Opera Kelowna, Wolf Trap and the New England Conservatory. From 2020-2022, she ran a small opera company, Lucky Penny Opera, with co-founder Caitlin Fysh.

These days, she spends her spare time at parks with her young son, and knitting when he can’t get his hands on it.

Nathan Lorch | Business Manager

604-732-1610 ext. 7 | nathan@earlymusic.bc.ca

As Business Manager, Nathan provides oversight of EMV’s financial matters including preparation of the annual budget in partnership with Executive & Artistic Director, monitoring of budget to actual results, recording and processing all financial transactions, and preparation of financial statements to Treasurer.  He also provides office and administrative support to ensure staff is properly supported by the appropriate systems and technology and generally does what is required to support the Society, the office, and concert performances. Having handled the accounting for other charitable societies, he started working with EMV thirteen years ago as a part-time bookkeeper when the Society was interested in having its accounting handled in house by a staff member and was promoted to the position of Business Manager in late 2015.

Carmen Murphy | Donor Relations Manager

604-732-1610 ext. 5 | carmen@earlymusic.bc.ca

After a long career at a large financial institution, Carmen took on fundraising and donor development at a major local performing arts organization. Her shared love of music and the performing arts forged many strong relationships with donors over 13 years. Giving back to the community has also been important to Carmen, as she has volunteered for the Burnaby Art Gallery, the City of Burnaby and Burnaby RCMP. She enjoys baking, cooking, reading, travel and cheering on the Vancouver Canucks.

Natalie Rostov | Audience Development Manager

604-732-1610 ext. 1 | natalie@earlymusic.bc.ca

Natalie is a graduate of the English Department Graduate Studies program of the University of British Columbia. Her research mainly focused on film adaptations of Philip K. Dick’s works. Before starting at EMV in May 2022, Natalie was the office administrator of The First Nations Drum Newspaper .

Aside from work, Natalie volunteers for Push International Performing Arts Festival and likes to spend her free time at her local pottery studio playing with clay.

Jordy Matheson | Marketing Coordinator & Administration Assistant

604-732-1610 ext. 4 | jordy@earlymusic.bc.ca

Jordy Matheson is a theatre artist and arts marketer born in North Delta, BC and residing in Vancouver on the unceded territories of the Coast Salish peoples. He is a graduate of the Douglas College acting program, and has a BA in Theatre Studies from UBC. As an actor he primarily works in improv and live comedy, performing with Tightrope Theatre, QueerProv, Little Mountain Improv and others. He has also had plays developed through Pull Festival and Arts Club’s LEAP program. Since 2023 he has worked consistently in arts marketing and communications for such organizations as Zee Zee Theatre, Tightrope Theatre, and Metro Theatre.

Artistic Director Emeritus

José Verstappen

José Verstappen provided inspired leadership to EMV from 1979 to 2013. During those years, José led EMV to become a centre of excellence in the area of historically informed music. Jose continues to be a loyal volunteer for EMV providing much valuable assistance in many areas. What José has given to early music worldwide, to EMV, and to the broader British Columbia community is beyond price. He became Artistic Director Emeritus in August 2013.


BOARD

The Board of EMV is primarily a volunteer governance and fundraising body, providing direction and leadership to management. The Board’s strength and effectiveness derive from its being well-informed about the financial, artistic, and organizational affairs of the Society; motivated in its support of the Society; and representative of EMV’s membership and audiences.

Pam Ratner | President

Pam Ratner, professor emeritus at UBC, brings many years of governance experience to EMV, having served on multiple not‑for‑profit boards. Her approach to leadership is grounded in collaboration, transparency, and a deep commitment to organizational sustainability. A long‑time supporter of early music, she has been drawn to the artistry, history, and emotional resonance of the repertoire since her first encounters with Baroque performance. Pam is dedicated to strengthening EMV’s role as a cultural anchor in the region and to fostering meaningful connections among artists, audiences, and the broader community.

Jeff Sodowsky | Vice President

(BFA, MBA, MA, CFRE) Jeff’s understanding of the transformative power of the arts follows an extensive career both on and off the stage. Shaped by performance tours in Europe, opportunities with some of North America’s pre-eminent cultural organizations, and experience as an arts curriculum designer, Jeff considers himself fortunate to now support and facilitate the work of established visionaries as well as emerging talents across sectors and artistic disciplines. As a recognized fundraising expert and non-profit leader, he has spent the past several years with interim posts that include serving as President + CEO of BC Women’s Health Foundation, Director of Development for Bard on the Beach Shakespeare Festival, and Vice-President of Advancement for Thompson Rivers University. He and his husband have enjoyed attending EMV and PBO concerts over the years.  Jeff loves exploring new creative pursuits, travel, food, wine, and learning.

Andrew Szeri | Past President

Andrew Szeri has been a professor at the University of California, Berkeley (20+ years), the University of British Columbia, and the University of California, Irvine. He served in administrative roles in all three institutions. Additional service includes membership on the Research Grants Council of Hong Kong, the UBC Properties Trust Board and the Graduate Record Examination Board, which he chaired. He completed his Ph.D. at Cornell University (New York) in 1988 and earned the ICD.D designation from the Institute of Corporate Directors in 2019. He joined the EMV Board in 2020.

Vincent Tan | Secretary

(BS Ateneo de Manila University, MBA University of Chicago) Vince joined the Board in November 2015. His working career was largely with Ayala Land, Inc., a listed diversified property developer active in Asia but owned by shareholders worldwide, where his career concluded with service on that company’s Board of Directors until April 2016. His interest in early music dates from the mid-1970s, when he played woodwind instruments including krumhorn and cornamuse with the Old Town Renaissance Consort in Chicago. Aside from music, his other passions include sustainable community development, in which field he received a certificate from Simon Fraser University in 2009, and fine wine (as a member of the International Wine and Food Society and other wine groups in Vancouver).

Ron Kruschen | Treasurer

(BA, MBA UBC, ICD.D) Ron has over 45 years of experience in business and government of which the last 30 years was spent in investment counselling, servicing institutional investors such as foundations and pension plans.  He holds a Master of Business Administration from UBC and is the holder of the Institute of Corporate Directors ICD.D designation.  Before he retired, he was President and Managing Director of API Asset Performance.  He has served as a Director of the University of Northern British Columbia Management Trust and was the Treasurer of the Nikkei National Museum and Cultural Centre.  He is a music lover and supporter of various music and cultural groups in the lower mainland.  He joined the Board in February 2019.

Janet Lea | Board Member

(BA Queens College [CUNY], MA Washington State University, Niagara Leadership Development Program) 

Janet grew up in New York City where her passion for music was nurtured at the High School of Music and Art. After completing degrees in music history and theory and immigrating to Canada, Janet was bitten by the radio bug and was ecstatic when she was offered a position with the CBC Stereo network. She enjoyed a lengthy and stimulating career with CBC as a program and recording producer, as Executive Producer of several Vancouver-based programs, and as Head of Music for CBC English Radio, based in Toronto. After returning to Vancouver, Janet migrated to the world of dance as Ballet BC’s Artistic Administrator and as Program Coordinator for The Banff Centre’s dance program. Janet has also served on the boards of several not-for-profit arts organizations, most recently with City Opera Vancouver where she also co-produced several company productions.

Annamarie Kersop | Board Member

Annamarie Kersop was called to the Bar in South Africa in 1997 and to the British Columbia Bar in 2005 after immigrating to Canada and completing the NCA process. She has built a diverse legal practice spanning immigration, insurance defence, personal injury, and estate litigation, and currently practises with Paperclip Law Corporation on the North Shore. In 2023, she joined Capilano University’s Department of Legal Studies as a part-time instructor, teaching courses including Contracts, Legal Drafting, and Torts, and is deeply committed to education and mentorship. A lifelong choral musician, Annamarie has sung with ensembles in South Africa and Vancouver and remains deeply inspired by early music. She serves as a board member of Early Music Vancouver since December 2025, where she brings together her legal expertise, governance skills, and passion for music in support of the organization’s mission and future growth.

Serena Ko | Board Member

(LLB Université de Montréal, LLM University of Hawaii at Manoa) Serena Ko is a trade commissioner and senior policy advisor at Global Affairs Canada. She holds a bachelors in civil law, as well as a master of law with a specialisation in international law. Prior to joining the federal government, Serena managed public policy initiatives at the Asia Pacific Foundation of Canada, a think tank based in Vancouver, focusing on Canada-Asia trade and multilateral forum engagement. Serena’s other passion is promoting diverse voices in the Vancouver arts and culture community and currently serves as a director on the Board of Culturebrew.art. She also serves on the Board of the Mavis McMullen Housing Society, a charity providing stable and affordable housing for low-income women of the greater Downtown Eastside. Serena joined the EMV Board in 2021.

Denis Prager | Board Member

Denis Prager has a long association with music, through performance, attendance at a variety of classical and jazz performances across the US, and association with a range of music organizations. He began playing the violin when he was 5 and played in various school and all-city orchestras, culminating in the Dayton (Ohio) Philharmonic Orchestra. Most recently, he served on the board of the Bozeman (Montana) Symphony and Symphonic Choir for 8 years, 4 as chair. Professionally, Dr. Prager consults with US foundations and nonprofits, with a special focus on achieving excellence in governance, the roles, responsibilities, and limitations of governing boards, and the complementary relationship they play with the staffs who implement their directions and policies.

Veena Ravi | Board Member

Veena Ravi is a Partner at Deloitte, specializing in consulting, with a strong finance background and extensive experience supporting post-secondary institutions across British Columbia and nationally. She is known for helping organizations navigate complex challenges through strategic insight, collaboration, and executive-level communication. A long-standing community volunteer, Veena has supported youth-focused non-profit organizations in both financial and program coordination roles. Since moving to Vancouver in 2017, she has embraced the city’s vibrant arts ecosystem and is deeply inspired by organizations that promote diversity in music and artistic expression. Veena serves as a board member of Early Music Vancouver since December 2025, where she brings strategic vision, critical thinking, and a passion for music to support the organization’s continued impact and legacy.

Jia Wang | Board Member

Jia Wang is an early lover of classical music with extensive work and volunteer experience in leading and supporting public, education and arts organizations. She serves on the Board of Directors for Edmonton Symphony Orchestra and Winspear Centre for Music. Having experienced the magic of music from different cultures, Jia would appreciate the opportunity to contribute to EMV’s continued success, by advancing access to and appreciation of early music among diverse communities. An avid animal and nature lover, Jia supports animal rescue and nature conservation efforts around the world and enjoys hiking in the Canadian Rockies every summer.


PRODUCTION PARTNERS


1254 W 7TH AVE
VANCOUVER, BC, V6H 1B6

(604) 732-1610
staff@earlymusic.bc.ca

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Een Romantische Johannes Passion

Historical Performance has been steadily looking toward the nineteenth-century as a source of inspiration, and Orchestra Lagrandt wants to lead the charge into Romantic orchestral performance practice. As an orchestra of ambitious musicians in their twenties from 25 different nations, we aspire to represent the voice of the new generation in Historical Performance.

Een Romantische Johannes Passion is an ongoing project to reimagine the Johannes Passion of J. S. Bach in a late nineteenth century style. The first Passion revivals in the Netherlands took place in Rotterdam in 1870, featuring large symphonic orchestrations, and a radically different musical language than that of the HP and modern classical worlds. In our initial performance with the Tangram Chamber Choir, we pushed the boundaries of what Romantic Bach might have sounded like: exploring changes in orchestration, stoic tempi, rubato, phrasing, nineteenth- century bowing practices, and even portamento. We plan to establish this project as an annual tradition every Easter season, reworking the arrangement each time in the spirit of Romantic spontaneity.


One of the wonderful things about the Historical Performance movement is that we are able to use forgotten practices, this time hailing from the nineteenth century, to present such a beloved and well known-work in a new light.

The world is familiar with stories of clever forgers whose life’s mission is to cunningly reproduce the light and shadows of historical masterworks, from Vermeer’s brushstrokes to Da Vinci’s proportional precision… but what if these crimes of craftsmanship were to extend beyond the visual arts? What if the pieces we know to be by Palestrina, Monteverdi or even Johann Sebastian Bach were in fact stylistic copies, artfully composed by a secret circle of music forgers and passed off as the work of the greats? What if those music forgers are at work as we speak? 

This premise inspires our original program The Music Forgery Workshop. Our early music comedy imagines the lives of such a circle of musical criminals, offering a fresh and lively presentation of historical compositions, not as museum artifacts but as living works in progress. The workshop itself is set up on the stage and its members carry forth the plot in music and words. A narrator in the role of a suspicious inspector lends the performance a theatrical flow. The listener is invited into a satire on high society’s art commerce, while the performers make fun of themselves for having devoted their lives to the niche subject of historical music performance. 

Violinist Elizabeth Sommers combines her skills and experience in traditional music with expertise in the performance and improvisation of medieval and Renaissance repertoires. Multi-instrumentalist Eliot X. Dios (keyboards, bagpipes and flutes) works wholeheartedly to employ storytelling techniques developed through the history of literature and cinema in his early music concerts. Composer Gunnar Haraldsson (violin, guitar) seeks to translate the forms and intentions of early composition for a modern audience. Halldór B. Arnarson (keyboards, voice) has devoted his career to bringing musical craftsmanship from the era of counterpoint to the attention of the public and comedy to the early music scene. Singer and storyteller Ásta S. Arnardóttir brings the storyline to the public with personal immediacy, and through her character work defines the different veins of the show, sometimes hilarious and sometimes serious. 

The story is narrated by the character of the Inspector, acted out by the members of the MFW, and told in rhyming Icelandic verse in one musical pillar of the show, a madrigal composed by our very own 

Halldór in the style of Monteverdi. The show has an entertaining educational dimension. The audience is exposed to a broad sweep of historical and musical information in a condensed form, necessary to understand the musical humour, while dramatic rhythm and scenographic effects prevent overwhelm. We also place particular emphasis on theatrical illusion and synchronisation. One example appears in the opening scene, in which the inspector is seen watching television. On stage, this becomes a complex exercise in coordination: each time the inspector presses a button on the remote control, the musicians instantly switch pieces, creating the impression of rapidly changing television channels. 

This opening scene establishes the tone of the entire show, comical and satirical in its storytelling and diverse in its musical language. It not only introduces the wide range of musical styles that appear throughout the performance, but also functions as the plot’s inciting incident, as the inspector hears a news report about the discovery of a previously unknown concerto by Vivaldi. 

Another important scene takes place when one forger is alone on stage in low light, perusing books on medieval music, while the musicians perform and sing offstage, sounding his audiation as he reads. This intimate moment evokes the sleepless nights spent studying facsimiles and learning historical compositional techniques, by which the forger acquires the inspiration and the expertise necessary to his art, and reveals a hidden side of musical performance: the immense amount of study and preparation that precedes the moment on stage. This setting also creates space for visual and musical comedy, as seen in the trailer video, where a 14th-century melody is played backwards because Halldór is unknowingly reading the facsimile upside-down, only realising the mistake when the music begins to sound absurd. 

Fun and friendship are at the heart of the whole project, though the link between music and crime is an important historical consideration. Classical music was often used as the demonstration of a monarch’s power, music teaching as a cover up for secret affairs, and pieces were published under another’s name for profit. Such examples of “inappropriate practices” carry an exciting and attractive element for the audience which the MFW seeks to exploit. Under this light-hearted surface lies a more serious layer of questions concerning our present-day existence, such as excessive materialism in high society and the threat posed on human craftsmanship and skill by the rise of artificial intelligence. 

Please Note:

The main applicant and creative/intellectual driver of the project must be 30 or under (on May 15th).

The average age of all musicians must not be older than 32, and the maximum age of supporting musicians must be no more than 35 (on May 15th.)