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Home  >  Early Music Vancouver Events  >  Songs from the Mayflower with Ménestrel

Friday, April 30, 2027 | 7:30 pmChrist Church Cathedral

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Songs from the Mayflower with Ménestrel

Artists: Janelle Lucik, soprano & violin; Kerry Bursey, tenor & lute

Pre-concert Chat: TBD

Runtime: approximately 60 minutes

Ménestrel is a Canadian early music duo mixing ancient repertoire with Canadian oral folk traditions. Their sound is grounded in historical practice, yet their sensibility is disarmingly modern, shaped by the emotional clarity and immediacy of folk and popular styles. This concert features a beautiful programme of folksongs collected by Helen Creighton, Canada’s ‘First Lady of Folklore,’ who was responsible for amassing over 4,000 songs from across the Canadian Maritimes. Come hear music from the traditions that were present in Canada in the 17th and early 18th centuries, songs like “The Sea Captain”, “Fear a Bhata”, “She’s like the Swallow” and the Quebec traditional “À la Claire Fontaine” – a musical snapshot of the melodies and rhythms emblematic of Eastern Canada.


SELECTIONS FROM THE PROGRAMME:

(subject to change)

Come all ye old Comrades – traditional, Creighton Collection

The Sea Captain – traditional, Newfoundland folksong

Fear a Bhata – traditional, Creighton Collection

Ye Rambling Boys of Pleasure – traditional, Creighton Collection

The Blackbird – traditional, Creighton Collection

She’s like the Swallow – traditional, Newfoundland folksong

When I was in my Prime – traditional, Creighton Collection

À la Claire Fontaine – traditional, Quebec

Lochaber – traditional

Plains of Waterloo – traditional, Creighton Collection

Bold Pedlar and Robin Hood – traditional

Janelle Lucyk, soprano & violin

Janelle Lucyk is a leader among an emerging generation of Canadian artists specializing in old music and historically informed performance, taking ideas from conception to the stage. Janelle is Mécénat Musica’s 2025 Vocal Discovery of the Year. She has given concerts in all of Canada’s thirteen provinces and territories.

Janelle is the artistic director of Ménestrel, a Canadian early music ensemble combining ancient repertoire with research into Canada’s oral folk traditions. She is director of the series ArtChoral, featuring the professional vocal quartet in residence at Montreal’s iconic Art Deco concert hall Le 9e’s Grande Salle, which reopened in 2024 after a $15 million restoration.  Following mentor and arts champion Barbara Butler, Janelle is Artistic and Administrative Director of Musique Royale (est. 1985), a music presenter based in Lunenburg, Nova Scotia which enriches historic spaces through the sharing of world class early music, and much more. Programming includes over seventy concerts throughout the year in venues across the spectacular maritime province.

Janelle was invited by legendary organist Xaver Varnus to perform two sold out performances in Hungary, including at the spectacular Bartók National Concert Hall in Budapest. She has had the good fortune of working as a soloist under five-time Grammy winner Paul Halley on many unforgettable concerts including Monteverdi’s Vespers of 1610 and Selva Morale e Spirituale and multiple Bach Passions. 

Janelle graduated in 2014 with distinction from the Conservatoire Royal de Bruxelles in Belgium and completed her Masters in Management at Durham University in the UK, where she was awarded the Best Soloist by Music Durham, and Best Female Soloist by her peers. While in Europe, she formed Voces Desuper, an ensemble performing regularly in the magnificent Cathédrale de Saints-Michel-et-Gudule, and especially at the Te Deum ceremony for the King and Queen of Belgium.

Janelle is ever grateful to the Canada Council of the Arts, the Federal Department of Canadian Heritage, Conseil des arts et des lettres du Québec, Mécénat Musica, Arts Nova Scotia and Brent Rinaldi for their support.   



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Kerry Bursey, tenor & lute

Kerry Bursey is a Montréal-born Canadian tenor and plucked-string instrumentalist active on the international stage. A standout figure within Canada’s early music scene, he is praised for his “voice made of dreamy troubadouresque sweetness” (Ôlyrix), described as a “clear, ringing, pure-voiced tenor” (Early Music America), and lauded as a “complete artist” (La Scena Musicale). Equally sought after as a lutenist and guitarist, he is particularly recognized for his mastery of self-accompaniment, moving fluidly between Renaissance lute song, baroque arias, and folk traditions.

Kerry maintains a richly varied career as both singer and instrumentalist, performing repertoire that spans oratorio, one-per-part polyphony, continuo playing, and solo song. He has appeared as a soloist at major international venues and festivals including the Southbank Centre, Festival d’Aix-en-Provence, Ruhrtriennale, Park Avenue Armory, Manchester International Festival, Bregenzer Festspiele, and Holland Festival, with performances extending across Europe, America, and Asia.

He tours internationally with his ensemble Ménestrel, co-founded with soprano Janelle Lucyk. The ensemble explores both written and oral traditions, bridging historical repertoire with folk practices. In 2024, Ménestrel completed an exceptional pan-Canadian tour encompassing all provinces and territories. Kerry is also a member of Les Barocudas, the baroque group led by violinist Marie Nadeau-Tremblay. He was part of her latest album, Obsession, which has been awarded album of the year prize at the Prix Opus in the Early Music category, as well as a JUNO nomination for best classical album in the soloist category.

Beyond the classical world, Kerry is active as a session musician and creative collaborator across genres, from popular music to film and video games. He has composed and performed soundtracks for film and has notably contributed as a singer and instrumentalist to several entries in the Assassin’s Creed series.

Kerry holds a master’s degree in classical guitar from the Conservatoire de musique de Montréal and is a laureate of the 2012 Grand Prix de Guitare de Montréal.



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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.)