Veronika Anissimova has been praised for her “lovely presence” (Berkshire Fine Arts) and “impressively quick and precise coloratura” (Ludwig van Toronto). She was among the 2022 Handel Aria Competition’s top 20, and was an Art of Song fellow with the 2021 Toronto Summer Music Festival.

Since taking part in Marilyn Horne’s The Song Continues series at Carnegie Hall in 2018, Veronika has presented recitals for the Arts & Letters Club of Toronto, the Linden Project, St. James Cathedral, Metropolitan United, and Concerts @100. Winner of the 2019 Hart House Orchestra Concerto Competition, she has since performed Mahler’s Rückert Lieder and Mozart’s Exsultate, jubilate with the Hart House Orchestra; other concert soloist appearances include Bach’s Christmas Oratorio with the Toronto Choral Society and the Talisker Players, Mozart’s Mass in C Major and Durante’s sacred works with St. Michael's Schola Cantorum, and de Falla’s El Amor Brujo with the Scarborough Philarmonic.

As a baroque specialist, in June 2023 Veronika took part in a workshop with Paul Agnew of Les Arts Florissants, and has appeared with the Trinity Bach Project, the Toronto Consort, the Elora Singers, the Peterborough Singers, UofT Schola Cantorum, the Tafelmusik Baroque Summer Institute and the American Bach Soloists Academy (Early Music America Advanced Summer Scholarship).

Recent operatic roles include Prince Orlofsky in Die Fledermaus and Second Lady in Mozart’s Magic Flute with Opera York, Despina in Mozart’s Così fan tutte with the Toronto Lyric Opera Centre (Despina cover with Brott Opera 2021), Zulma in Rossini’s L’Italiana in Algeri with the Toronto Concert Orchestra, Polluce in Cavalli’s Elena with the Toronto Consort, and Sophie in Massenet’s Werther at the Lunenburg Academy of Music Performance.

Winner of the 2014 National Gold Medal in voice performance at the Royal Conservatory of Music, Veronika holds a MMus (2018) in historical voice performance and a BMus (Honours, 2016) in piano and Italian studies from the University of Toronto. Fluent in French, Russian, and Italian, she has served on Opera Atelier’s educational outreach team and enjoys contributing text translations to VMII, a groundbreaking digital resource for early vocal music.

November 2024