In conversation with Zimfira Poloz: Toronto Children’s Chorus prepares for its first tour to Asia

For Zimfira Poloz and the Toronto Children’s Chorus, the 2026 World Choir Festival – Hong Kong represents more than another international appearance. It is the choir’s 34th international tour, but also its first-ever tour to Asia – a milestone moment for one of Canada’s leading children’s choirs.

‘We are deeply honoured to participate in the 2026 World Choir Festival as a Resident Children’s Choir,’ says Poloz. ‘The World Choir Festival is a highly respected international choral event, and we are especially grateful for the vision of Artistic Director Professor Leon Tong and his lifelong dedication to choral music education.’

The invitation places the Toronto Children’s Chorus within a global community of young singers, educators and choral leaders. For Poloz, that exchange is central to the value of the experience. ‘We look forward to connecting with outstanding choirs from around the world, sharing music and experiencing the rich cultural heritage of Hong Kong,’ she says. ‘For our singers, this is a meaningful opportunity to grow as musicians and as global citizens through artistic exchange, friendship and shared performance experiences.’

Sharing the sound of Toronto

Founded in 1978 by Jean Ashworth Bartle and later shaped by Artistic Director Elise Bradley, who led the organisation from 2007 to 2021, Toronto Children’s Chorus has built an international reputation through performance, education and touring. The choir has appeared in venues including Carnegie Hall, Sydney Opera House, Royal Albert Hall and Salzburg Cathedral, and now serves more than 300 singers across eight ensembles.

For audiences in Hong Kong encountering the choir for the first time, Poloz describes the TCC as ‘one of Canada’s leading children’s choirs and a vibrant musical community nurturing young voice for nearly 50years’.

Today, she says, the organisation is not only a performing ensemble but also ‘a vibrant pedagogical centre where learning and artistic excellence go hand in hand’. The choir welcomes students, emerging conductors, educators and professionals to observe rehearsals and engage in artistic exchange. ‘We believe that sharing knowledge is essential to the growth of choral art and to nurturing the next generation of musicians and leaders.’

That sense of openness is reflected in the choir’s programme for Hong Kong. Poloz sees the performances as an opportunity to share something of Canada’s cultural identity, shaped by the many communities, languages and traditions that meet in Toronto.

‘Through our performances, we hope to share stories of Canada’s cultural diversity, creativity and spirit of inclusion,’ she says. ‘Toronto is one of the most multicultural cities in the world, and our choir reflects that richness in its artistic identity and musical expression.’

A journey across languages, cultures and sound worlds

The choir’s repertoire for Hong Kong has been conceived not simply as a sequence of pieces but as an artistic journey. It reaches across more than four centuries, from Baroque masterworks to contemporary music, Canadian folk songs, world music and new works by Canadian composers including Dr Tracy Wong, Meghan Quinlan, Shireen Abu-Khader, Wei Cui and Katerina Gimon.

‘Rather than a collection of individual pieces, the programme is shaped as an artistic journey, one that reflects connection, curiosity, cultural understanding and hope,’ Poloz explains. ‘Many of the works explore our relationship with nature, shared humanity and the joy of making music together across cultures.’

The programme includes music in twelve languages, underlining both the international nature of the festival and the multilingual reality of the choir itself. It also includes several significant highlights. The choir is especially honoured to present the world premiere of _Earth _by Venezuelan American conductor and composer Cristian Grases. Another focus will be its collaboration with the Hong Kong Children’s Choir, featuring _Elements _by Katerina Gimon, _The Dragon Dance of Shang _by Darius Lim and _Blue Sky _by Wei Cui.

‘These collaborations reflect how music builds meaningful connections across cultures,’ says Poloz.

A distinctive part of the choir’s performance language is its integration of movement and singing, which theensemble calls ‘soundography’. This is not choreography added to music, but a way of shaping musical expression through the whole body.

‘Movement is not choreography alone, but another musical layer that shapes sound, communicates emotion and transforms the performance space,’ Poloz says. Working with Joanne Chow, the choir has developed what Poloz describes as an artistic language ranging from Baroque-inspired gesture to contemporary movement, enhancing both storytelling and musical expression.

Rebuilding, refining and rediscovering the choir’s sound

Poloz joined Toronto Children’s Chorus in 2022, following the disruption of the pandemic. The past four seasons have therefore been a period of rebuilding as well as artistic development.

‘Our first year was shaped by singing in masks, so rebuilding the choir’s sound, confidence and artisticidentity has been a remarkable and rewarding journey,’ she says.

The result is a choir Poloz describes as ‘vibrant, expressive and highly refined’. Her own background has also shaped the ensemble’s evolving sound. Having immigrated from Kazakhstan in 1998, she brings an interest in blending Eastern European choral traditions with North American vocal pedagogy.

‘We strive for a rich, expressive, full-bodied sound while preserving vocal health and natural beauty,’ she says. ‘We work with the idea that the whole body is the instrument. Singing is communication, movement, expression and storytelling.’

That approach invites the singers to explore how movement shapes sound, how acoustics influence performance and how vocal colour changes across different languages and styles. It also connects closely with the choir’s multicultural identity.

‘The multicultural nature of Toronto is one of our greatest inspirations,’ Poloz says. ‘Many of our singers speak different languages at home, creating a fascinating exploration of tone and resonance. Our aim is to create a unified ensemble sound while honouring the individuality and cultural identity of every singer – reflecting, in many ways, the spirit of Canada itself.’

Young singers as cultural ambassadors

For Poloz, international touring is inseparable from education. The choir’s long history of exchange has shown her that when young people sing alongside peers from other countries, they often discover whatthey share before they dwell on difference.

‘For almost five decades, international exchanges have been an essential part of the TCC,’ she says. ‘When young singers perform alongside their peers from other countries, they quickly discover how much they share beyond cultural differences. These experiences nurture curiosity, empathy, confidence and a broader artistic and human perspective.’

Preparing for an international tour therefore means much more than learning notes, rhythms and texts. The singers are encouraged to think about where they are travelling, whose cultures they will encounterand what it means to represent Canada abroad.

‘We encourage singers to approach every international experience with curiosity, humility and respect,’ says Poloz. ‘Before travelling, we learn about the history and culture of the countries we visit and reflect on ourrole as cultural ambassadors. I often remind our singers that listening is just as important as performing.’

Some of the most powerful moments, she says, do not always happen on stage. ‘Some of the most meaningful moments happen in informal exchanges – hearing another choir, learning a song in a new language or simply sharing time together. These experiences build understanding and remind us that, despite differences, we share many common values and dreams.’

This first Asian tour is especially significant because it offers the choir new encounters with repertoire, sound, movement traditions and youth choirs from across the world. Poloz hopes the singers will return changed by the experience.

‘Musically, I hope they return inspired by the artistry they encounter and motivated to continue growing as performers,’ she says. ‘Culturally, I hope they gain a deeper understanding of different traditions and perspectives. Personally, I hope they develop confidence, independence, resilience and friendships that extend beyond borders.’

Ultimately, she adds, she wants them to come home with ‘a stronger sense of identity and a broader understanding of the world’.

‘Every child wants to belong’

Poloz has worked with young singers across different countries and traditions, and sees something universal in the way children respond to choral music. ‘It is essential that every child feels they belong to a musical family and understands that their voice is unique and valued,’ she says. ‘One of the greatest privileges of my life has been working with young singers from many cultures, languages and traditions, and what continually amazes me is how universal their response to choral music is.’

Children, she says, bring curiosity, imagination, flexibility and openness to new ideas. Choral singing givesthem a place to develop those qualities within a disciplined artistic environment.

‘Singing in a choir is more than music,’ Poloz says. ‘Young singers are natural explorers – curious, imaginative, flexible and open to new ideas, whether in language, musical style, movement or sound.

These experiences build musicianship, discipline, confidence and leadership. They learn to collaborate, to listen deeply and to value both individuality and ensemble unity. Most importantly, they learn humility, respect and appreciation for different cultures.’

Her belief in choral music as a humanising force is at the heart of the Toronto Children’s Chorus’s visit to Hong Kong.

‘Every child wants to belong,’ she says. ‘A choir offers that sense of community, where every voice mattersand everyone contributes to something greater than themselves. In this space, they discover that listening is just as important as singing, and that artistry is built on trust, respect and collaboration.’

For the young singers of Toronto Children’s Chorus, the World Choir Festival – Hong Kong will be a performance opportunity, an educational journey and a cultural encounter. For Poloz, it is also a reminder of what choral music can teach beyond the rehearsal room.

‘Children respond with remarkable honesty and authenticity,’ she says. ‘They engage deeply when they understand meaning, singing not only with their voices but with their hearts. Our role is to nurture that openness while guiding them toward excellence through discipline, perseverance and teamwork.

‘Ultimately, choral music teaches lessons far beyond the rehearsal room, nurturing empathy, resilience, leadership and human connection. It reminds us that music remains a shared language through which we breathe, listen and sing together.’