Amy Dodington’s voice has been described as “like clear water running over smooth rocks,” a comment that particularly pleases her because the forests, rocks, lakes and streams of her native Muskoka, Ontario continue to hold a special place in her heart.

A recipient of degrees in Science and in Music from the University of Toronto, Amy is now a Toronto-based freelance soloist, recitalist, teacher and member of the Elmer Iseler Singers (one of Canada's most prestigious choral ensembles).  She has gathered a loyal following for her moving performances in Bach, Handel and Mozart Oratorios and for her eclectic solo recitals.  She has presented these unique recitals to enthusiastic audiences at numerous festivals and venues, including Barrie’s Colours of Music Festival and the Huntsville Festival of the Arts.

On the operatic stage Amy has played “Melloe” in Cavalli’s Doriclea, “Angelina” and “Pitti-Sing” in Gilbert and Sullivan’s Trial By Jury and Mikado, “Franchette” in Offenbach’s Le Mariage aux Lanternes, and "Jonathon" in Brenda Muller's opera for children, "Jonathon's Storm."  She has received awards from the Canadian Music Competition and the Alliance for Canadian New Music Projects.  Some highlights of Amy’s career include sharing a stage with Placido Domingo and performing under Maestro Helmuth Rilling in the home church of J.S. Bach in Leipzig, Germany.  Recent accomplishments include a self-produced CD ("Roses of Yore") and the world premiere of "Under Dark Water" by Christopher Mayo with the Esprit Orchestra.  Amy is a soloist and section lead at Fairlawn Avenue United Church under Eleanor Daley, OC.  

Born from a union of two musical families, Amy absorbed music through her pores at every turn.  “My uncles and aunts, great uncles, and grandparents have been professional singers and pianists,” she says.  “My parents met in a Gilbert and Sullivan production, and my sister is a multiple award-winning singer-songwriter living in Nashville.”

Amy’s childhood near Port Carling, Muskoka, was unusual.  Her parents collected antique phonographs and gramophones.  They had hundreds of cylinder records and 78s – in fact, the first recording ever made of her is on a wax cylinder.  “I would awake in the morning to Dad playing original recordings of the likes of Dame Maggie Teyte, Elsie Baker, Geraldine Farrar, Tiana Lemnitz, John McCormack and Enrico Caruso,” she says.  “There was a lot of other music too, like early Jazz recordings from the 1920s.”  Because of her unique upbringing, she takes particular delight in reviving nostalgic “parlour song” favourites from the early 20th Century as a highlight to her solo recitals.

Following the tragic passing of her mother in 2009, Amy has found increased joy, catharsis, and comfort in sharing music through her performing and her teaching.  “Although she didn’t perform much in public, my mother lived music every day, making up songs about everything, always humming, resonating.  Music will always bring me close to her.”  She feels the experience has deepened her compassion.  “I love this line of work,” she laughs, "When you make people laugh and cry (sometimes both at the same time), you know you’re doing your job well!”