MONTRÉAL QC Jul 10 18:00 Concert au Parc Lahaie dans le cadre de « Musique sous un arbre» gratuit/free Jul 12 10:00-17:00 Atelier/Workshop polyphonie géorgienne (limité à 12 chanteurs) $150 email orishalva at gmail.com
BELLEVILLE, ON Jul 13 13:00 at the Kafana, 199 Front Street – time to be determine
Take part in a Georgian singing workshop and join the thousands of voices before you that have contributed to this millennia-old folk tradition.
The songs we teach span a wide range — from lively toasting and horse-riding songs to meditative chants — and vary in complexity depending on the skill level of the participants and the length of the workshop. We provide lyrics (and occasionally notated scores), but all songs are taught by ear, since this is the most effective way to convey the unique musical nuances of the tradition. We also spend time on developing specific vocal techniques characteristic of Georgian singing. (Check out some of the videos below.) If time and enthusiasm allows, we may even teach a round dance – both the song and the movement – it’s such fun! (see a vid example at the very end.)
Whatever we end up teaching, we always explain each song in the context of Georgia’s diverse regional styles, genres, and cultural narratives.
TEACHING STYLE
The videos above provide a general mood of our workshops and an idea of some of the repertoire we cover. The videos below – although are from our online workshops – are examples of our teaching style: 1) melismatic techniques from Satamahsho, a Kakhetian dance songs; 2) a complex krimanchuli (yodelling) line from the song Guruli Perkhuli; 3) general way of teaching the Svanuri song Lazhghvash; 4) reviewing all three parts of Azar (a lament from Abkhazia); 5) demonstrating possible variants in Imeruli Mgzavruli 6) teaching the last verse of Imerguli Mgzavruli Please note these videos are excerpts and represent only a moment of the whole teaching process.
MORE ABOUT US
We are Canada’s foremost experts in Georgian polyphony, Georgian-born singer/multi-instrumentalist Shalva Makharashvili, his Toronto-born partner, singer and published Georgian ethnomusicologist, Andrea Kuzmich, and their son Shalva-Lucas (aka Luca) Makharashvili. Shalva and Andrea have been leading Georgian singing workshops for over 20 years. Both were featured soloists in Darbazi; founded the award-winning trio ZARI; and perform with their family ensemble Ori Shalva. They also have collaborated with many groups in Canada, including the award winning international ensembles Tafelmusik and the Aradia Ensemble; as well as UofT Vocal Jazz Ensemble, Toronto Children’s Chorus, Folk Camp Canada (formerly the Kosa Kolektiv) and many others. As a result, they have exposed many in Toronto (enthusiastic amateur singers to professional musicians and composers) to the intricacies of Georgian polyphony.
WHAT PEOPLE SAY ABOUT OUR WORKSHOPS
An enjoyable sharing of interesting songs, singing and music. With a smiley side of open hearts and kindred spirits. – Jan Knoppers
Thank you for a wonderful workshop and an opportunity to learn from artists with such integrity, talent and hospitality… The workshops are well structured, easy to follow and very enjoyable. – Merey Ismailova
ABOUT GEORGIAN POLYPHONY
Georgia, is located in the mountainous region of the Caucasus, the crossroads of Europe and Asia. Its ancient singing tradition, known for its distinctive and haunting harmonies, was recognized by UNESCO as an intangible masterpiece of humanity in 2001. The 3-part form defies Western conventions and comes in a plethora of musical dialects, reflecting the diverse geographical and cultural makeup of the land.
If you are interested in having Ori Shalva lead a workshop, send us an email through the contact us page.
Singer/guitarist Andrea Kuzmich’s signature style is to tickle the listeners’ senses into an irresistible, groove-driven experience. Mixing her 30 years of expertise in Georgian and Ukrainian vocal polyphony with her background in jazz and contemporary improvisation, Andrea (voice, guitar) teams up with the raw driving improvisational skills of some of Toronto’s finest, to unleash an elemental folk energy in performances. But don’t expect to just sit back and take it in. In true folk form, she’ll find a way to invite you in on the celebratory musical affair.
Andrea recorded music for her first EP in September 2025, to be released as singles over the first few months of 2026.
Please follow Andrea on Instagram to keep track of the eclectic musical projects she’s involved with
Andrea first made her mark in the music scene as a versatile Toronto singer with performance, leadership and/or composition/arranging roles in classical choral, Congolese gospel, South Indian singing and drumming, vocal jazz (both big band and small ensembles), as well as contemporary improvised new music.
Yet, perhaps drawn by a musical thread from her Ukrainian heritage, her professional development got sidetracked early on by the mystique of traditional vocal polyphony – first Georgian, then Ukrainian. She went on to lead the Kosa Choir (2023-) and co-found Kalendar (2013-) and Sing with Ukraine (2022-), while also becoming recognized as one of Canada’s foremost practitioners and scholars of Georgian polyphony (Ori Shalva (2020-) ZARI (2003-2018), and Darbazi (1995-2013).
Now based in Toronto, Andrea intuitively weaves this rich diversity into unique arrangements of traditional ritual and lyrical songs from Eastern Europe, her own originals, and spirited reinterpretations of standards. Her performances are fresh and groove-oriented, “drawing her listeners into a world of sensuality” (Rudy Blair Entertainment Media).
Another project to come out of Andrea’s recent musical explorations at the Tranzac is POLYPHONICA: an electro-acoustic project born from the collaboration between Andrea and electronic musician and jazz keyboardist Daria Morgacheva. By weaving ritual and lyrical songs from Georgia and Ukraine with live looping, keyboards, and improvised vocals, the group creates a distinctive fusion of beats, soundscapes, folklore, and song. Their music evokes the ancient traditions of communal gatherings to celebrate cosmic events like solstices, seasonal changes, and personal milestones. Click the image to jump to POLYPHONICA’s playlist on Soundcloud.
As an award winning singer, a teacher, an ethnomusicologist, and music facilitator, Andrea has performed in and/or recorded with numerous ensembles and choirs throughout Toronto: from Whitney Smith’s Big Steam Band to the conventional SATB Choir of Trinity-St. Paul’s United Church; from the contemporary improvised new music of the Element Choir and vocals she provided for the soundtracks of The Witch and The Tall Grass, to the traditional folk music (see above). She can be heard on Veryan Weston’s “Make” (2017); Tanya Tagaq’s “Retribution” (2016); DoVira’s “DoVira” (2016); Kalendar’s “Sichen” (2016); ZARI’s “ZARI” (2008); Whitney’s Smith Big Steam Band’s “Swing’s Mistress” (1998); movie soundtrack “The Witch” (2015); documentary soundtrack “What is Love” (2016), among others. She has worked and performed with many of Toronto’s finest musicians, including Maryem Tollar, Bernie Senenski, Kevin Malon, Alex Samaras, Christine Duncan, and many others and has also played and/or shared the stage with international greats like Joe Lovano, Kenny Werner, Dave Holland, Christine Jensen, Maryna Krut, Lena Bloch, and others.
Finally we get a chance to properly thank you for your incredible support of our fundraiser, Sakartvelo Bound. Your contributions—whether through well wishes, endorsements, financial aid, or labor—enabled us to return to Georgia to study and perform Georgian songs for the first time as a family. Immersing ourselves in the land, traditions, and teachings of the world’s best Georgian singers was transformative. Experiencing the spirit of this musical tradition in the homeland has rejuvenated our passion and commitment to sharing Georgian polyphony. There was also a strange sweetness to witness the many Canadian flags ornamenting so many places and events, and a humbling reminder of our role in representing Canada. But we did Canada proud – as we found ourselves pleasantly surprised to receive so many accolades for our authentic performances of Georgian polyphony, along with invitations for further collaborations in Georgia and with the broader singing communities across Europe. Thank you for making this journey possible!
And in case you are curious, below are many details of our travels and experiences. Hope you enjoy reading about it and please feel free to reach out if you have any comments of questions.
Supras, food, song and toasting…
On the first night of Festival Sakartvelo, after a 5+ hour bus ride from the State Folklore Centre in Tbilisi to Ambrolauri in Racha, we were greeted with an unforgettable feast. Fresh meats, vegetables, herbs, spices, and walnuts came together in dishes bursting with distinct flavors. And it didn’t stop there—breakfast, lunch, and dinner were all equally abundant, almost overwhelming in their generosity.
A highlight of the region was Khvanchkara, a unique, exceptionally smooth, and richly dark red wine. Naturally sweet from a blend of grapes that grow exclusively on the north-facing slopes of Racha’s mountains, it was unlike anything we had ever tasted.
But a supra is much more than food and drink. Toasts anchor the experience, guiding the flow of wine and conversation, as one is not to drink without contributing to the toast. Songs weave through the moments, adding depth and connection. Whether it was an intimate supra with Giorguna as our tamada or the grand feast we shared on the mountain in Lechkhumi, these gatherings were magical and filled not only our bellies but also our hearts.
Ohoh! Gabo thrown from an unexpected bass line when singing with one of Dziraini’s banis. There were so many moments like these…
Lechkumi was like visiting a dream
Our cultural day was in Lechkhumi, a region in north west Georgia known as a wild, remote highland area of the Greater Caucasus mountains. We went to visit the wine estate of the Khmelidze family. We drove for hours, high into the mountains but the marshutka (small bus) couldn’t make it all the way to the top, and we had to walk the rest of the way. When we got there, it was like visiting a dream.
It was unbelievably picturesque. (I leave it to the pictures below to better describe.) But it wasn’t time to bask in the beauty. Our day was filled with a singing/dancing workshop, wine tasting, a Lechkumi cuisine demonstration, a dance performance and, of course, a supra.
Tornike Skhiereli, the leader of Dziriani taught all the participants, including the administrators, the song Raeo. How epic it was – all of us singing and dancing on the top of the mountain. (Check out the video below in the learning from Dziriani section)
The hill that the bus couldn’t climb
The Khmelidze family has been making wine in small batches for over 200 years. The process involves the wine gestating in a qvevri, a large egg-shaped earthenware vessel that is buried in the ground for at least 8-9 months. We tasted 3 different wines, all of which were amazing. And then after, or maybe during, we broke out into song and dance, right on top of where the next batch of wine was gestating. Levan Khmelidze, the patriarch of the estate, was so pleased, suggesting that so much singing would make his wine taste even better.
Of course the singing didn’t end then. It carried on into the Supra, which looked like something out of a fairy tale: two long tables, ladened with Georgian food and the tasty Khmelidze wine, stretching out, overlooking the mountains.
Iuri, from Dziriani stopping off at his home to grab some wine along
and some lobiani that his mom made! Yum!
under each of those metal spheres lies a kvevri underground, a huge clay pot where the wine brews… it’s an 8000 year old Georgian tradition!
and it makes such good wine!
we were just about to learn a dance song
workshop on Racha’s cuisine
such goood wine!
Members of the German group Mravalo
Members of the US group Kitka
A Word About Dziriani: study, friendship…
At the beginning of the international folklore festival we were grouped with a wonderful choir of Rachian Georgian singers called “Dziriani” who shared their songs and drinks with us over the next 3-4 days. Below we talk about what we learned from them but more profoundly than learning the songs, we experienced their warmth, generosity and joy and have made lasting lifelong friendships!
In the days leading up to the performance in Racha, Dziriani taught our group two songs; The first being “Dalie”, a two-choir drinking/celebration song that was perfect for getting us in the Georgian spirit. The second was “Maghla Mtas” which translates to “high mountain”, a tale of a centuries-old battle between the Rachians and the Ossetians. It is also performed in a two-choir formation but this one has a round dance, which they tried teaching us!
Following the concert in Racha we traveled with Dziriani to Lechkumi, which we already mentioned above. Before hitting the road, Iuri (one of the members of the choir) stopped at his mom’s house to pick up a stack of freshly made lobiani and jugs of wine (you can see the pictures of this in the gallery above), and then we were off to the higher mountains. Dziriani sang so much on the ride up that the leader of the group, Tornike Skhiereli, had to urge his choir members multiple times to save their voices for later performances.
After tasting wine and singing even more with all the groups of the festival, Dziriani taught everyone one last song: Raeo, which had all of the groups singing and dancing together on top of that picturesque mountain haven.
Concert Culture
When I talk about concert culture in Georgia, it’s a different perspective. It’s not about the audience’s experience. It’s about the performers. And in Georgia, when you throw so many singers together, you just can’t stop them. Singing results. Lots of singing. Even some dancing. One doesn’t have to wonder whether more singing takes place off than on stage in Georgia – it’s just a fact in Georgia. Take a look at this video, a few hours before the opening concert of Festival Sakartvelo in Ambrolauri, Racha. Or the vids below of what happened backstage at the closing concert of the festival.
And check out these pics to help convey more about the atmosphere around concerts in Georgia.
Gabo and Shalva up front, Polo, a bani from Dziriani, and Leo (from Alilo) during sound check in Ambrolauri
Sound check for 15 ensembles takes a long time so I got some work in on my Symposium paper.
Organizers Zura and Erekle
Making the set list
then sharing the set list as a png to all
About to perform with Dziriani in Ambrolauri
Ori Shalva’s performance at the State Folklore Centre
Walking the hall of Rustaveli Theatre
The performance hall
Run through of Raeo with Tornike
Waiting room – backstage at Rustaveli Theatre
Tornike’s little girl dancing to Lalkhor and Kitka’s singing backstage, in the “waiting room” at the Rustaveli Theatre
Dziriani, Ori Shalva (without Big Shalva who was sick) and Alilo
Just before we were about to perform backstage
Shalva backstage at the Tbilisi Conservatoire, Opening concert of the Symposium
Performances & Ensembles
There’s no way we can adequately reflect on all the amazing music we saw. The two festivals (Festival Sakartvelo and the Symposium on Traditional Polyphony) featured an amazing and diverse line up of Georgian performers: like the mixed gendered Svan group Lalkhori; the women’s groups Satanao and Nanina; Mtiebi and Amer-Imeri continuing to thrive as a legacy to the Garaghanidze family; local Svanuri/Rachuli ensembles Lentekhi and Oni; the modern quartet Ranina; various student choirs from different Tbilisi Universities and different regional choirmaster schools; a trio performance featuring Georgia’s oldest surviving Master singer Tristan Sikharulidze; the inspiring and heartwarming Acharian village, song and dance ensemble Mareti; and of course the amazing featured Rachuli ensemble Dziriani. Buy we also got to connect with a host of old and new singing friends who came to Georgia from all over the world to sing and learn Georgian songs. Most impressive for their humility, warmth and exceptional skills were the American women’s group Kitka and the Latvian ladies Saucējas. The relatively young group Alilo, from France, were also excellent singers and fun musical conspirators. We also developed new friendships with the Welsh women of Samaia and the Germans from Mravalo – an online choir led by one of Georgia’s premier conductors and music educators, Tamar Buadze. And there were so many others, like ethnomusicologists Polo Vallejo (who felt like our new-found-long-lost uncle) and Caroline Bithell, or Scottish singers Madge Bray and French singer Francoise Arnaud-Demir. Of course, our hearts warmed so much to see our long-time British and Australian friends from Maspindzeli and Gorani, some of whom we hadn’t seen for possibly 10 years. And we must say how impressed we were with Maspindzeli’s repertoire and performance! Holly Taylor-Zuntz and Susan Thompson are two other individuals that need mentioning, for their support in documenting and advocating for Georgian polyphony through their project Voices of the Ancestors. And of course we must recognize tireless organizers from the State Folklore Centre and the Research Centre for Traditional Polyphony like Nino Razmadze, Giorgi Donadze, his son Erekle, Zura Tskrialashvili, Givi Abesadze, Ana Lolashvili and countless others who worked so hard and were exceptional hosts.
Wish we had space for pics of each group/scholar who participated in these festivals; instead this group shot will have to do
Of course there were many other performance and ensembles that were amazing, many of which never got recorded. However, if you are interested in checking out more performance videos , visit the Voices of the Ancestors Youtube channel.
Scholarship…
One final note – Andrea, as a scholar, also took part in a few academic presentations.
Andrea presented a paper on the transnational practices of traditional Georgian and Ukrainian polyphony within the dynamic cultural landscape of Toronto. She noted that Georgian polyphony is supported by a small diaspora with limited institutional backing, unlike in Georgia, where it benefits from significant support. In contrast, Ukrainian polyphony in Toronto is bolstered by a well-established diaspora with strong cultural infrastructure but faces challenges due to the tradition’s marginalization in Ukraine.
And at a round table on International Participation in Georgian Traditional Music, Andrea highlighted the lack of recognition for the significant achievements of Georgian polyphony in Canada. She attributed this to the greater distance and financial challenges of accessing Georgia from Canada compared to Europe or the United States and advocated for the international community and Georgians to not forget the work done in Canada.
Thank you!
There really is so much more we would love to share with you but it already took us so long to make this post! But this journey deepened our connection to Georgian music and traditions in unimaginable ways, and we are immensely grateful for the opportunity to represent Canada so meaningfully. Thank you for making this experience possible! We hope you enjoy the photos and videos and invite you to reach out if you have any questions or comments.
Ori Shalva, led by virtuoso traditional singer and multi-instrumentalist Shalva Makharashvili, is Canada’s foremost Georgian polyphonic vocal ensemble, performing one of the world’s oldest and most complex vocal traditions.
Step into a world of “amazing harmonies” (Eroll Nazareth, CBC Frequencies)and ancient traditions with Ori Shalva, a Georgian family ensemble based in Toronto. Known for their breathtaking performances of Georgian polyphony – a UNESCO-recognized musical treasure, Ori Shalva brings to life a thousand-year-old art form rarely heard outside Georgia. Their visceral voices transport you to the mountain villages and ancient rites of Sakartvelo (Georgia), offering an experience that transcends music and time.
Their EP, Dilao, is their first ever self-produced, studio-recording, which was recorded in a few short hours by Jean Martin at The Farm, in Toronto, October 30, 2025. Dilao stems from the Georgian word for “morning,” symbolizing the dawn of Ori Shalva’s journey.
Georgian polyphony is a millennia old singing tradition known for its distinctive and visceral harmonies and recognized by UNESCO as an intangible masterpiece of humanity. The singing family unit played an instrumental role in the preservation of Georgian polyphony. Ori Shalva, otherwise known as the Makharashvili family, is one of the first singing families of Georgian origin, performing, teaching, and living halfway around the world from the homeland.
Shelter from the Sky 2022. Photo by Neatmeat.
Photo by Olya Glotka
Photo by Olya Glotka
Doors Open Festival May 2025. Photo by Zurab Kaisidi
Doors Open Festival May 2025. Photo by Zurab Kaisidi
Photo by Zurab Kaisidi
Clay and Paper Fundraiser April 2024
Photo by Zurab Kaisidi
Following the tradition of singing families in Georgia, singing for Ori Shalva is natural, instinctive, and originally framed by family celebrations, not staged performances.
Music in the Village by Fabcollab at Black Creek Pioneer Village, Toronto, August 2025. Photo by Six Shutter
Shelter from the Sky 2022. Photo by Neatmeat
Doors Open Festival, Aga Khan 2025. Photo Zurab Kaisidi
Doors Open Festival, Aga Khan 2025. Photo Zurab Kaisidi
Doors Open Festival, Aga Khan 2025. Photo Zurab Kaisidi
Photo by Zurab Kaisidi
It is only recently that Ori Shalva emerged from its humble familial beginnings through performances with the internationally acclaimed Tafelmusik, and other presenters like Fabcollab, SING! Toronto, the Community Folk Art Council, Labyrinth Ontario, BLOKMUSIC, and others.
Want to know more? more videos and bios – click here
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