Vancouver Opera
The Barber of Seville composed by Gioachino Rossini, libretto by Cesare Sterbini after the play by Pierre-Augustin Caron de Beaumarchais

Dates and Venue February 13, 15, and 20 at 7:30 pm and February 23, at 2.30pm | Queen Elizabeth Theatre

Conductor Nathan Brock Director Ashlie Corcoran Set Design Ken MacDonald Lighting Design Kimberley Purtell Costume Designer Dana Osborne Makeup DesignCarmen Garcia Wig Design Diane Holme Stage Manager Theresa Tsang

Vancouver Opera Chorus, Vancouver Opera Orchestra

Sung in Italian with English surtitles

Reviewer Elizabeth Paterson

A joyous production of Rossini’s giddy<em> The Barber of Seville</em> is currently on stage at the Queen Elizabeth Theatre and provides as delightful an antidote to the February blahs as one can get. Ken MacDonald’s abstract, fantastical set, all ice-cream parlour pastels and Gaudi-esque towers, sets the scene for an over-the-top theatrical adventure while conductor Nathan Brock carefully contains the exuberant Vancouver Opera Orchestra. The Vancouver Opera Chorus steers just clear of being Gilbert and Sullivan’s <em>Pirates of Penzance</em> police force as they stumble to be quiet in the opening number and as back-up band to our hero Count Almaviva (Isaiah Bell) they sing with style. Full review

UBC Opera
Pasazerka (The Passenger) by Mieczslaw Weinberg, libretto by Alexander Medvedev

Dates and Venue January 30 and 31, February 1 and 2, 2020 at 7.30pm | Chan Centre for the Performing Arts

Conductor David Agler Director Nancy Hermiston Set Design Alessia Carpoca Lighting Design Jeremy Baxter Costume Designer Parvin Mirhady Production and Technical DirectorGrant Windsor Stage Manager Jacqueline Wax

UBC Opera Ensemble with alternating cast, Vancouver Opera Orchestra

Sung in Russian, Polish, German, Yiddish, French, English and Czech with English surtitles

Reviewer Elizabeth Paterson

Mieczyslaw Weinberg’s opera Pasazerka (The Passenger) is a stunning work, percussive and lyrical, tender and fierce, frightening and resolute. It is not easy. Yet Nancy Hermiston and her young cast bravely chose to tackle this challenging work and succeeded triumphantly. Full review

Opera Mariposa
Puccini's Gianni Schicchi

Dates and Venue November 15, 16, 22 and 23, 2019, 7.30pm | St. Faith's Anglican Church, 7284 Cypress Street

Director Jeanine Fynn Music Director John Arsenault Scenes & Assistant Director Robin Hahn Costume Designer Stephanie Ko Lighting Designer Patrick Smith Stage Manager Andy Sanberg Pianist Maria Hwa Yeong Jung

Gianni Schicchi Richard Petroski Rinuccio Jonathan Gagné Lauretta Sevan Kochkarian Zita Lauren Solomon Gherardo Kimani Troy Iba Nella Libby Donald Gherardino Nancy Hasiuk-Lay Betto di Signa - Cameron Killick Simone Barry Honda Marco Zainen Suzuki La Ciesca Jacqueline Ko Maestro Spinelloccio | Ser Amantio di Nicolao Vicente Sandoval Pinellino Graeme Guimond Guccio Brittony LeFever

Sung in Italian with English surtitles

Reviewer John Jane

Gianni Schicchi is one of the funniest operas one will ever see performed on stage, yet, perhaps paradoxically, it contains one of the most beloved arias, not just in the world of opera, but in the entire world of music. When Lauretta sings O mio babbino caro (Oh, my beloved father) she is pleading with her father Schicchi to allow her to be with Rinuccio the man she loves. Full review


Vancouver Opera
La Traviata
Music by Giuseppe Verdi, Libretto by Francesco Maria Piave

Date and Venue October 17, 19 and 24 at 7:30pm; October 27 at 2:00pm | The Queen Elizabeth Theatre, Vancouver

Conductor Yves Abel Director Alain Gauthier Set and Costume Designer Christina Poddubiuk Lighting Designer Kevin Lamotte Choreographer Tracey Power Chorus Director Leslie Dala Stage Manager Marijka Asbeek Brusse

Violetta Valery Emily Dorn Alfredo Ger Andrew Haji Giorgio Germont Chenye Yuan Flora Gena van Oosten Baron Douphol Nicholas Borg Dr. Grenvil Angus Bell Annina Irina Medvedeva

With the Vancouver Opera Chorus and the Vancouver Opera Orchestra

Sung in Italian with English surtitles

Reviewer Elizabeth Paterson

Vancouver Opera opened its 60th season in sumptuous style with Verdi’s perennially popular masterpiece La Traviata. The 19th century fantasies of the fallen woman, hearts of gold and death from disease so painful and common as to be almost fashionable are still tropes in our own day. The production draws attention too to the hedonism, frivolity and conspicuous consumption of the idle rich of times past and, by implication, of the present day, with gorgeous costumes and lush sets, both by Christina Poddubiuk. Even the retreat in the country where the lovers go to be alone is bedecked with balcony and sweeping staircase and awash with sunlight. Indeed, the vigorous lighting is almost a character in itself, deeply embedded in the action. While the lighting is almost garish in the party scenes, lighting designer Kevin Lamotte’s depiction of the dawn slipping through louvred windows in the last act adds yet another layer of sadness to an already poignant scene. Full review