Under the musical direction of Alexander Weimann, the singers and musicians explored the full range of moods and emotions in Henry Purcell’s early baroque masterpiece.
Sweeney Todd: The Demon Barber of Fleet Street is one of the darkest big musicals out there, but even by that standard, Vancouver Opera’s ambitious new staging goes for a deeper shade of black.
Local concertgoers haven’t enjoyed such a glut of Mitteleuropean confectionary since those long-ago days when Notte’s Bon Ton was located next door to the Orpheum.
Technically, this is criticism—but there’s precious little to criticize here.
Elegant, in fact, barely begins to describe it.
All in all, it’s a delightful romp that offers pure entertainment: nothing more, nothing less.
Save some room for wonder at the conceptual brilliance of the Vancouver Symphony Orchestra’s programming.
Music on Main draws a nice crowd, and deservedly so.
Forget housing starts, median income, or ranking the most livable cities: a far better way of gauging Vancouver’s place in the world is to employ the Adès index.
It's hard to fault her musicianship, but it was an odd composition for her to choose.