Eva Perón remains an enigma long after "Don't Cry for Me, Argentina" leaves your brain
Vancouver Opera's classical staging finds audience jumping to its feet in a loud, extended standing O
VSO joined pioneers from Standing Wave to Kronos Quartet in a weekend of intricate musical textures
“Keep sweet” is the mantra of the polygamist sister-wives in the Prophet’s mountain compound, but “stay patient” is my advice for those planning to attend this.
There’s no denying that air india [REDACTED] is a sober and respectful artistic reaction to a horrific tragedy but this conceptually brilliant undertaking is less than overwhelming on-stage.
If the show was any indication of what’s yet to come from the VSO this season, it’s going to be quite a ride.
The singers handle Verdi’s acrobatic notes and find new colours in some well-known characters.
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.