With gifted actor-singers, swirling dance numbers, and ornate Art Nouveau sets, the operetta invites you to time-travel to turn-of-the-last-century Europe—complete with its mannerisms and upper-class concerns.
If you can stomach a disco reference in an opera review: oh, those Russians.
Canadian composer James Rolfe lets loose with quirky yet tuneful orchestrations for Morris Panych's playful lyrics, and the performers are strong, versatile, and physically active across the board.
There is serious singing across the board in this production.
National Arts Centre Orchestra mixes symphonic scores, visual imagery, dance, spoken word, and social commentary in World New Music Days' first event
By embracing the opera's multicultural roots, the Montreal creative team of director Renaud Doucet and set designer André Barbe avoid the pitfalls of the dated “Orientalism” of composer Giacomo Puccini’s time.
What better way to adorn a gala than with something that glitters like maestro Bramwell Tovey's own Time Tracks?
While Bach's mastery of melody and counterpoint carries over into his liturgical offerings, these can at times pose difficulties for contemporary sensibilities.
No wonder the Vancouver Opera chose to include the perennial audience charmer in its inaugural festival.
Sister Helen Prejean herself was on hand for a show that's a must-see for anyone who doubts that opera can speak to the here and now
As Iago, a menacing Gregory Dahl creeps around like a leopard on the prowl, stalking the formidable ramparts and stairs that cut through the bold set
Third World Bunfight production features fierce performances, startling visual design, and irreverent surtitles
Featuring the magnetic Veda Hille, Caroline Shaw, and Adrian Verdejo, this is seasonal music without aesthetic compromise.
Strange puppets bring a cool new twist to a work that's more than a century old, and should fascinate viewers young and old.
Good performances of great music are common, but performances that change the way you hear a great and famous work are rare.
The opening days of Early Music Vancouver's new summer festival illustrate broad range of musical brilliance
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.