Overwhelmed By A Butterfly

Wonderful. Beautiful. Magnificent. Overwhelming. Loved it. To be told these words over and over again leaves no doubt that we knocked it out of the park with Madama Butterfly.

I thought it was wonderful. Absolutely wonderful.

Very entertaining. Very beautiful to look at.

Fabulous. May be the best opera we have seen and we've seen many good operas in Vancouver.

I don't even know where to begin. The emotions that it has brought out in me is just overwhelming.

Absolutely loved it. I think it's a wonderful production.

The set was magnificent. I struggled with it at first because it was so non-traditional, but it totally won me over.

Really, really great interesting set. Modern, very colourful, very eye-popping. It makes thematic sense as well. Towards the end, you really got the idea of a woman absolutely and emotionally abandoned, lost on a little rock in the middle of an ocean. So it works very, very well for that.

I loved the costumes. I thought they were fantastic. The whole stage was beautiful.

The orchestra was really terrific.

Very original. Unbelievable. This was just a one-of-a-kind piece of art on the stage.

It was extremely well done visually. The music was impeccable.

It was wonderful. I had tears.

This is the opera of the season. It was the most beautiful production I've ever seen.

Press play to hear what everyone had to say. Or double-click the video to see it directly on VO's Youtube channel.


Video by Bombshelter Productions & Mike McKinlay

Get your tickets now! Only 5 performances left! (and next Saturday is already sold out!) Call 604.683.0222 to speak to our box office or order online!

See you down at the theatre!

~ Ling Chan, Social Media Manager

Madama Butterfly: Final Thoughts

From left: Gus Fosarolli, John Biehler, Stacey Robinsmith, Kelsey Dundon

A HUGE thank you to all our bloggers who have joined us this past year in celebrating our Golden Anniversary season! What a way to go out! Madama Butterfly made an impact on everybody at opening night, including our bloggers. It may well be the first Blogger Night at the Opera where our opera left our bloggers all misty-eyed.

But don't take our word for it...

What a way to end the season. Vancouver Opera’s take on Puccini’s classic Madama Butterfly is beautiful and brilliant, not to mention, brightly coloured. - Kelsey Dundon

Mihoko Kinoshita’s portrayal of Madama Butterfly was amazing. Singing some of the classics that I’ve heard before were sung with passion and the chemistry between her and James were amazing. You can see the love she has for the naval officer and though the first Act is filled with flirting between the two, you wonder what would happen if their relationship did work out in the end. - Gus Fosarolli

One final thing that still surprises me that happens during the final bows at the end of both Opera’s I’ve attended is the extended ovation that gradually builds as the performers come out. For Butterfly, it went on for a long time and it was cool to see the passion the audience had for these performers. It’s not often you see an older gentleman hoot and holler while wearing a tux. - John Biehler

I have seen Madama Butterfly before but this time…the tears were streaming down my face. The ending of this opera was made all the more poignant due to the fact that at home are our two precious little angels. I cannot imagine being forced to relinquish my sweet little ones…the agony I felt as I sat there watching a woman’s child being stolen away…unbelievable. If you have not yet bought your ticket to this opera, do so as soon as you can. So exquisite. - Stacey Robinsmith

Thank you bloggers for helping to make Blogger Night at the Opera such a success. We look forward to seeing you all at the opera next season!

~ Ling Chan, Social Media Manager

A Guy's First 'Madama Butterfly': Weep or Sleep?

The Tyee held a contest to find a reader who would accompany writer and opera buff David Tracey to Madama Butterfly on opening night. All entrants were opera newbies and had to explain why they wanted to go and why they feared the opera. Funny and heart-tugging responses came flooding in and the winner by random draw was Michael Bean.

Here's his winning email:

"I don't 'get' opera. The last time I went with a friend was years ago. She cried, I tried to stay awake. I'm a sensitive guy. I feel things. I watch chick flicks and occasionally cry. But I am completely unmoved by opera, despite my best efforts. I appreciate the musicality, I have some pieces in my music library that I love, I just don't understand the emotional engagement that seems to go with people's experience of watching it live. I end up reading subtitles and then getting drowsy.

"It's possible I just had lousy seats. I have no desire to be a philistine. I want to like capital-O Opera, I really do. Help a guy out. Michael Bean"

So after the curtain came down on Saturday, what did The Tyee's Tracey think of Madama Butterfly?

I didn't flood the lower bowl with tears, but I thought the singers were excellent, and the orchestra under conductor Jonathan Darlington just seems to get better with each production offered. I happen to like Puccini, enough to forgive him his flaws which include being too emotionally manipulative at times, but when the talent is up to his score, the results, as in this production, are admirable. - David Tracey
And opera newbie Michael?

With the second act, though, all the exposition from the beginning came together. That's when I got it. I thought the whole thing came to life, and even some of the set designs made sense. I really enjoyed it. A few moments I found genuinely moving. I can see now how opera is unapologetically art. I want to see more. - Michael Bean

Chalk it up to the art form that is opera! We have another convert!

To read more from The Tyee, click here.

~ Ling Chan, Social Media Manager

A Madama Butterfly Like This Wings Its Way Into Town Once In A Lifetime

Photo credit: Tim Matheson

The Vancouver Opera is closing its golden-anniversary season in high drama, with a production that’s not just a visual feast—a giant, constantly shifting piece of contemporary art—but boasts the kind of vocal star power you’d expect on one of the world’s more famous stages.

To read more from the Georgia Straight, click here.

A Butterfly That Soars In Style

Photo credit: Tim Matheson

Take away Jun Kaneko’s spectacular sets and costumes for Vancouver Opera’s current production of Puccini’s Madama Butterfly and you would still have a sublime performance, with some of the best singing that has graced the Queen Elizabeth Theatre’s stage. But the visual component of this production is so compelling, and so intelligent, that it lifts this opera to a new level.

To read more from the Globe & Mail, click here.

Madama Butterfly Soars Anew In Unconventional Production

Photo credit: Tim Matheson

Butterfly always risks coming across as a highly effective series of great vocal numbers. What makes this Butterfly something to see and to treasure is how well it holds up as theatre. Without any sense of over-busy fussiness, every moment is filled with meaningful detail.

Click here to read the Vancouver Sun review.

Madama Butterfly: The Trailer

Here's your peek at the visually stunning Madama Butterfly, conceived and designed by visual artist Jun Kaneko and directed by Leslie Swackhamer.

Press play or double-click the video to see it directly on VO's Youtube channel.


Video by Bombshelter Productions & Mike McKinley

Tickets going fast! Both Saturdays are already sold out!

Get yours today! Call 604.683.0222 or purchase online!

Madama Butterfly: The Book

When you're at Madama Butterfly, stop by the subscribers table in the main lobby to check out Jun Kaneko's book, Madama Butterfly.

This 125 paged souvenir book documents the story of how artist Jun Kaneko collaborated with Opera Omaha to design a contemporary look to the traditional opera. The book is filled with sketches and pictures of the whole creation process, along with a great backgrounder on Puccini, the Madama Butterfly opera and Japan in the early 1900s.

To order your copy, call 402-341-3800 (USA) or e-mail info@thekaneko.org and mention Vancouver Opera. All proceeds from book sales go to benefit Vancouver Opera & KANEKO. For more information on Jun Kaneko, visit his website here.

An awesome keepsake of a visually stunning opera that you won't soon forget.

~ Ling Chan, Social Media Manager

Puccini’s Madama Butterfly Tells A Timeless Story Of Tragic Miscommunication

Photo credit: Tim Matheson

How can a contemporary production offer all of Butterfly’s considerable traditional charms while maintaining interest for seasoned opera goers who may feel themselves to be rather too familiar with the piece?

For the answer to that question, click here for the Vancouver Sun write-up.

8 Reasons To Go To Vancouver Opera

We love it when we take someone's who never been to an opera before and convert them into an opera enthusiast, as well as a friend to the VO.

Ami Sanyal, one of bloggers from our very first Blogger Night at the Opera, posted a notice to all his Facebook friends on why they should go to the opera. We were so touched when we found out, that I have reposted it here with Ami's kind permission.

Cec and I have been going to the Vancouver Opera's productions since Jan 09. With Madama Butterfly coming up, we thought it would be a good time to share why!

How we Discovered the Vancouver Opera

Truth is, the Vancouver Opera came to us! In Jan 09 I was a contributor for a Vancouver blog called Beyond Robson. Ling Chan (VO's Social Media Manager) approached Beyond Robson inviting us to partake in their first 'Bloggers Night Out'. At the time, the opera conjured faint images of snooty elderly folk peering through bejeweled mini-binoculars...but the fact that VO was interested in social media scene intrigued me enough to accept Ling's invitation.

See more about the production on my post on Beyond Robson.

The show was Carmen, and from production quality to staff dedication, Cecily and I were really, really impressed!


Photo credit: Tim Matheson

8 Reasons We Keep Going to the Opera

Ami's Reasons

1. Something different! Grabbing a drink and heading off to a VO production guarantees a unique night out

2. It's affordable! Tickets start at $23...which is cheaper than most concert tickets

3. Great stories. Most of these productions have wicked plot lines! (I'm not sure why this surprises me every time)

4. Foreign factor. When I walk down the street I like it when I hear other languages. Having them sung to you by an opera singer while an orchestra provides instrumentals is even better. (Read the screen for English translations)

Cecily's Reasons

1. Men in Tights. 'nuff said.

2. Dress up. Get some use out that dress that you wore to a wedding that one time (Note: dressing up is optional...so you can show up in jeans if you like)

3. Support the local arts scene. Figaro boasted an all-Canadian cast

4. The music! Awesomely talented vocals and amazing instrumentals from the pit (a great motivation to pick up my trumpet again).

We really like the Vancouver Opera's productions and staff members. Go check them out, you might like 'em too!

Awwwww. This makes our Friday! Thanks Ami and Cecily for the kind words and for supporting Vancouver Opera!

~ Ling Chan, Social Media Manager

Say Cheese!

Photo credit: William C. Shrout

Your opportunity to make funny, squishy faces (or not) is back!

A hit with our Figaro audiences, we're bringing back the SMART Pics photo booth for Madama Butterfly's opening night and June 3 performance. Click here to see all the peeps who took advantage of flashing their pearly whites at Figaro.

Take a picture of yourself. Take a photo with your date. Grab some random peeps in the lobby for one gigantic group shot. (just watch out for those photobombers!)

The best part? (besides the "love it" or "try again" option) You can email it to yourself or you can send it to someone else and let them know what they're missing out on!

The SMART Pics photo booth will be situated by the east end lobby staircase and bloggers table, just waiting for your smiles and poses.

A great souvenir for attending the last opera of the year. And a thank you from us for helping to celebrate our Golden Anniversary season.

~ Ling Chan, Social Media Manager

Sculptor Jun Kaneko Helps Make An Artful Madama Butterfly

The result is, not surprisingly, an artful Butterfly unlike any that audiences have seen before. Vancouver fans can expect a boldly visual and yet minimalistic, abstracted take on an opera that is usually presented in exotic, historical Japanese detail. This lovelorn geisha Cio-Cio-San (highly praised Japanese soprano Mihoko Kinoshita, in her most in-demand role) will wear a contemporary, graphic kimono, and she and her double-crossing naval officer, Pinkerton (tenor James Valenti), inhabit a stylized “house” with a geometrically gridded Japanese screen and a floor that swirls with concentric ovals.

Click here for more from the Georgia Straight.

James Valenti on SAATO

Photo credit: Dario Acosta

Turn on the radio!

James Valenti will be the featured guest on Saturday Afternoon at the Opera on CBC Radio 2 with host Bill Richardson - 105.7 FM.

Become a Friend of VO!

It’s not too late to become a Friend of Vancouver Opera! Make a gift of at least $75 before June 15, 2010 and you will receive an invitation to our annual Friends’ Reception. We are only $28,000 away from our June 30 Friends fundraising goal for this season, and as only 41% of our revenue comes from ticket sales, your donation will directly affect VO’s ongoing commitment to offer exceptional productions and community programming.

Click here to donate now or call the Development Coordinator of Individual Giving at 604-682-2871 ext. 4857.

Tune in for Madama Butterfly

Our set and costume designer, the extraordinary Jun Kaneko, will be featured in today's The Georgia Straight and The Vancouver Sun on Saturday.

Friday morning at just before 8:00am, dial in to 88.1 FM or 690 AM to hear Jun Kaneko on CBC Radio's The Early Edition.

Jun Kaneko’s stunning designs will bring a fresh and colourful take on Puccini's classic Madama Butterfly. A Japanese-born ceramicist and sculptor, Jun is the creator of more than 25 public art commissions, recipient of an honorary doctorate from the Royal College of Art in London, and one of the artists at the forefront of the contemporary ceramics movement. Click here to see his works.

Opening night (May 29) of Madama Butterfly is sold out! There are only 5 more performances - June 1,3,5,8 & 10! Get your tickets today!

Call the VO Ticket Centre at 604-683-0222 or buy online!

Float Like A Butterfly, Sting Like A Ninja

Illustration credit: Jeremy Forson

There are many skills one needs in order to be an Opera Ninja:

* "Stealth" being their middle name. With great reflexes and sharp night vision, Opera Ninjas are able to move quickly and silently about the theatre.

* Must always be calm, focused and observant. They must keep an eye on what's happening onstage as well as, know what's going on in the very darkest corner of the room.

* Must know how to get out of a sticky situation quickly (vanishing bombs and firecrackers are sometimes used for distraction)

* Being an Opera Ninja means knowing how to debug and troubleshoot pesky technology

* And above all, Opera Ninjas must have a really cool ninja outfit

An Opera Ninja who is successful at gaining entry, gathering as much intel as possible and retreating undetected will, of course, be sent out on more assignments.

That is why Ninja Girl Kimli has been assigned to the Madama Butterfly dress rehearsal. She did such an awesome job live-tweeting The Marriage of Figaro, that she'll bring the stealth again for tomorrow night's Butterfly. Follow along on @OperaNinja for all the action.

We have no doubt she'll once again kill it.

~ Ling Chan, Social Media Manager

Blogging The Butterfly

Love. Honour. Betrayal.

Just another day at Blogger Night at the Opera!

Come say hi on opening night (Saturday, May 29) as our Madama Butterfly bloggers take on the ever-so-tragic tale of Butterfly and her Pinkerton. With a breath-taking set, heart-breakingly beautiful music and emotional arias, our bet is that our bloggers will get a little wet in the eyes.


Clockwise from top left: Kelsey Dundon, Gus Fosarolli, Stacey Robinsmith, John Biehler

Follow along on the right sidebar as our bloggers report from the front lines, as well as, behind the scenes of Madama Butterfly. Hankies not included.

~ Ling Chan, Social Media Manager

James Valenti on Fanny Kiefer

Photo credit: Dario Acosta

James Valenti, our Pinkerton in Madama Butterfly, will be interviewed on Studio 4 with Fanny Kiefer tomorrow live at 9:00 am.

The show will repeat at 1:00 pm, 4:00 pm & 9:00 pm

Shaw TV is Cable 4 in the Lower Mainland. More about the show: www.studio4.ca

From the Orchestra Pit With Mary Backun

Sir Isaac Newton discovered gravity, but lost a possible fellow mathematician to the gravity of music. “Initially, I had embarked upon a degree in mathematics, but it became very clear after my first year of studies that the pull towards music was a strong passion,” says VO's Principal Clarinetist, Mary Backun. “For me, playing the operatic clarinet parts feels very akin to singing.”

The Calgary native first took up the clarinet in a school music program, and then trained under Arthur Vanderburg. After winning second place in an international youth solo instrumental competition in Vienna, she studied under Dr. Stanley Finn at University of Calgary, with whom she remained friends until his passing.

When asked what inspires her, she responds “there are so many facets to this question. …I am of course incredibly inspired by the musicians I have had the privilege to work with and listen to through the years. As a young clarinetist I became captivated with the orchestral sound of the Berlin Philharmonic Orchestra.” Today? “I would have to say that Ricardo Morales, Principal Clarinetist in the Philadelphia Orchestra and former Principal Clarinetist of the Metropolitan Opera Orchestra, is an inspiration for his sound, facility and musical interpretation.”

Conductors are not an exception. “I believe that Kees Bakels (VO), Mario Bernardi (CBC Orchestra) and Jonathan Darlington (VO) have had a profound impact upon my musical vision, and I have always felt the desire to give my personal best whenever working with them. I find it inspirational to play under the kind of leadership that can create the best musical results from the players.”

And of course, “I would have to say that I am constantly inspired by the artistry of my husband, Morrie, who is a clarinetist and designer and manufacturer of clarinets. The array of colours and timbres that his clarinets and mouthpieces offer have added a new dimension to my ability to play the clarinet.”

Mary's other passion is teaching. She and a colleague “co-direct a program with 225 boys who all perform in the school instrumental program” at St. Georges School in Vancouver, which is “a constant reminder of the future of music” for her. “There is nothing quite like the enthusiasm and energy of a young player as he learns a musical concept for the first time. I always knew as a young musician that I wanted to teach and the chance to work in this environment over the past eight years has been most gratifying.”

Her most memorable VO productions include Der Rosenkavalier and Salome, both with Jonathan Darlington, and Carmen with Kees Bakels (1986). "It was probably about as close to a riot as the Vancouver audiences have ever experienced with patrons leaving either loving or hating the production.” And recently, “Nixon in China was a wild ride! The technical demands (John Adams being a clarinetist himself) and musical intricacies of the score made it a thrill to perform.”

Something new that she would like to try? “It would have to be Verdi’s La Forza del Destino.”

Any summer plans? “In addition [to rediscovering solo and favourite pieces], I have been starting to play a little bit of jazz clarinet and love the challenge and freedom this medium brings to my playing. The flute is an instrument I use a great deal at school but this summer I plan to play more flute as well.”

And the future? “Aside from doing some arrangements for my music students [for the clarinet choir at her school] I am toying with the possibility of producing a CD…it would be great fun to join forces with some of the incredibly talented friends and players I have the blessing to know.”

~ Nagisa Inoue, Assistant to Director of Artistic Planning

“The Cio Cio San of all Cio Cio Sans”

Madama Butterfly opens next week, and the singers are is hard at work in rehearsals.

Our Cio-Cio-San, soprano Mihoko Kinoshita, will be making her Canadian debut in this stunning production. Having been touted by some as “the greatest Cio-Cio-San”, Kinoshita’s singing will take your breath away.


Joining her onstage in the role of Pinkerton, the dashing and handsome James Valenti will win over audiences with his “robust, ardent singing” (NY Times). He may soon be considered the Pinkerton of all Pinkertons! Click here to see them singing together in a 2008 production.

For a peek into the rehearsal process, click here for interviews with the cast and stage director Leslie Swackhamer!

Madama Butterfly
May 29, June 1,3, 5, 8, 19, 2010
All performances 7:30pm
Queen Elizabeth Theatre

For tickets, call the VO Ticket Centre at 604-683-0222 or buy online!

Subscribe To Our 2010-2011 Season! Get Great Savings & Amazing Benefits!

Being a Vancouver Opera subscriber has never had so many advantages!

* The best deal for tickets! Subscribers save up to 28% on single ticket prices! You’ll get the best seats at the best prices!

* Free exchanges! Subscribers can switch to other performance nights absolutely FREE!

* Bring your Friends! Subscribers receive a discount on additional single tickets!

* Get to the Front of the Line! Subscribers get access to single tickets before the general public!

* Exclusive invitations to insider events! New to this season, attend the Lillian Alling ‘sitzprobe’ (a musical rehearsal which brings together the orchestra & singers for the first time) and a chorus rehearsal for Lucia di Lammermoor!

* Exclusive discounts and great deals on restaurants, hotels, and many more!

Call the VO Ticket Centre at 604-683-0222 or subscribe online!

Postcard From Toronto

Last night I attended the Canadian Opera Company ensemble performance of Mozart’s Idomeneo. This was the first main stage performance that the COC Ensemble has performed and it is something they hope to do every year. It’s a wonderful opportunity for the young singers to get a performance opportunity on the stage and in the same production that the COC main cast perform in. I have heard these young artists over the past two years and it was a treat to see them perform in this new production, a co-production with Opera National du Rhin. All of the singers involved in the production did very well. They all brought a high level of vocal preparedness and stage craft to their performances.

One of the singers, Illeana Montalbetti, who I heard two years ago in audition, and had not thought much of, was absolutely fantastic. She gave riveting performance and sang the role Elettra with the confidence and skill of an artist many years her elder.

Because the COC had two very strong lyric sopranos able to sing the role of Ilia, the decided to split the performance. Laura Albino performed the role in the first half and Vancouver’s own Simone Osborne performed in the second half. Both did very well in their respective performances. Giving the ensemble this performance opportunity is one of the most important apects of any young artist program. Something I hope VO will someday soon be able to offer.

~ Tom Wright, Director of Artistic Planning

Get O.U.T. more!

News flash! We've just released a few more Get O.U.T. tickets for the Tuesday, June 8th and Thursday, June 10th performances of Madama Butterfly.

And what is Get O.U.T., you ask?

Get O.U.T. is a sweet deal for all you opera fans aged 18 - 29: Butterfly tickets for a mere $25! That's a savings of up to 75%!

Here's how it works:

1. VO announces the special promo code

2. You call up the VO Ticket Centre and give them said promo code

3. You come to the show, flash your ID and pick up your tickets

4. You enjoy some killer opera and congratulate yourself on getting such a great deal


And here's what you need to know:

► The Butterfly promo code is 2259

► The VO Ticket Centre is at 604-683-0222. You can also buy tickets online. Or you can come visit us on the second floor of 835 Cambie St. in sunny Vancouver.

►Ticket limit is 2 per person.

►In order to pick up tickets at the theatre, both you AND your date must show valid ID that identifies each of you as between the ages 18 - 29.

Again, this new batch of tickets is for the Tuesday, June 8th and Thursday, June 10th performances. Limited quantities! Call now!



And some fine print:
This offer is not valid on previously purchased tickets and cannot be combined with any other offer.

Ride for a Valkyrie

Did you know the VO has a Harley up for a lottery prize? It is a 2010 HD Softail Deluxe from Trev Deeley Motorcycles, and this is a ride fit for a Valkyrie.



If you want in on this, you can now order VO Lottery tickets online at www.vancouveropera.ca

Or you can call 604-682-2871 x4860

Or via email at lotteries@vancouveropera.ca

Tickets are $20 apiece, 3 for $50 or 7 for $100.

Grand Prize Draw: June 25, 2010 (just in time for summer)

OK, now for the fine print:
Total value of prizes $26,579. Winners will be drawn manually from a raffle barrel. Price per ticket $20.00 (950 tickets), 600 packs of 3 for $50.00 (1,800 tickets) and 250 packs of 7 for $100.00 (1,750 tickets). 4,500 tickets to be sold. Cut-off for ticket sales for Grand Prize is 11:00am June 25, 2010. Grand Prize draw is at 3:00pm June 25, 2010 at Vancouver Opera, 835 Cambie St, Vancouver, BC. 2010 Harley-Davidson Softal Deluxe Value: $24,079 including taxes. Cash alternative to grand prize is $20,000. Second prize is $500 gift certificate for Trev Deeley Motorcycles. Early Bird Draw: May 10, 2010, 3:00pm Vancouver Opera Offices 835 Cambie St, Vancouver, BC. 2 prizes of $1,000 cash. For previous Vancouver Opera Lotteries, please visit our website, www.vancouveropera.ca, where winners' names are posted. Tickets may be sold and purchased only in BC. Personal information that you provide to Vancouver Opera will be used to inform you of upcoming activities within our company and in the region. BC Gaming Event Licence #22212.

Valkyrie image by Thomas Denmark

Journey to St Petersburg Part III

Last night I attended Aida at the Mariinsky with Mlada Khudoley singing the title role. What an experience! As you can see from the attached photo of the old Mariinsky (Gergiev is building a new Mariinsky Opera house across the canal from the old one) there is a lot of history in the old hall.







Very ornate with gold leaf everywhere. I don't think there is a bad seat for acoustics. The performance was very traditional with lots of stand-and-sing performances. It was an all-Russian cast and vocally very commanding.

Mlada was the only one who really gave a theatrical performance as the rest of the cast remained firmly planted Down Stage Centre. The sets were big and very traditional and the costumes were ornately elaborat. No animals but many, many supers for the Triumphal march! The orchestra was very good and conducted by Russian maestro Boris Gruzin.

Oh, and a little note about Russian time: the performance was due to start at 7:00pm but it was closer to 7:12 by the time it started. And the 20 minute intermissions are closer to 30, making it a 4 + hour evening!

~ Tom Wright, Director of Artistic Planning

Q & A With Melody Mercredi

Melody Mercredi is a member of Vancouver Opera Chorus, and made her debut as Barbarina in last month's The Marriage of Figaro. Assistant to Director of Artistic Planning, Nagisa Inoue, talks to Melody Mercredi about opera and beyond.




Q. Where are you originally from?
A. I was born in Port Hardy, BC, a tiny town on the northern part of Vancouver Island.

Q. When did you start singing or training in classical voice?
A. I have been singing since I can remember... all kinds of music. I just loved it! I started my formal training at age 15, but my voice didn't really come into it's own until my mid twenties.

Q. What made you choose this path?
A. I was inspired by a scene I saw in the movie Philadelphia, which had an aria sung by Maria Callas. I was fascinated by her voice, and wanted to be able to sing like her. When I started studying, I was instantly attached as I enjoy a challenge, and everything at first was a challenge. Anyone can sing, but not everyone can bust out a tune like an opera singer. I had to be one!

Q. Please tell us what inspires you.
A. Other artists who live eat and breathe their art. You can tell a true artist by their passion and dedication to it. It's their entire world, their love, sanctuary and also their misery.

Q. Please share with us your unique/funny experience.
A. My second contract with Vancouver Opera was Turandot in 2005. As we were slaves we were required to be on stage in our bare feet. We were asked to wear slippers backstage to avoid splinters and stubbing toes on set pieces, etc. In Act 3, the chorus was constantly on and off the stage, with various degrees of time in-between. One time slot was particularly long, so I put on my moccasins and watched the scene go on from the side wing.

Puccini’s music is so beautiful it is difficult to listen to without it taking you away. I was immersed and loving every minute of it. It gets so intense when Liu is about to sacrifice herself. Our cue was called, so on stage I went with my white furry moccasins, but with no clue that I even had them on. We were all on the floor, crouched down for about ten minutes.

When Liu died we all got up to exit the stage. I put my hand on the ground to lift myself out of my crouched position and felt the softest fluff from under my slave garb. I am pretty sure my heart stopped at that point. I couldn't get off stage fast enough, I was mortified!!! I was sure that I had blown my chances of ever singing with the opera again. Luckily for me, I am still singing with them, constantly getting immersed in the music behind the wings, but now very aware of what is on my feet before going on stage.

Q. Your favourite opera production?
A. Oh man, that's like asking me to pick my favorite pair of shoes! I have been enjoying so many fabulous productions that have been brought to the theatre via the Met broadcast. I have yet to see one that I haven't enjoyed.

Q. Your favourite non-opera production or music?
by their passion and dedication to it. It's their entire world, their love,
sanctuary and also their misery.

Q. Please share with us your unique/funny experience.
A. I have to say I have recently become a big fan of the Wen Wei dance crew. I have always appreciated dance, but after doing Nixon in China with them, I truly have a new love for dance...of course it helps that the male dancers were not hard on the eyes.

Q. Any summer plans?
A. I am extremely excited to be collaborating with Electro Cellist Cris Derksen, along with some other talents, all whom are of Aboriginal decent. It will have a traditional aboriginal feel, and with me in the mix it gives us that western art form feel. We are going to go beyond genres and, hopefully, even beyond the basic traditional versus contemporary question. Our goal is to create, collaborate and then perform. Love it!

Q. What would you like to be doing 40 years from now?
A. Smothering my grandkids with kisses.

Passion and Drama of Madama Butterfly

Rehearsals are underway for the final production of Vancouver Opera’s Golden Anniversary Season: a stunning Madama Butterfly, designed by Japanese-born sculptor Jun Kaneko and featuring Japanese soprano Mihoko Kinoshita in the title role and tenor James Valenti, winner of the 2010 Richard Tucker Prize, as Pinkerton.

VO Music Director Jonathan Darlington, acclaimed for his recent work on VO’s The Marriage of Figaro, conducts the Vancouver Opera Orchestra and the Vancouver Opera Chorus (Leslie Dala, Associate Conductor and Chorus Director). The stage director is Leslie Swackhamer.

Rooted in Japanese tradition yet decidedly timeless, Kaneko’s sets and costumes complement and intertwine perfectly with Puccini’s intensely emotional music. The design is “visually daring while remaining true to the essence of the music and drama,” raved Opera magazine, “Kaneko…has a perceptive eye for theatrical and dramatic effect…a splendidly integrated work of art.”

This exquisitely beautiful production will ignite imaginations as it breaks hearts. For a closer look at the process of bringing Madama Butterfly to the stage, visit www.vancouveropera.ca for rehearsal footage, cast interviews, podcasts and VO’s exclusive Opera Manga.


The Singers
Making her Vancouver Opera début is Japanese soprano Mihoko Kinoshita, one of the world’s most in-demand Butterflies (Cio-Cio-San). “Her every inflection, physical as well as vocal, is real. Her death is nearly unbearable,” praises the Detroit News, “…Kinoshita’s vocal accomplishment is absolute. …bound up in Kinoshita’s vocal prowess is her stage savvy. Her acting instincts elevate her singing to a devastating naturalism. We believe in this ingenuous Butterfly as surely as she believes in her marriage to the long-departed Lt. Pinkerton.”

Also making his VO début is tenor James Valenti, winner of the prestigious 2010 Richard Tucker Prize, singing Pinkerton. He has been praised by the New York Post for his “even lyric tenor, an aristocratic way with a vocal line and easy confidence” (as well as his “smoldering good looks”.) “Like [Pavarotti], he is able to capture the “soul” in singing. Bravo!” raved Dallas’ Pegasus News.

Full Ticket Information
Opening night is Saturday, May 29, 2010, with subsequent performances Tuesday, June 1, Thursday, June 3, Saturday, June 5, Tuesday, June 8 and Thursday, June 10. All performances take place at the Queen Elizabeth Theatre, Georgia and Hamilton Streets, Vancouver, B.C. and begin at 7:30pm. Tickets are available exclusively at the Vancouver Opera Ticket Centre, online at www.vancouveropera.ca or by telephone
(604-683-0222). See complete ticket information below.

Single tickets are available from the Vancouver Opera Ticket Centre, online at www.vancouveropera.ca, or by phone at 604-683-0222. Visa, MasterCard and American Express are accepted.

Groups: For special pricing for groups of ten or more, call 604-683-0222.

Vancouver Opera’s Golden Anniversary Season is generously sponsored by Goldcorp, Inc.

My Time With Jun

I had the great pleasure of being a part of the process to create this Madama Butterfly production when I was working as the Director of Production at Opera Omaha. The General Director told me of a Japanese visual artist in town who she wanted to talk to about designing the production.

His name is Jun Kaneko. Jun is a Japanese ceramic artist living in Omaha. You can see his work on his website, www.junkaneko.com

After deciding to move forward, I spent a lot of time meeting with Jun and talking him through the theatrical experience. I would invite him backstage to see the workings of each opera I did over the course of his design process. I pretty much spent the next 2 years teaching him Theatre 101. He would come up with ideas, and I would tell him why they were great ideas, but would not work in a theatre. Then I would have to show him how it would work in theatre. You have to remember: this man had never designed for the stage in his life!

Month after month, Jun would catch on to the process of designing for the stage. A VERY bright and wonderful man!


Photo courtesy of Takashi Hatakeyama

So, 2 years later, we had a finished product that opened to rave reviews. This production has gone on to rent about 6 times. A year ago, Jun finished his second scenic design for the stage. Jun designed a Fidelio for Opera Company of Philadelphia. Jun will visit Vancouver during the Butterfly production. I am greatly looking forward to seeing my old friend again!

~ Terry Harper, Director of Production

Journey to St Petersburg Part II

Today I spent at the State Hermitage museum. The largest collection of Art in the world!


One of the many halls in The State Hermitage Museum

The collection contains around 3 million exhibit items, including:

* 16,783 paintings

* 621,274 works of graphic art

* 12,556 sculptures

* 298,775 works of applied arts

* 734,400 archaeological monuments

* 1,125,323 numismatics

* 144,185 other exhibit items

The museum was founded in 1764 when Empress Catherine the Great purchased a collection of Flemish and Dutch paintings (225) from the Berlin merchant Johann Ernest Gotzkowski. If you were to spend one minute looking at every item it would take many years to complete. I wish I had a week here!


The Mariinsky Concert Hall

After the Museum, I attended a performance of the Barber of Seville at the Mariinsky Concert Hall. It was performed in Russian.

This is something relatively new that they are trying to increase the audience. However there were only a few hundred at this performance. The opera was updated to modern times and included scantily clad women and Russian soldiers.

I must say the adaption was not for me. The music was fine although most of the time the singers and orchestra were not on the same page. It sure was an experience to hear this sung in Russian. I didn’t understand what they were saying but I know the opera well enough to understand the point. One strange thing: Rosina’s aria Una voce poco fa was sung in Italian. I wonder if she refused to sing in it Russian?

~ Tom Wright, Director of Artistic Planning

Journey to St Petersburg

After arriving in St. Petersburg, I was greeted at the hotel by my host for the auditions, Peter Fleming and Christoph Meyer, Generalintendant of Deutsche Opera am Rein. Peter took us to the Mariinsky and suggested a restaurant for dinner. Teatro was the restaurant.



We had a wonderful dinner and enjoyed our time getting to know each other and our respective companies.

Deutsche Opera am Rein is a two city opera and ballet company producing in Düsseldorf and in Duisburg. We then enjoyed a nightcap at the Irish pub across the street from the Mariinsky, a hangout for the artists and crew.

The next day we were joined by Audrone Juozauskaite from the Lithuanian National Opera and Ballet and Michael Barobeck from Opera Graz. We walked over to the audition space which lead us past the Moika Palace where Rasputin was murdered!


Rusputin murdered at The Moika Palace

The auditions were in a beautiful Palace-turned-centre for the study of architecture. All in all not a bad day of auditions.


St Petersburg Audition Hall


Audition hall door

After the auditions we had some time to ourselves before we all met for the St. Petersburg canal boat cruise. We had our own boat and had an amazing trip! (thanks Aleksei for the Vodka!)


Canal boat cruise


The Mariinsky from the canal boat cruise


The Peter and Paul Fortress


The ship that started the Russian revolution

All of us the enjoyed another nightcap at the Irish pub.

~ Tom Wright, Director of Artistic Planning

The Puzzler: Top 22 Opera Deaths

It's like a game of CLUE, an entire season of CSI, or a good 20 minutes of a John Woo movie. Who got killed in what opera by what? Try to match the who, in what opera and how below.

"'cause the fat lady has sung..(NYEEEAAAAHHHHH)"



VICTIMS:
1. Scarpia
2. Mimi
3. CioCio San
4. Siegfried
5. Violetta
6. Desdemona
7. Turiddu
8. Liu
9. Jokanaan
10. Luigi
11. Gilda
12. Cavaradossi
13. Manon
14. Leonora
15. Lensky
16. Countess Geschwitz
17. Andre Chenier
18. Blanche
19. Valentin
20. Peter Grimes
21. Edgardo
22. Romeo

LOCATION (OPERA):
A. (The) Paletine
B. Outskirts of Paris
C. Wedding reception
D. Desert outside of New Orleans
C. Nagasaki
E. Garden of victim's sister
F. Run-down left bank apartment
G. Paris
H. Victim's office
J. Outside of small Sicilian town
K. Victim's bedroom/bed
L. Off east coast of England
M. London apartment
N. Tomb of alleged girlfriend
P. A barge on the Seine
Q. Rural area outside Hornachuelos
R. Forbidden City
S. Estranged husband's bedroom
T. On the banks of a wooded stream
U. Castel Sant Angleo
V. Mantua
W. In the woods by the banks of the Rhine

BY WHAT MEANS OF DEATH:
Small bladed weapon - dagger
Beheaded (large, heavy blade)
Murdered - Jack the Ripper style
Killed, stuffed in sack, tossed in river
Beheaded (large, heavy blade - sword or axe)
Possible stabbing or gunshot from a fight (witness statements conflict)
Drowning
Small caliber weapon (by man who debauched his sister)
Large caliber weapon (by best friend)
Shanked by girlfriend of prisoner
Upper respiratory infection, possible auto-immune disorder
Ceremonial knife - ritualistic death
Poisoning
Firing squad (that was suppoed to be fake)
Exposure, exhaustion, bad planning
Stab wound to the heart (by brother)
Strangled
Mycobacterium tuberculosis
Shot or stabbed in an apparent duel (no witnesses)
Small blade, serrated edge - dagger?
Beheaded (large, heavy blade, no signs of struggle)
Large pointed weapon, wound in the back - hunting accident?

An Elegant Evening with Simone Osborne

Vancouver's own Simone Osborne will be presenting a recital for the Vancouver Women's Musical Society! The event is a fundraiser for the VWMS, which supports young musicians from the Lower Mainland.

Simone will be giving us a sneak peek at her Carnegie Hall recital program (she'll debut there next season) and will be joined by Richard Epp at the piano. There will also wine, appetizers, a raffle and a chance to meet the artists.

An Elegant Evening of Song with Simone Osborne
Sunday, June 6, 2010
7:30pm
Vancouver Academy of Music
Tickets and info here.

Opera Pit Stop in Zurich

Our globe-trotting Director of Artistic Planning, Tom Wright, is currently traveling and auditioning singers for future VO productions. He was in Zurich yesterday and snapped a picture of the Opernhaus Zurich (Zurich Opera House) to share with our readers.



This is the same opera house where Wagner spent a lot of time.

Although only in Zurich for one day, Tom thought the city was beautiful, full of history, culture and art.

His next stop on his world tour: St. Petersburg.

~ Ling Chan, Social Media Manager

Madama Butterfly: Cast Interviews

Video by Bombshelter Productions & Mike McKinlay

I love singing the music of Puccini...It has all these gorgeous soaring melodies and it's a privilege to sing it. The orchestrations, the colours...so much of it is just amazing. - James Valenti

Jun Kaneko did a comprehensive design of the show. He designed the set and the costumes and also projections...There are all kinds of interesting things that happen through his art. - Leslie Swackhamer

I think people should come see Madama Butterfly, especially if they're a first-timer because it's a really good introduction opera. Its very accessible: beautiful music, great characters. It's a gorgeous production and a great cast. - James Valenti

Don't miss out! To get your tickets, call 604.683.0222 or click here!

Jack Pine Sonnet Contest

You may recall our Vancouver Opera in Schools production of Jack Pine this season. Well, it seems we've started a Jack Pine renaissance of sorts.

Now there is a Jack Pine Sonnet Contest sponsored by Geist, a quarterly magazine in Vancouver.

There's a $500 top prize and every entry gets a subscription to the magazine!

So try and make like our composer for Jack Pine, Veda Hille, and test your lyrical skills on Geist! (Deadline is July 1st.)

Get O.U.T. for Butterfly!

Get O.U.T. – Get Opera Under Thirty for Madama Butterfly!




If you're between 18-29 and love you some opera, call the VO Ticket Centre at 604.683.0222 on Friday, May 14 and give them Promo Code 2259.

This will let you purchase selected seats for Madama Butterfly for a mere $25! That's a savings of up to 75%! Ticket limit is 2 per person.

Designed for a younger audience but not exclusive to students, Get O.U.T. is the first ticket program of its kind for a major arts organzation in Vancouver.

Tickets are only available for pick-up the night of the show at the Queen Elizabeth Theatre. In order to pick up tickets, EACH patron must show valid ID that identifies them as between the ages of 18 – 29.

Tickets will be on sale 9am on Friday, May 14!

Buy tickets online or through the VO Ticket Centre at 604-683-0222 or in person.

Quantities are limited so hurry! Some conditions apply.

*This offer is not valid on previously purchased tickets and cannot be combined with any other offer.

Touch Of The Butterfly

I told you I would return
When the robin makes his nest
But I ain't never coming back
I'm sorry...
- Weezer

These are the closing lyrics for Weezer's Butterfly, a song overtly inspired by Puccini's opera, Madama Butterfly. The song is written from the viewpoint of naval officer B.F. Pinkerton, who chases his fantasy of Butterfly but never intends to actually build a life with her.

The song is from the 1996 album Pinkerton, which was also based on Madama Butterfly. This album was a definite departure from Weezer's 1994 pop-driven self-titled debut, which featured the chart-topper Buddy Holly.

Pinkerton references Japan and Japanese culture from the perspective of an outsider. Singer/songwriter Rivers Cuomo even stated that the album tells of his struggle with his own inner Pinkerton.

Cuomo's love for Puccini is evident even beyond the Pinkerton songs:

* Puccini's lyrics "Everywhere in the world, the roving Yankee takes his pleasure and his profit, indifferent to all risks. He drops anchor at random..." are written on the edge of the CD.

* A map titled Isola della farfalla e penisola di cane (Island of the Butterfly and Peninsula of Dog), featuring a ship named USS Pinkerton, is found behind the album's CD tray.

* In some pressings, an image of what looks like a geisha can be found on the back of the CD jewel case.

The album was a commercial failure when released but endured to become a cult favourite. Pinkerton has since risen in stature and been re-reviewed by the likes of Rolling Stone, Spin Magazine, LA Times, NME and Pitchfork Media. It is now regarded as one of the most important albums of the 1990s. Rolling Stone even added the album to its Hall of Fame.

When Madama Butterfly was first performed in 1904, it was met with hostility. But over time and with some re-working, it went on to become another successful and well-loved Puccini opera.

Looks like Madama Butterfly and Pinkerton both took time to build momentum, but today we can't imagine what music would be like without these great works.



~ Ling Chan, Social Media Manager

"Fragile" Madama Butterfly Animation

Before the start of the season, we ran a contest for animators (Operabot), inviting them to tell the story of each of our productions this season.

Here's one of our favorites for Madama Butterfly:



Created by Olaf Miller, Curt Spurging and Arron Robinson, it is their environmental take on Cio Cio San's fate.

To see more videos, check out our YouTube Channel.

Operabot is sponsored by The Georgia Straight.



~ Christopher

The Cio-Cio Sans of All Cio-Cio Sans

Vancouver Opera is excited to introduce Mihoko Kinoshita to Vancouver audiences for her Canadian debut in Madama Butterfly. Touted by some as "the greatest Cio-Cio San", Kinoshita is an internationally renowned soprano, having sung in Europe, Japan and the US.

Everyone, but everyone is gushing about Kinoshita:

“…Kinoshita’s vocal accomplishment is absolute. …bound up in Kinoshita’s vocal prowess is her stage savvy. Her acting instincts elevate her singing to a devastating naturalism. We believe in this ingenuous Butterfly as surely as she believes in her marriage to the long-departed Lt. Pinkerton.” - The Detroit News

“…gaining strength and richness; dramatically on target, with a wealth of detail in the acting. Kinoshita left quite a vivid mark on the [Butterfly] role…” - Baltimore Sun

“Soprano's brilliant performance carries ‘Butterfly'” - Midland Daily News

Here's a taste to whet your curiosity.




(And yes, that IS James Valenti, who'll sing our Pinkerton, in the video.)

~ Ling Chan, Social Media Manager

Madama Butterfly: The Manga

A love betrayed. Dishonoured and shunned. The ultimate sacrifice. Madama Butterfly IS one of opera's most tragic masterpieces.

Here's Madama Butterfly as seen through the eyes of artist Fiona Meng and editor Roy Husada.













For the supersize version, click here.