La Clemenza di Tito: The Manga

An unrequited love that leads to a path of destruction and the merciful ruler who pardons those involved.

Here's La Clemenza di Tito as seen through the eyes of manga artist Rafaella Ryon and editor Roy Husada.













To supersize, double click on the images.

~ Ling Chan, Social Media Manager

A Solo Concert: Ariel Sung

Award-winning virtuoso Ariel Sung will be performing a very special concert with Vancouver Opera Orchestra and Maestro Leslie Dala on February 18 at the Orpheum Theatre.

The recital will feature music and arias by Puccini, Dvorak, Catalani, Charpentier, Korngold, Offenbach, and Cilea.

February 18, 2011 8pm
Oprheum Theatre
Ticket prices range from $30-$80 (plus HST and service charges)

To purchase ticket, call 604.280.4444 or click here.

For more information, click here.

I'm not sure which seats are better: 1) back row, off-centre dress circle (I'm talking about Row 20, Seats 185ish) or 2) centre balcony (Section C or D). Also, in your opinion, where are the best bang-for-your-buck seats in the QE Theatre? TIA.

Thanks for the question!

One choice is closer but off to the side while the other more central but further back. It really boils down to personal choice. Keep in mind sitting further back is often less expensive.



As for the “most bang for your buck” many patrons looking for value in a mid priced seat most often will go for “C” as there are choices in the orchestra, mezzanine & balcony in this price range, or “D” central in the balcony.



Hope this helps!

~ Chris Walters, Manager - Ticket Centre Operations

Ask me anything

Where are these "selected seats" available to the Get O.U.T. program?

Hello and thanks for the question!

The Get OUT seats are located in the Mezzanine, Balcony & Dress Circle.

If you like more information, please call our box office at 604.683.0222

Ask me anything

~ Chris Walters, Manager - Ticket Centre Operations

Listen: Opera Speaks: Qualities of Leadership

If you were unable to attend Tuesday's Opera Speaks: Qualities of Leadership at the Vancouver Public Library, we will be posting audio excerpts from our speakers this week.

First up, Kim Baird, Chief of Tsawwassen First Nation, speaks about what it takes to be a political and community leader today.

Opera Speaks Spoke To Me

In partnership with the Vancouver Public Library, Vancouver Opera is proud to present its award-winning series of free public forums on themes and issues arising from the season’s operas. In these lively sessions, we invite esteemed writers, academics, practitioners, artists and other creative thinkers to engage in penetrating discussion and dialogue that deepen the connections between the operas’ stories and our lives.

We're always delighted to hear when the topics at Opera Speaks resonate with our audience. Janet King attended VO's Opera Speaks: Quality of Leadership on Tuesday and was so impressed by the panel that she wanted to share her thoughts with all our readers.

What a tapestry of ideas emerged from Opera Speaks last night! Thank you! It was a pure pleasure to sit amongst an audience gripped and engaged by the thoughtful dialogue emerging in front of us. Thank you for the opportunity to think deeply and differently about leadership and community, and to participate in a sharing of wisdom and exchange of vital ideas. The discussion circled right at our centre, in that troublesome arena of leadership and community where it's all too easy to feel swamped and helpless. But the sharing last night was full of experience, different perspectives, questions, and fruitful ideas - so it is quite impossible to feel helpless today! Thank you for the opportunity to refresh my thinking and envision new ways of acting.

Don't let the perfect get in the way of the good. Be open and honest. Think big. Have a vision. Write a letter and follow a hunch. Inspire. Take a risk. Help another to take a risk. Float that trial balloon and listen to the responses. Collaborate even if you don't see eye to eye. . .

See? My head is full of new music! Opera Speaks!

With thanks,

Janet King

Thank you Janet for attending Opera Speaks and for your wonderful letter! See you at the next Opera Speaks!

A Word About The Viennese Fortepiano

Photo credit: Craig Tomlinson

For this production of La Clemenza di Tito, the non-orchestra recitatives are accompanied by Maestro Darlington on fortepiano and principal cellist Ariel Barnes. Today's modern piano would not exist without the fortepiano, which in turn would not have existed without the harpsichord. The fortepiano is simply the evolutionary step between the two.

Like a modern piano, the fortepiano creates sound wiht hammers that stroke strings when the corresponding keys are struck. The harpsichord has a similar action, but creates sound wiht arms that pluck the strings rather than strike them. Although the harpsichord produced a unique sound, the plucking action meant it could only be played at one volume. The hammering action of the fortepiano removed this limitataion. The fortepiano also had a larger keyboard than the harpsichord.

Mozart did not specify either a harpsichord or a fortepiano for the recitatives. Both instruments were appropriate and both instruments were available to Mozart. His own undated fortepiano had been purchased from the Viennese builder Anton Walter early in 1780 and was used extensively in his compositions over the next decade until his death in 1791. Being a late opera, La Clemenza di Tito was most likely written with fortepiano in mind.

Mozart's own instruments had a hand lever used to raise the damper rail from the strings, in order to sustain the notes played. Only after his death were pianos fitted with knee levers an dlater with pedals for this purpose.

In this production, a fortepiano based on two of Walter's instruments is being used. Built in West Vancouver in 2004, it has a typical Viennese reverse keyboard with black ebony naturals and white bone accidentals. Viennese paino actions are quick and snappy. The sound is clear and very delicate with a relatively short sustain. The force needed to depress a key lever on a Viennese fortepiano is only about a quarter of what it is on a modern piano and the dip of the key is only about half as much. Thus playing the Viennese fortepiano involves none of th athleticism exercised by modern piano virtuosos but, like harpsichord, it requires an exquisite sensitivity of touch.

~ Craig Tomlinson

*Harpsichord and fortepiano maker Craig Tomlinson's instruments are seen and heard in private residences, music schools, concert halls and at early music festivals around the world. To find out more, click here.

Musical Notes with Jonathan Darlington

Photo credit: Christoph Müller-Girod

All Mozart's music is to my mind 'operatic'. I can't think of a single piece of his that does not have at its heart a dramatic motivation. Of course, what changes subtly through his short but action-packed life is the means by which he sucks us into his operatic world. La Clemenza di Tito and The Magic Flute were both written the year Mozart died, and both have a potent, direct way of conveying truths about the human condition.

Although La Clemenza di Tito may not be Mozart's most well-known opera, it is a work of the greatest genius. I can say that having the privildge to study the piece under a microscope has brought me untold riches.

Happy Birthday Mozart

On January 27, 1756, Wolfgang Amadeus Mozart was born. He was a celebrated child prodigy and in the course of his lifetime, composed over 600 works. Although Mozart died in 1791, he remains one of classical music's most popular composers.

Authors and playwrights were inspired to write books about him. Movies were made based on his life. Musical artists paid homage to him. Who hasn't been influenced by Mozart?

Vancouver Opera is celebrating Mozart's birthday by offering a special QR code promotion for Mozart's magnificent last opera, La Clemenza di Tito.

Our street posters with the QR code are now posted around town. Or you can just scan the QR code below for the wicked deal:



You may need to download a reader for your Smartphone, so click to get your free app from Neo or Mobio.

This rarely performed opera will be a treat for all Mozart and opera lovers. Come celebrate his life with Vancouver Opera. Happy birthday Mozart!

~ Ling Chan, Social Media Manager

If you don't have a smartphone but would like to know what's behind the QR code, drop an email to lchan@vancouveropera.ca for the details.

Our Dashing King Titus!

Photo credit: Hellen Tansey

“Tessier has an international reputation as the perfect light lyric tenor. He has beautiful clarity of tone and hits seemingly effortless high notes, and over the years he has grown into a terrific actor to boot.” - Globe & Mail

Reminder! Opera Speaks @ VPL Tonight!

Don’t miss Vancouver Opera’s award winning Opera Speaks tonight as we discuss the topic of leadership. What makes a great leader? What qualities do we want in those who govern us and lead us? Compassion and generosity, or hard-nosed efficiency?

CBC Radio journalist Kathryn Gretsinger moderates a distinguished panel: BC Housing Chair Brenda Eaton, Tsawwassen First Nations Chief Kim Baird, political scientist Michael Byers, Globe & Mail columnist Gary Mason, and West Vancouver school superintendant Chris Kennedy.

Internationally acclaimed soprano Wendy Nielsen will sing an excerpt from Mozart’s La Clemenza di Tito, accompanied on piano by Kinza Tyrrell.

Tuesday, January 25, 2011, 7 – 9 pm
Alice MacKay Room, Lower Level
Central Library, 350 West Georgia Street
Admission is free. Seating is limited.

La Clemenza di Tito: Cast Interviews

Video by Bombshelter Productions & Mike McKinley

The opera is really a masterpiece. It's an unsung masterpiece. - Chas Rader-Shieber

It's all about power. It's all about relationships that we have with other people, in regards to authority and how we use that. - Jonathan Darlington

I think he's written something quite spectacular. For the music alone, it's worth seeing. - Krisztina Szabo

It's a typical Mozart ensemble opera in that everybody has their moment to reveal themselves, their inner selves and in the relationships with others. Wendy Nielsen

I think most stage directors are attracted to Mozart because the source materials, just the work on paper, is so full and it demands to be put on a stage. It calls out to be recreated and recreated and recreated. - Chas Rader-Shieber

You should come and see La Clemenza di Tito because it is an amazing experience. For those of you who've never experienced it, it's something you'll only get perhaps once or twice in your lifetime. - Jonathan Darlington

Don't miss out! Get your tickets now!

Single tickets starting at $29 (plus handling fee). Call our ticketing centre at 604.683.0222 or purchase online here.

You Look Marvelous!

You've gone ahead and taken the plunge. You purchased a ticket to your very first opera and now you're wondering, "What should I wear?"

Let us help you out with some suggestions. Opera needn't be all ballgowns and tux and tails. (although those outfits are certainly welcomed as well!)

A VO staffer put together this video montage using our Fashion at the Opera photos to show you just how easy it is to put together an opera-worthy look. And oh, there are many looks!



Thanks again to all the beautiful people in the photos. You make us look good!

~ Ling Chan, Social Media Manager

Vancouver Opera’s Nixon In China To Be Staged In San Francisco And Kansas City

Photo credit: Tim Matheson

Vancouver Opera’s production of Nixon in China will be mounted by two American opera companies during their 2011-2012 seasons. San Francisco Opera will stage the John Adams opera in June 2012. And the Lyric Opera of Kansas City will present the VO production in its inaugural season at the new Moshe Safdie-designed Kauffman Center for the Performing Arts.

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

Get O.U.T.! With La Clemenza di Tito

Psssst! Are you between 18-29? Do you love opera? Well, then today's your lucky day!

Call our ticketing centre at 604.683.0222 for Get O.U.T.! tickets and give them promo code 3062 to purchase selected seats for La Clemenza di Tito for a mere $25! That's a savings of up to 75%! Ticket limit is 2 per person. Tickets can be purchased by phone, in person or on the web.

Quantities are limited so hurry! Some conditions apply.

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

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

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 organization in Vancouver.

Death By Opera: The Answers

Death by opera! For those of you who took our Tuesday Trivia quiz, here are the answers to how the following composers met their untimely end.


1. Robert Schumann - Died from mercury poisoning as a complication of syphilis treatment



2. Jean-Baptiste Lully - Died when he smashed his foot with a pole while keeping rhythm and it got infected.



3. Charles-Valentin Alkan - Died when a bookcase fell on him



4. Alban Berg - Died from complications from an insect bite



5. Peter Tchaikovsky - Died from cholera after drinking unboiled water.



6. Henry Purcell - Died after getting sick in the cold after being locked out by his wife



7. Maurice Ravel - Died from complications after being whacked in the head while in a taxi



8. Ernest Chausson - Died by riding his bicycle into a wall

Thanks for taking our quiz! Oh, and a gentle reminder to please be careful out there.

~ Ling Chan, Social Media Manager

Opera Speaks: The Qualities of Leadership

What makes a great leader? What qualities do we want in those who govern us and lead us? Compassion and generosity, or hard-nosed efficiency?

Vancouver Opera examines these questions in conjunction with our production of Mozart’s magnificent last opera La Clemenza di Tito (The Clemency of Titus), where a strong leader finds power in mercy rather than revenge.



Panelists include Tsawwassen First Nation Chief Kim Baird, political scientist Michael Byers, BC Housing Chair Brenda Eaton, and Superintendent of Schools for West Vancouver Chris Kennedy.

Tuesday, January 25, 2011, 7 – 9 pm
Alice MacKay Room, Lower Level
Central Library, 350 West Georgia Street
Admission is free. Seating is limited.

Stellar All-Canadian Cast In Rehearsals For VO Premiere!

From left: Krisztina Szabo, Wendy Nielsen, Kathleen Brett

A dream cast of Canada’s leading Mozart specialists are deep in rehearsals for the VO premiere of La Clemenza di Tito. Composed in the last months of Mozart’s life, La Clemenza di Tito (The Clemency of Titus) contains some of his most glorious music for the female voice, along with dazzling ensembles and stirring choruses.

Read the synopsis, listen to a podcast, music clips and explore the VO Opera Manga here!

February 5, 8, 10, 12, 2011
All performances 7:30 pm
Queen Elizabeth Theatre
In Italian with English SURTITLES™

To buy tickets, click here.

Listen: La Clemenza di Tito Part IV

Non piú di fiore

Act Two, Scene 12: Vitellia prepares to confess her crime to Titus

Carol Vaness, soprano

Live recording: Vienna Philharmonic Orchestra & Chorus, conducted by Ricardo Muti
EMI Classics 55489
Courtesy EMI Music Canada

For La Clemenza di Tito tickets, call our ticketing centre at 604.683.0222 or purchase online here. Single tickets starting at $29 (plus handling fee).

The Power Players

Mozart is well known for his witty, sparkling work: Magic Flute, Cosi fan Tutte and The Marriage of Figaro. With La Clemenza di Tito, we see a more serious side of him. Think of the power and majesty of Requiem combined with the complex plots and intelligence of his comic operas.

La Clemenza di Tito is all about political intrigue fueled by romantic intrigue, in a historic setting. If you like The Tudors or Gladiator, you’ll like this.

~ Selina Rajani, Communications Manager

Listen: La Clemenza di Tito Part III

Ah, grazie si rendano

Act Two, Scene 4: The people are grateful that Titus has not perished in the fire

Chorus

Live recording: Vienna Philharmonic Orchestra & Chorus, conducted by Ricardo Muti
EMI Classics 55489
Courtesy EMI Music Canada

For La Clemenza di Tito tickets, call our ticketing centre at 604.683.0222 or purchase online here. Single tickets starting at $29 (plus handling fee).

Listen: La Clemenza di Tito Part II

Parto, ma tu ben mio

Act One, Scene 9: Sesto agrees to carry out Vitellia's plan for vengeance

Delores Ziegler, mezzo-soprano

Live recording: Vienna Philharmonic Orchestra & Chorus, conducted by Ricardo Muti
EMI Classics 55489
Courtesy EMI Music Canada

For La Clemenza di Tito tickets, call our ticketing centre at 604.683.0222 or purchase online here. Single tickets starting at $29 (plus handling fee).

BOV: Hansel & Gretel: An Opera Fantasy

I don't know about you, but the story of Hansel and Gretel kinda freaked me out when I was a child. First you're taken into the woods and then abandoned by your parents. Next you encounter a witch hellbent on making you her supper.

Course, as with most children's fairytales, it end up well. The witch meets her fate by getting shoved into the oven and the children are reunited with their father (who was against the whole abandonment plan in the first place)

On that note, here's a 1954 stop motion animated short based on Engelbert Humperdinck's opera Hänsel und Gretel. The special effects were created by Ray Harryhausen and the part of the witch was sung by English-Canadian singer and comedienne Anna Russell.

Thanks to Jenny Breckon, VO's Development Manager-Government & Foundations Grants, for finding this little vintage gem.

~ Ling Chan, Social Media Manager

Listen: La Clemenza di Tito Part I

Ah, perdona al primo affetto

Act One, Scene 5: Annio has just revealed to Servilia that Titus has chosen her to be his bride.

Martha Senn, mezzo-soprano
Christine Barbaux, soprano

Live recording: Vienna Philharmonic Orchestra & Chorus, conducted by Ricardo Muti
EMI Classics 55489
Courtesy EMI Music Canada

For La Clemenza di Tito tickets, call our ticketing centre at 604.683.0222 or purchase online here. Single tickets starting at $29 (plus handling fee).

Celebrate The Arts Volunteer Conference 2011

The 6th Annual Volunteers in the Arts Conference will take place on Saturday February 19 at the Museum of Vancouver. The theme this year will be ReBirth and ReBrand for Success & Sustainability, with special attention to “Engaging Young People in Arts & Culture."

Hear Lucille Pacey, CEO & President of Arts Umbrella. In its first 30 years, Arts Umbrella has grown from a dream of a few young, artistic parents to a highly respected model for children’s art organizations around the world. A story of success and sustainability!

Participate in concurrent small group sessions: that will include ReBirth (Ballet BC), ReBrand (Museum of Vancouver), ReVision (Influencing funding and support) and ReTell (Storytelling to Sustain).

Be treated to a stimulating panel discussion moderated by Liane Davison, Manager, Visual & Community Art, City of Surrey. Panelists with varying responsibilities will share their perspectives on what is essential to success and sustainability in the arts and culture world.

Saturday, February 19, 2011
8:30 am – 3:15 pm

Museum of Vancouver
1100 Chestnut Street, Vancouver, BC
$25 Registration fee
Space is limited to the first 125 registrants.

Info and registration forms available here.

For further information visit: E-mail vog@shaw.ca, or Tel 604-733-9329

To Bare Or Not To Bare

That is the question...

Yesterday, after reading an Epoch Times article on nudity on opera stages, we posed a very interesting question to our online friends: Would you be offended to see nudity/excessive skin in an opera?

Here's what you told us about this skin-tastic subject:

From Twitter:

@MeganMichael - Personally, no. One would have to argue that the body is the foundation for art...audiences might be inclined to disagree :)

@ArtsGroupSales - Not really. When @pittsburghopera did Dead Man Walking there was such a row over the nudity but it wasn't anything graphic

@DameEmma - Oh HELL no. The naked-er the better ; )

@arieltenor - When you see the productions you wonder what the hell did you watched. Did the director actually read the libretto?

@leboyfriend - Surely,entirely a matter of being appropriate/employing good taste. Thus, Cherubino as a no-pants role gets a big thumbs-up..While, Dido being naked during her lament...okay, not a good counter example. I'll try to get back to you with one.

@reneestephen - People are so uptight. OMG think of the children! You know what: 5k yr of casual nudity vs ~1000 of prudery. We survived. In other words, the author needs to untwisted his or her knickers :)

@_SanDiegoOpera - With the current crop of singers performing today, nudity would give opera a healthy jolt of "oh hell yes".

@kbpmv - No, Erwartung and Salome are both fab

@stellavg - I would be offended NOT to see nudity in opera. ;-)

@forgetful_man - I'd suggest those offended by nudes avoid museums as well.

@AFewShortNotes - I've seen it done really well -- Tannhäuser in Paris -- and really... not well. Won't name any names for that one.

From Facebook:

Roger Leroux - Salome had nudity on stage, and so did Rigoletto (I believe) a couple of years ago. And the near burlesque scene from the male lead in The Italian Girl from Algiers was brilliantly funny. It's no big deal.

Michael Colbruno - It's fine if it fits the story, like Billy Budd or Rape of Lucretia, but it baffles me when topless gypsies appear in Il Trovatore.

Garrett Rodman - No problemo - Lady Macbeth of Mtensk at the COC had oral sex simulated.

Wow! When it comes to the subject of the flesh, it seems like everyone wanted to weigh in! Our social media channels lit up like a Christmas tree.

Thanks to everyone who took the time to answer our poll!

~ Ling Chan, Social Media Manager

A Cartoon Explanation

So wondering what the heck La Clemenza di Tito is all about?

A staffer made this videoclip using Xtranormal to help explain the plot of Mozart's magnificent last opera.



Press play and not only will you them talk about an attempt on Titus' life but you'll also get to hear these 2 adorable hello kitty-type characters say "crazy" and "seriously" alot.

For La Clemenza di Tito tickets, call our ticketing centre at 604.683.0222 or purchase online here. Single tickets starting at $29 (plus handling fee).

~ Ling Chan, Social Media Manager

Governor General Announces Appointments To The Order Of Canada

Congratulations to Martha Lou Henley on her appointment to the Order of Canada!

The Order of Canada was established in 1967 to recognize a lifetime of outstanding achievement, dedication to community and service to the nation. Ms. Henley is one of 54 new appointments announced by His Excellency the Right Honourable David Johnston, Governor General of Canada.

Ms. Henley (“Louie”) is recognized for her patronage of music and the arts in Canada. Besides supporting Vancouver Recital Society, Music Fest Vancouver, Music in the Morning and a dozen other arts and culture organizations, Ms. Henley has been instrumental in the creation of several Vancouver Opera productions, including the world premiere of Lillian Alling, VO’s Golden Anniversary Concert & Gala, and the productions of Norma and Nixon in China during VO’s Golden Anniversary Season.

The VO staff, Chorus and Orchestra join the entire arts community in celebrating this outstanding and well-deserved honour.

Richard Nixon, Opera Superstar

Most modern operas get performed and then forgotten—but not Nixon in China. This treatment of president Richard Nixon’s famous meeting with Mao Tse-tung, composed by Pulitzer Prize-winner John Adams and written by Alice Goodman, wasn’t performed in North America for almost two decades after its 1987 premiere. But suddenly, everyone wants to do it. The Vancouver Opera gave the work its Canadian premiere last year, and in February, it will debut at both the Canadian Opera Company and the Metropolitan Opera.

James Wright, Vancouver Opera’s general director, told Maclean’s that its production “sold more tickets than expected,” and it may rent its version to other companies. What was once dismissed as a “CNN opera” is doing better than CNN.

To read more from Macleans Magazine, click here.

A Review Of Lillian Alling

Photo credit: Tim Matheson

Okay, we just had to do it. And in a moment, you'll understand why. We recently received a review of our Lillian Alling from opera-goer James Shih. The kicker? Had we not been made aware that James is a 17 year old student at Sentinel Secondary, we would've thought this review came from a newspaper or magazine article. In fact, James had written this for his high school newspaper and it was forwarded to us by his teacher, Janine Bond.

Read on for James' review:

We are spoiled today in terms of entertainment: from the home TV screen to the sixty-inch silver movie screen, from the romantic to the comedic, from music videos to documentaries. With this wealth of TV riches, what, many people ask, is the point of an opera? Popcorn is strictly frowned upon during performances. No A-list celebrity will ever star in one. There’s too much singing. There’s no action! The costumes are old. The stories are old. Everything’s so old!

Lillian Alling, the new Canadian opera that premiered last Saturday at the Vancouver Opera, offers some tantalising answers to the above question. Lillian Alling shows that opera is indeed, as Wagner put it, a Gesamkunstwerk—a fusion of art, music and poetry, spellbinding in its ethereal beauty, yet shockingly revealing in its realism.

And, despite this seemingly complicated appellation, Lillian Alling is not at all relegated to the confines of “high brow” entertainment, as is the common misconception. Set in the 1920s, the opera retells the true story of a young Russian immigrant named (as you might have guessed) Lillian Alling, who treks across North America. Journeying alone from the commotion of New York to the solitude of Northern British Columbia, her goal is to find Jozef, a man whose life inextricably changed hers. As the opera unfolds, we discover that her relation to the man is not at all what it seems. So there you have it: an intriguing, heart-warming plot, sans 18th century page boys, 19th century Parisian bohemians or prehistoric demigods donning Viking helmets.

It is from this plot synopsis that Lillian Alling’s ingenuity is born. The level of complexity in this opera is impressive, reminiscent almost of Inception, although much more human. There are three separate stories, each within its own epoch. Lillian Alling’s tale is in fact told through the memories of Irene, an old woman who is about to move to a retirement home in Vancouver during the 1980s. As she and her son, Jimmy, drive from the desolate wilderness of the Canadian North to Vancouver, Lillian’s tale—her trials, her tribulations—come to life on the stage. But it does not end there: as Lillian travels on her journey, she is haunted by mysterious, unearthly flashbacks of her family. At the climax of the opera, these three stories—Lillian’s journey, her flashbacks and Irene’s story—all fuse together. We come to realise that though separated by the blinding swathes of time, and geographical distance, Lillian and Irene share a connection through their past.

This is weighty stuff, and it is only befitting for the musical score to be just as melodramatic. Despite being a modern opera, the music is welcomingly consonant: soaring, arpeggiated crescendos, punctuated by warm accents on brass, form the musical backdrop to the stirring plot. The singers have their heart-wrenching duets and arias. Lillian sings the sole musical leitmotif that recurs throughout the opera— a little jaunty theme that depicts her adventurous spirit. Also notable are the potpourri of musical vignettes, each serving as a snapshot of Lillian’s journey aross the continent. Characters sing Broadway-style ditties whilst Lillian searches in Brooklyn; pastoral tunes depict a Norwegian settlement in North Dakota.

If Lillian Alling teaches us anything, it is that in order to move on happily to the future, we must put acknowledge and transcend the painful events of our past. The characters of the opera only achieve calm after having done this. This is a lesson that is mirrored in the opera’s own existence: Lillian Alling pays homage to the great operas of the past, but looks ambitiously forward. We Spartans ought to do the same.

Thanks James for the beautifully written review. We're thrilled you enjoyed Lillian Alling! Oh, and everyone here agrees, you are indeed a powerhouse of a writer!

~Ling Chan, Social Media Manager

Do you know of any plans to record Lillian Alling on CD?

Thanks for the question.

At the moment, there are no plans to record a Lillian Alling. If that changes, we'll let you know.

Tom Wright, Director of Artistic Planning

Ask me anything

Student Discounts?

Thanks for your question!

Get O.U.T. (Get Opera Under Thirty) is our discount program to allow those aged 18 to 29 to buy great seats for just $25. 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 organization in Vancouver.

Keep an eye out on the blog for our Get O.U.T. tickets to La Clemenza di Tito.

~Ling Chan, Social Media Manager

Ask me anything

Have any other opera companies expressed interest in renting VO's sets for Nixon in China?

Thanks for your question!

Yes, Nixon has been rented to San Francisco Opera and Lyric Opera of Kansas City in 2012.

Tom Wright, Director of Artistic Planning

Ask me anything

VOG Upcoming 2011 Events

A Mid-winter Treat: The Vancouver Opera Guild’s Winter Tea and Song

What better way to ward off winter chills than a glorious afternoon tea featuring singers from the Vancouver Academy of Music singing favourite arias and ensembles from Candide, Magic Flute, The Marriage of Figaro, and La Boheme. Our singers will be costumed by the Vancouver Opera. Don't miss this sparkling event.

January 16, 2011, at 1:00 pm
The Performing Arts Lodge (PAL)
581 Cardero St. (just north of Georgia) Vancouver
Cost: $30 per person

Reserve your place no later than January 5, 2011 by phoning Helen Cunningham at (604) 731-8965


Spring Tour: New York March 7 – 13, 2011

The Vancouver Opera Guild’s Spring Tour to New York is worth being excited about. Here’s why:

• Four Met operas in six nights
• Romeo et Juliette (Gheorghiu), Lucia di Lammermoor (Dessay), Boris Godunov (Pape), and The Queen of Spades (Mattila and Zajick.)
• Accommodation within easy walking distance of Lincoln Centre
• Services of a Guild host

This is an opportunity not to be missed. To book now or get more information, contact Ann Rabas (604-541-8634) or Genny MacLean (604-738-5535) or visit: www.greatexpeditions.com.


Summer Tour: The Legendary Danube, June 8–21, 2011

Join the Vancouver Opera Guild’s seven-night river cruise aboard Avalon Waterway’s deluxe Tranquility from Nuremburg to Budapest. The trip includes the fascinating Main Danube Canal, Regensburg, Passau, Melk and Vienna. It also includes several nights in the “Golden City” of Prague with a final destination of Budapest and guided sightseeing and opera performances in both cities.

To book now or get more information, contact Ann Rabas (604-541-8634) or Genny MacLean (604-738-5535) or visit: www.greatexpeditions.com.

Opera Speaks: Qualities Of Leadership

Opera Speaks @ VPL – The Qualities of Leadership: What do we want in our politicians and community leaders?
Tuesday, January 25, 2011
7:00pm – 9:00pm
Alice Mackay Room, Vancouver Public Library Central Branch
Free admission. Limited seating.

What makes a great leader? What qualities do we want in those who govern us and lead us? Compassion and generosity, or hard-nosed efficiency?

Vancouver Opera examines these questions in conjunction with their production of W.A. Mozart’s magnificent last opera La Clemenza di Tito (The Clemency of Titus), where a strong leader finds power in mercy rather than revenge. Join a distinguished panel of leaders and thinkers to explore the future of leadership in our communities and country!

Opera Speaks is an ongoing series of free public events that engage the community in exploring the themes and issues arising from Vancouver Opera's productions. For more information about Opera Speaks, visit www.vancouveropera.ca

Opera America 2009-2010 Year In Review

Nixon in China photo credit: Tim Matheson

Guess who's on the cover of Opera America's Year in Review!

Those who attended Vancouver Opera's Canadian premiere of Nixon in China last season will now doubt recognize Robert Orth (Richard Nixon) and Sally Dibblee (Pat Nixon) in the top right picture.

Vancouver Opera shares the cover with Kentucky Opera, Florida Grand Opera and Atlanta Opera. What great company and what an honour! Thank you Opera America!

~ Ling Chan, Social Media Manager

Vancouver Opera And Vancity Theatre Present

Film Screening: Amadeus
Thursday, January 13, 2011
Doors: 6:30pm • Introduction & Screening: 7:00pm
Vancity Theatre, Vancouver International Film Centre, 1181 Seymour Street
$11/$9 senior or student (includes $2 Vancity Film Centre membership)

Based on Peter Shaffer’s hit play, this satirical and delightful film explores the rivalry between two composers in the court Emperor Joseph II: official royal composer Antonio Salieri (F. Murray Abraham) and W.A. Mozart (Tom Hulce). Amadeus was the winner of eight Oscars, include awards for Best Director, Best Actor, Best Screenplay, and Best Picture.

Seating is limited. This special event continues a series of co-presentations between Vancouver Opera and the Vancity Theatre.

To buy tickets, click here.

Death By Opera

We're trying a new quiz format...feedback welcome. UPDATE: When you finish and get your score, hit "GIVE ME MORE" to return to this blog.



Match the composer to the unfortunate circumstances of their demise (alleged or real).

1. Robert Schumann

Died from cholera after drinking unboiled water
Died from mercury poisoning as a complication of syphilis treatment
Died from complications from an insect bite
Was accidentally shot by a friend during a duel




2. Jean-Baptiste Lully


Drowned after falling through the ice on the river Seine
Fell from his balcony while greeting well-wishers
Was beheaded in a car accident
Died when he smashed hit foot with a pole while keeping rhythm and it got infected




3. Charles-Velentin Alkan


Died when a bookcase fell on him
Died from exposure when his wife locked him out
Died as a result of "bleeding" to cure his ulcers
Died from mercury poisoning as a complication of syphilis treatment




4. Alban Berg


Died after being thrown from a horse
Died after choking on a fish bone
Died from complications from an insect bite
Was eaten by bears




5. Peter Tchaikovsky


Died from cholera after drinking unboiled water
Died from complications after being whacked in head while in a taxi
Died when a bookcase fell on him
Drowned in his bathtub




6. Henry Purcell


Died from consuming laudanum in a successful suicide attempt
Died after getting sick in the cold after being locked out by his wife
Was run over by a automobile on his way to the opera house
Died from a lethal combination of alcohol and uncontrollable hiccuping




7. Maruice Ravel


Died after being beaten to death by his own wooden leg
Died of overeating at a feast in his honor
Died from complications after being whacked in the head while in a taxi
Fell to his death from the Eiffel Tower




8. Ernest Chausson


Died from malaria as a result of a blood transfusion
Died from an infection caught after cutting himself shaving
Died from a ruptured bladder
Died by riding his bicycle into a wall

Meet The Cast Of La Clemenza di Tito

This February, Vancouverites will have the rare chance to hear one of Mozart’s greatest musical achievements, sung by a stellar all-Canadian cast in a beautiful production featuring a sumptuous set and period costumes. Composed in mere weeks near the end of Mozart’s life, and featuring some of the most glorious music ever written for the female voice, this complex and elegant opera asks whether it is better to rule through power or compassion.



New Brunswick soprano Wendy Nielsen sings Vitellia, the jilted and vengeful admirer of Emperor Titus. Ms. Nielsen has sung with the Metropolitan Opera, the New York Philharmonic and opera companies and symphonies in Cincinnati, Philadelphia, Budapest, Krakow, as well as in several Canadian cities. She is known as “one of Canada’s finest dramatic sopranos” (The Calgary Herald) with a voice that is “powerful beyond belief, her dramatic cries of pain [reaching] right into the audience’s hearts”. This will be Ms. Nielsen’s VO debut.



Toronto-based Hungarian-Canadian mezzo-soprano Krisztina Szabó sings the male role of Sesto - Titus’s confidant and Vitellia’s lover. Ms. Szabó has appeared in CBC’s Opening Night in concert with the Canadian Opera Company and performs frequently throughout Europe, the Unites States and Canada. She has appeared with the Royal Scottish National Orchestra, Chicago Opera Theatre, L'Opéra National du Rhin and the San Antonio Symphony. “Mezzo-soprano Krisztina Szabó sang with passion, beauty and power. In an unusual move, even the orchestra joined in the huge ovation” raved Opera News of her 2010 Idamante (Idomeneo).







Singing the role of Titus is Juno Award-winning Canadian tenor John Tessier. Mr. Tessier has been praised for his “elegant legato and easy reach to the money notes” (Globe and Mail). His repetoire includes a wide range of operatic roles and concert pieces, and he has sung at the English National Opera, the Royal Opera House, and The Metropolitan Opera as well as with several Canadian opera companies.




Mr. Tessier was last seen on the VO stage in 2000 in the highly-acclaimed The Italian Girl in Algiers, and “just seems to get better and better,” declares the Globe and Mail. “His light lyric tenor is crystal clear, and he goes for his high notes aggressively, taking them full throttle and managing to inject manly drama.”




Canadian mezzo-soprano Norine Burgess, last seen as Maddalena in VO’s 2009 Rigoletto, sings Annio, Sesto’s friend and the lover of Sesto’s sister, Servilia. She has been praised for her bright, elegant and lambent-toned voice and has performed in opera houses and with leading orchestras throughout North America and around the world.

Canadian bass-baritone Thomas Goerz sings the prefect Publio. He has been acclaimed for his “flexible voice which easily navigate[s] the runs and rumblings… Goerz’s authority is a pleasure to experience and his ability to sound out over brass and tympani was thrilling.” (Kitchener-Waterloo Record). Mr. Goerz was last seen on the VO stage creating the roles of Constable Wyman, Sergei and the mysterious Jozéf in the world premiere of Lillian Alling.

Kathleen Brett sings Servilia, having delighted audiences with her performance at VO’s Golden Anniversary Concert & Gala and remembered for her most recent VO stage role of Blanche in 2005’s Dialogues of the Carmelites. Ms. Brett is cherished by audiences in North America and Europe not only for the beauty of her tone and stylistic instinct but also for her natural stage presence and dramatic skill. “Like honey, Brett's voice is natural, sweet and never goes bad. It's a welcome addition to any musical cup of tea, be it a Verdi aria or a symphonic suite from The Lord of the Rings.” (Edmonton Journal).



The stage director is the internationally acclaimed Chas Rader-Shieber. “Rader-Shieber is a talent to watch, given his brilliant, economical illumination of Metastasio’s text, which focused on character revelation like a psychological thriller. In fact, the opera flowed like the dialogue of a play,” raved the Globe and Mail of his direction of Santa Fe Opera’s 2002 La Clemenza di Tito.

VO Music Director Jonathan Darlington conducts the Vancouver Opera Orchestra and Vancouver Opera Chorus (Leslie Dala, Associate Conductor and Chorus Director). Maestro Darlington will also provide the continuo on forte-piano from the orchestra pit, along with VO Orchestra Principal Cellist Ariel Gladstone.

Get your tickets now!

Single tickets starting at $29 (plus handling fee). Call our ticketing centre at 604.683.0222 or purchase online here.

The Totally Subjective, Somewhat Random Top Five Performing Arts Moments Of 2010

Vancouver Opera's Nixon in China makes it onto Janet Smith's top 5 performing arts moment of 2010!


Photo credit: Tim Matheson

In one of the strongest years in memory at our local aria purveyors—a year that saw a mind-blowing Butterfly, a luminous Lucia, and an insanely ambitious new Canadian opera—this was the show that stood out. The abstract, ever-shifting tableaux of towering podiums and propaganda posters gave it the look of an opium dream, and John Adams’s ever-driving music felt epically cinematic. Striking, challenging, and unforgettable. - Georgia Straight

Thank you Georgia Straight!

~ Ling Chan, Social Media Manager