Production reviews (5)

11 Feb - 24 Mar 2023
A Midsummer Night's Dream, BrittenOpera: Staged,  
Vancouver Opera  | Performances (3)
13 February 2023vancouversun.comDavid Gordon Duke
Review: A Midsummer Night’s Dream a brave exploration of a possible new path for Vancouver Opera
Vancouver Opera opened a three-performance run of Benjamin Britten’s A Midsummer Night’s Dream Saturday night at the Queen Elizabeth Theatre. It’s a godsend for audiences craving quality new works rather than the safe, ultra-conventional choices made by VO in the immediate pre-pandemic years.
30 Apr 2022 - 24 Mar 2023
HMS Pinafore, Sullivan,AOpera: Staged,  
Vancouver Opera  | Performances (4)
Sir Joseph Porter
www.reviewvancouver.orgElizabeth Paterson
H.M.S. Pinafore by Sir Arthur Sullivan, libretto W.S. Gilbert
Vancouver Opera closed the season with HMS Pinafore, or the Lass that Loved a Sailor. One of Gilbert and Sullivan’s most popular operas, Pinafore mocks Victorian memes - forbidden love and secret pining, class distinction and proper behaviour – and piles on Gilbertian ridicule of political incompetence and Sullivan’s musical parodies.
02 May 2022www.createastir.caJanet Smith
Review: Vancouver Opera's HMS Pinafore floats a feminist update on Gilbert & Sullivan classic
A feel-good operetta has fun while trying to show the world has changed since women wore pinafores
27 Apr 2019 - 24 Mar 2023
La Cenerentola, RossiniOpera: NA,  
Vancouver Opera  | Performances (10)
Don Magnifico
01 May 2019vancouversun.comDavid Gordon Duke
Review: Faust and La Cenerentola at Third Vancouver Opera Festival
“Indeed, Rachel Peake has done her job so well that it can be difficult, while you are laughing so hard, to remember that these are killer vocal parts being sung exquisitely. Mezzo Simone McIntosh wins over the audience with sheer vocal agility and a lovely rich sound.”
06 May 2019operacanada.caRobert Jordan
Review: Vancouver Opera’s La Cenerentola is “three hours of irresistible, effervescent fun”
“The opera is centred on the role of Cenerentola (Cinderella) and Simone McIntosh radiated the pure inner beauty of her character without a trace of self-righteousness or superiority. Even if rapidly rattling off the text’s relentlessly repeated fricative sibilants—a device Rossini uses almost to excess—was not her forte, that particular type of vocal virtuosity is not germane to her...