UBCOpera
Silent Night Music by Kevin Puts, Libretto by Mark Campbell
Based on the screenplay by Christian Carion for the motion picture Joyeux Noel produced by Nord-Ouest Production, commissioned by Minnesota Opera

Dates and Venue November 3, 8, 9, 2018, at 7:30pm & November 4 at 2pm | Old Auditorium, UBC

Conductor Robert Wood Director Nancy Hermiston Lighting designer Jeremy Baxter Set and Projection Designer Robert Gardiner Stage Manager Sheila Munn Featured Performers UBC Opera Ensemble and Vancouver Opera Orchestra

Anna Sorensen Magdalena How Nikolaus Sprink Ian McCloy Lt. Audebert Luka Kawabata Lt. Gordon Brian DeLong Lt. Horstmayer Yuhui Wang Ponchel Rafael Laurindo Father Palmer Matthew McLellan Jonathan Dale Justin Cho Kronprinz Richard Margison French General Philip Wing William Dale Matthew Kim Madeleine Audebert Irem Ince-Akmete British Major Liam Robertson Bagpiper Kurt Ward-Theiss Harmonica Player Antony Knight

In English, French and German, Latin and Italian with English surtitles

Reviewer Elizabeth Paterson

UBC Opera has partnered with UBC?s Department of Education and the Veterans Transition Program to present a 3-day Symposium examining war and the effects of war timed to coincide with the 100th anniversary of the 1918 Armistice which ended the brutal slaughter of the war to end all wars. Full review

 

 

Vancouver Opera
Franz Lehár’s The Merry Widow

Dates and Venue October 20, 25, 27, 2018, at 7:30pm & October 28 at 2pm | Queen Elizabeth Theatre

Conductor Ward Stare Director Kelly Robinson Choreographer Joshua Beamish Chorus Director Kinza Tyrrell Scenic Designer Michael Yeargan Costume Designer Susan Memmott-Allred Lighting Designer Gerald King Wig Designer Susan Manning

Hanna Lucia Cesaroni Count Danilo Danilovitch John Cudia Baron Mirko Zeta Richard Suart Valencienne Sasha Djihanian Camille de Rosillon John Tessier Sylvaine Nicole Joanne Brooks

Dialogue in English, sung in German with English SURTITLES TM

Reviewer John Jane

Set in Paris during the so-called Belle Époque period at the turn of the twentieth century close to the end of the Austro-Hungarian Empire; the operetta is performed in three unequal acts. It switches between three locations: the Pontevedrian embassy presided over by Baron Mirko Zeta (Richard Suart), Hanna’s garden at her Paris villa, and a replica of Maxim’s club in Hanna’s salon. Full review