A night at the opera at the grand Queen Elizabeth Theatre in Vancouver is no ordinary occasion. The rich
and dynamic sounds from the Vancouver Opera Orchestra fill the room dazzling its audience with its signature
operatic sounds.
For more than 50 years, the Vancouver Opera has produced some of Canada’s largest and most popular opera
productions, including Carmen, Madama Butterfly and Marriage of Figaro.
Preparing for its first show of the new year, the Vancouver Opera is getting ready for its premiere of La
Clemenza di Tito, one of Mozart’s last known works. With a tendency to be overshadowed by The Magic
Flute (his final completed project) many people are unaware that the great composer interrupted the
production of The Magic Flute to take on this influential opera seria. Therefore, La Clemenza di
Tito continues to be a seldom-produced production around the world.
James W. Wright, general director for the Vancouver Opera, says that taking chances on less well-known operas
is something that the company is recognized for.
“It’s a bit of art and science, a lot of intuition and a lot of experience. Trying to read what is right for
your community and introduce new things to your potential audience,”says Wright. “Putting a season together
that balances newer versus traditional, and contemporary versus old-fashioned, and well-known versus
less-well-known. It’s all about balance.”
The balancing act that the Vancouver Opera has demonstrated has been quite a success. Its four main-stage
operas per year have showcased some well-known productions, along with some newly premiered work.
Chas Rader-Shieber, stage director for La Clemenza di Tito, is no stranger to the Vancouver Opera, or to
Mozart’s work. In 1995, he directed Cosi Fan Tutte at the Vancouver Opera and has since then, directed
Mozart’s Don Giovanni, Il Domeneo, Marriage of Figaro and The Magic Flute, to name
a few, across North America and internationally.
Having directed La Clemenza di Tito in Montreal and New Mexico, Rader-Shieber says he enjoys
re-working productions he has worked on in the past.
“I like to be able to work on Mozart operas regularly… I’m going to be confronted with, in the best way, with
new points of view from different singers,” he says. “You can’t make a definitive production of any of these
pieces. They hold too much inside and ask to be interpreted over and over for new audiences.”
La Clemenza di Tito, or “The Clemency of Titus,” tells the story of Tito, a Roman emperor who faces
the ultimate betrayal and uses his power with virtue instead of vengeance. It has been described as “a model
for modern times” with its metaphoric undertones. “These are issues that are important today, in any country…
being forgiving and being a generous ruler, instead of a vindictive and closed ruler. I think it’s important
all of the time,” explains Wright. “Tito had every reason to punish those who had betrayed him, and seek his
revenge, and vengeance on those who he had trusted, and whom had disappointed him. But instead, he chose to
forgive them and to welcome them back into the fold. By doing so, he demonstrated a positive way to rule and
command versus a negative way.”
Conveying such a bold story requires depth into the opera’s casting and setting and, of course,
musicality.
Wright, who has been with the Vancouver Opera since 1999, has seen and assisted in many of the changes the
opera company has implemented since Rader-Shieber’s last visit to the Vancouver Opera. In 2002, Wright helped
name Jonathan Darlington as the new music director.
“[Darlington] is a huge reason for our success and the growth of our orchestra,” he says. “He works all over
the world and brings a very deep, detailed, international and intellectual perspective to the work… The
ability to accompany that is unique to opera orchestras. The growth of the orchestra in its quality over the
years is really noticeable,” he says.
With every opera company bringing their unique signature to its productions, it is no different for the
Vancouver Opera. The opera company has dedicated its efforts to enhancing the music experience, priding
itself on being one of only two companies in Canada (along with the Canadian Opera Company, in Toronto) to
have its own orchestra, rather than using a local symphony.
Casting is a significant element for opera productions and Wright says that although it requires a
considerable amount of work, a lot of talent can be found right here, in Canada.
“We always start with Canadians because there’s something in the water in Canada. There are just an amazing
number of really exceptional singers [here],” says Wright. “Even when I was in the States, back in the 1980s
and 1990s working, we recognized the amount of talent that came out of Canada. There are wonderful training
programs here.” For La Clemenza di Tito, John Tessier, whom Wright describes as “one of Canada’s
great Mozart tenors,” takes on the grand role of Tito, with his “well-focused, very attractive and strong
voice.”
With music as its forefront, Wright has worked with his team in efforts to make opera more accessible to the
community. Understanding that it can be an intimidating art form for some people to grasp, the opera
company’s educational programs have been implemented throughout Vancouver to help the public learn more about
the art of opera.
“We always relate what we are doing to our community, to help people understand the relevancy of the art
form,” he says. “We work very hard to help people understand to not be intimidated. Opera is accessible.
Sometimes you need to help people get past the powdered wigs and 18th-century costumes, and the intimidation
of an opera house, if they have never been there before.”
It is the different perceptions that audiences have of the work they are viewing on the opera stage that can
help make the experience even more special. From the theatrics to the musicality, Wright says that the
operatic experience can be different for everyone.
“People get different things from it. Some people really hone in on the music and for other people, it is the
theatricality and the scenery, the scope and largeness of opera productions — the lighting and scenery,” he
says. “People approach it in different ways and for different reasons. They take what they like best from
it.”
For its meticulous details to music, casting and setting, the Vancouver Opera’s productions are not only a
sight to see, they are an experience not to be missed. •
Vancouver Opera’s production of La Clemenza di Tito premieres on Feb. 5 at the Queen Elizabeth
Theatre, with additional shows on Feb. 8, 10 and 12. For tickets and more information, visit
vancouveropera.ca.
Photo by Paul Horpedahl
