Behind the scenes at the opera
Vancouver Opera is about to launch a brand new commissioned work. In the early 1920s, the real Lillian Alling arrived in New York from Russia, passed through Ellis Island and started back toward Siberia.
With an English libretto, the opera Lillian Alling follows the Russian emigre as she undertakes a journey that begins in Brooklyn and takes her through Chicago and Winnipeg, eventually bringing her to Vancouver. From here she goes north to Telegraph Trail and Atlin.
With a friend who is a seasonal opera subscriber, I was privileged this evening to be given a glimpse behind the scenes. Following light refreshments in the lobby, we were ushered in to the mezzanine level to watch and listen to solos and choruses being rehearsed.
The opera is now moving into its final stages. The first performance will take place October 19 at the newly renovated Queen Elizabeth Theatre, with three more to follow.
While the director worked with some performers, others wandered around the theatre, drinking coffee while awaiting their turns. The set was skeletal and unadorned. When Lillian knocked at a door, it opened like a real one, but we could see through the unenclosed walls.
I am impressed and amazed when I think of the incredible amount of planning and cooperation that goes into an elaborate production like this. It all began as a someone's idea. Steadily, with a staggering amount of faith and communication, the initial vision is being brought to fruition.
On Opera Night, I'll be there to witness the result.
With an English libretto, the opera Lillian Alling follows the Russian emigre as she undertakes a journey that begins in Brooklyn and takes her through Chicago and Winnipeg, eventually bringing her to Vancouver. From here she goes north to Telegraph Trail and Atlin.
With a friend who is a seasonal opera subscriber, I was privileged this evening to be given a glimpse behind the scenes. Following light refreshments in the lobby, we were ushered in to the mezzanine level to watch and listen to solos and choruses being rehearsed.
The opera is now moving into its final stages. The first performance will take place October 19 at the newly renovated Queen Elizabeth Theatre, with three more to follow.
While the director worked with some performers, others wandered around the theatre, drinking coffee while awaiting their turns. The set was skeletal and unadorned. When Lillian knocked at a door, it opened like a real one, but we could see through the unenclosed walls.
I am impressed and amazed when I think of the incredible amount of planning and cooperation that goes into an elaborate production like this. It all began as a someone's idea. Steadily, with a staggering amount of faith and communication, the initial vision is being brought to fruition.
On Opera Night, I'll be there to witness the result.