CCLXXVIII: Opera Faves vs. Lillian Alling

I haven't had much of a music education so my views are entirely amateur and do not hold any regard for technical elements, musical composition, [insert one of the many music terms I don't know here], etc. All I've learnt is basic musical theory (up to Rudiments 2?) during my elementary school years--so things are long forgotten; grade 4 piano (I never practiced and quit to take voice classes instead); and voice. Oh, and a year or two of violin but I never practiced that either.

Point being that I have a lot to learn and all I know about music is what I've heard and liked. Opera-wise, my favourites would include:

Italian Opera

• Giacomo Puccini - composer and general god of opera whose talent and imprint on music I worship and adore; of his opere I love Turandot, La Boheme, Madama Butterfly, Tosca
• Giuseppe Verdi - composer and devotee of dramatic opera; his Aida was the first opera I ever saw and my favourite of his works. I've also seen Otello (only like the "Ave Maria"), Simon Boccanegra, and Rigoletto but can't say I enjoyed them as much.
• Gioacchino Rossini's Barber of Seville - hilarious!

French Opera

• Georges Bizet's Carmen - what more can you ask for than lust, drama, flamenco, passion, and some of the most unforgettable arias?
• Jacques Offenbach's Les Contes d'Hoffmann - it's long--like 4 hours--but entertaining. The fact that it's broken up by three backstories helps keep things interesting. And there's some beautiful music involved!

The reason I brought out all the "big guns" is that I can't help but compare my emotions and expectations for every new opera I see to the ones that currently hold a place in my top 8. Even if I go into an opera with low expectations, i.e. last year's Nixon in China and tonight's Lillian Alling. Both of these English-language operas were composed in my lifetime, both were based on historical events, and both left me unimpressed.

Don't get me wrong, the vocal talent tonight was unmistakable; Frédérique Vézina's voice as Lillian stood out particularly as crisp, strong, and pure. The sets were pretty cool for Vancouver Opera: there was a projected backdrop that showed images of British Columbia (where most of the opera takes place) and it would even make it look like a car was really being driven by two of the protagonists on a scenic BC highway. I also liked that there was a plot twist near the end--I definitely like when I can't dictate the story's ending within the first 30 minutes of a movie or opera. But the first act was boring; I don't like hearing operas sung in English because, as I mentioned on Facebook earlier tonight, modern English opera is just a slower-paced musical with unpredictable melodies and no catchy songs. Notes are disjointed, sporadic, and don't seem to go with the orchestration--which is actually gorgeous. I quite liked some of the instrumental parts in Nixon in China too, come to think of it. Just not how everyone seems to be trying to have an impromptu conversation to music.

HOWEVER, all my views aside, everyone around me seemed to enjoy this opera a lot. I don't know why, but I respect their opinions. There were even a couple of female twentysomethings who were gushing during the intermission of how amazing it was. Umm, I fell asleep during the first act--then again, I've fallen asleep during almost every opera I've gone to lately (even at the Met! Ugh I'll never live that one down) so that may not be a good measure. And my voice teacher loved it--that's actually why I chose to go.

Final words of advice: go if you're curious, but don't go if this is the only opera you are going to see this season. If you're between 18-29, for the love of God, please get a discounted Opera Under Thirty (OUT) ticket for $25 (a savings of 50% in most cases). These will be available for all of Vancouver Opera's productions this season and can be ordered on the phone and picked up at the VIP booth inside the Queen Elizabeth Theatre on the night of the performance. My seat was pretty good: balcony, row 28, seat 125, so right in the centre of the balcony and not as far back as my $50/performance season tickets last year.

And you can always rely on The Met: Live in HD to satisfy that opera fix. I know I will!