Opera Notices

"Kudos for this production’s fresh concept and flashy execution."

"[Joshua Hopkins] has the tone, the timing, and the confidence to make it appear effortless fun; from quicksilver recitatives to solo work and ensembles, Hopkins is the focus of the production. And he couldn’t be better."


From Review Vancouver:
"Thomas Hammons almost steals the show as the buffoonish studio head Bartolo who bears an uncanny (stage) resemblance to (former Italian prime minister) Silvio Berlusconi."

"Parvin Mirhady’s exquisite clothing, particularly Rosina’s wardrobe and film extras’ extravagant costumes provide a dimension of quality to an already high level production and Dennis Garnhum may have reached a new plateau in comic inventiveness."

"Both opera aficionado and neophytes should delight in this superior production."


From the Georgia Straight:
"Opening night of Vancouver Opera’s The Barber of Seville had the theatre packed to the rafters, proving that Gioachino Rossini’s beloved comic masterpiece can still draw, and please, a crowd."

"The superb cast of mainly young singers proved to be as gifted comedically as they were vocally."

"René Barbera as the lovesick Count Almaviva played up his character’s various disguises to the hilt; his slightly off-key take on a drunken soldier, and his obnoxious music teacher were inspired—that he possesses a sweet, flexible, and clear tenor voice only added to his appeal."

"A good-natured, frothy bit of fun... it’s just what the barber ordered."


From the Globe and Mail:
"When [René Barbera] masquerades as a music teacher, costume designer Parvin Mirhady situates him hilariously, somewhere between Liberace and Harpo Marx."

"Barber has endured for 150 years because it has made people laugh. It still does."