Future opera singers are easily identified at birth due to their multi-octave crying and graceful bows as they emerge from the womb. Check out how far these toddling tenors have come with this GrouponLive deal to see Edmonton Opera's Mainstage Series at the Northern Alberta Jubilee Auditorium. The series is composed of three shows, including Verdi’s Aida, Offenbach’s Les Contes d'Hoffmann, and Tchaikovsky’s Eugene Onegin; see the showtimes here. Choose between the following seating options:
- For $144, you get a series subscription with second-balcony seating for two (a $540 value)
- For $288, you get a series subscription with first-balcony seating for two (a $654 value)
Aida (October 21, 23, and 25)
Verdi sets this operatic love triangle in ancient Egypt, where a warrior (Radames), an enslaved Ethiopian princess (Aida), and the pharaoh's daughter use swords of love and jealousy as they battle for each other's affections. Carl Tanner, an American tenor, reprises the Radames role he played in Hamburg last year, and soprano Angela Brown once again inhabits Aida, the role in which she broke onto the opera scene, dazzling crowds and decibel meters with her towering vocal power and her rich pianissimos.
Les Contes d'Hoffmann (February 3, 5, and 7)
Regarded as Jacques Offenbach's masterpiece, Les Contes d’Hoffmann follows a poet, Hoffmann, who dreams of loving three very different women. This dark fairy tale explores his pursuits as the supernatural villain Dappertutto thwarts his attempts at love. Joel Ivany directs the performance, guiding "[characters who] appear and disappear through turn-of-the-century machinery, magic and trickery, smoke, and funhouse mirrors" as he writes on the opera's website.
Eugene Onegin (April 21, 23, and 25)
In this Tchaikovsky classic, a boy (Onegin) meets a girl (Tatiana). The girl falls in love with the boy; the boy rejects the girl. The boy then duels his friend (her sister's fiancé) before deciding many years later that he does indeed want the girl. The amorously uncertain Onegin is portrayed by baritone Philip Cutlip, whom the New York Times praised earlier this year for his ability to tease out conflicting emotions in music.
Producing two to five main-stage operas per season is enough to keep any company busy, but Edmonton Opera goes beyond to enthral new and experienced operagoers alike. The company has brought scores of scores to life since its 1963 inception, priding itself on being the oldest year-round opera company in the Prairie Provinces. With the help of ambitious, press-lauded performers, directors, and designers, as well as projected surtitles when necessary, audiences navigate the medium's lorgnette-combusting dramas and lush soundscapes. Insider knowledge abounds at Opera Talks, Opera 101 panels, and in the company's own Intermezzo magazine for those seeking a deeper understanding of the medium or for curious newcomers wishing to sing forlornly about a burned pot roast.
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