Review: A Midsummer Night’s Dream a brave exploration of a possible new path for Vancouver Opera

Vancouver Opera opened a three-performance run of Benjamin Britten’s A Midsummer Night’s Dream Saturday night at the Queen Elizabeth Theatre. It’s a godsend for audiences craving quality new works rather than the safe, ultra-conventional choices made by VO in the immediate pre-pandemic years.

When Britten premiered his comedic romance at the Aldeburg Festival in 1960, he confidently assumed an audience entirely familiar with the intricacies of Shakespeare’s play; contemporary audiences don’t necessarily share the same knowledge. The complex interweaving of materials produces a first act that’s both expository and a bit confused, made so much worse opening night by the ill-considered decision to admit what seemed like endless hordes of latecomers down the aisles as Oberon, sung by counter-tenor Daniel Moody, was dispensing crucial information. Another chaotic moment came with the act one scene break, which some in the crowd mistook for an early intermission.

Things got back on track for the second and third acts, and the considerable beauties of the rich and evocative score were foremost. Dream uses a large cast in a wealth of smallish roles. Although the parts of Oberon, Tytania, and Bottom get extra emphasis, this is an ensemble opera which minimizes star singing. True, Peter McGillivray was at his scene-stealing best as Bottom, and soprano Magali Simard-Galdes was lovely as Tytania, but the overall focus of the work is on ensembles, not solo turns. Vancouver Opera wisely showcased many developing talents from its successful Yulanda Faris Young Artists program; none was more present and impressive than soprano Jonelle Sills as Helena.