Mary in Vancity

I love taking the train downtown on a fall evening. The steady hum of the tracks accompanies the journey. The soft chatter of passengers fills the air. Anticipation builds as the Vancouver skyline comes into view. My son Dylan, twelve now, leaned against the window, watching the world blur past. Going to the opera has become our thing. In a world with so many digital distractions, music has become our shared language. It’s a way to learn. It’s a chance to feel, and to see the world through someone else’s story.

Before we went, we talked about Verdi’s Rigoletto. A jester who mocks the powerful. A duke who mistakes cruelty for charm. A father who loves his daughter so fiercely that it becomes his own undoing. I told Dylan that opera doesn’t shy away from the truth — it sings it out loud.

At the Queen Elizabeth Theatre, the lights dimmed and the music rose under conductor Jacques Lacombe. Micheal Chioldi, as Rigoletto, carried the heartbreak of a man crushed by fate. His voice was full of regret and underlying anger, and you could feel it in your chest.

Then came Sarah Dufresne as Gilda. Her performance was clear, trembling, and ever so tender. When she sang Caro nome, the whole room went silent. You could hear every breath, every ache. It was her Vancouver Opera debut, and she made it count.

Yongzhao Yu, as the Duke of Mantua, matched her energy with boldness and power. Playing a character so devious that you just love to hate, his voice was smooth and dangerous. It was a perfect balance to Dufresne’s purity. Together, they blend the purity of love and the animalistic nature of lust into a chemistry you can feel.

The production — a collaboration between Vancouver Opera and Pacific Opera Victoria, walked the line between beauty and darkness. The stage shimmered with opulence and decay, a reflection of the story’s corruption and heartbreak. Under director Glynis Leyshon, the tale felt both classic and modern, every detail sharpened by emotion. We left feeling heartbroken and uplifted, all at the same time.

On the way home, the train hummed beneath us once again. Dylan looked out the window for a long time, “That was sad, but kinda beautiful.” He said. I couldn’t have said it better.

That’s why we go. Because art cracks something open inside us. Because learning about music, about storytelling, about beauty and pain — it matters. Especially for him. Especially now.

Rigoletto opens Vancouver Opera’s 2025–2026 season — a bold beginning to a lineup that continues in February with Così fan tutte, a playful, mischievous look at love and loyalty.

Find tickets and season info at vancouveropera.ca.

---

If You Go

Where: Queen Elizabeth Theatre, 630 Hamilton Street, Vancouver
When: Remaining Rigoletto performances — October 30 (7:30 PM) and November 2 (2 PM)
Getting There: Take the SkyTrain to Stadium–Chinatown Station; it’s a short walk from there.
Tickets: Buy here
Dress Code: Smart casual works fine — just enough to make the night feel special.
Tip: Arrive early for the pre-show talk and the orchestra warm-up. It’s part of the experience.