Review: Edmonton Opera Presents AQUARIUS: SONGS OF THE STARS

For many Edmontonians, the Telus World of Science evokes fond childhood memories. Until April 15, one of the museum’s most beloved features- the Zeidler Dome- lights up with Edmonton Opera’s dazzling sold-out production, Aquarius: Songs of the Stars. The Zeidler Dome- a digital theatre famous for its 10k resolution projections- features a centre stage and houses up to 200 people. 

Even before Aquarius begins, the atmosphere crackles with excitement as audience members settle into their reclining seats. The production begins when an unnamed stargazer (played by John Ullyatt) wanders onto the stage, marvelling at the night sky’s beauty. He sets up his telescope, unrolls his blanket, and, like the audience, settles in for a celestial show. He is soon joined by soprano Miriam Khalil, who delivers soaring renditions of Nuit d’etoiles and Ain’t it a Pretty Night. As she sings, the dome’s projections transport audiences through the endless, star-swept universe before settling on the moon. An eye-popping close-up of the moon’s surface slowly appears, accompanied by the Edmonton Opera chorus’s ethereal performance of Goodnight Moon.  

Khalil is not the only soloist: baritone Jim Yu also takes to the stage, filling the venue with his powerhouse vocals. His performances include opera classics including Pierrot’s Tanzlied and the brooding showstopper Stars (from Broadway blockbuster Les Misérables). Edmonton Opera’s chorus also enchants the audience with numbers such as Leonardo Dreams of His Flying Machine.

This otherworldly performance is accompanied by eye-popping projections that transport audiences from Earth’s orbit to the fringes of the solar system to the glittering edges of the Milky Way and beyond. The musical numbers weave through the amateur stargazer’s musings, emphasizing his- and the audience’s- sense of wonder. It would also be remiss not to mention the stunning close-ups of Vincent Van Gogh’s painting, Starry Night, and displays of rippling purple and green auroras. 

Like many live productions, Aquarius is not without flaws. For much of the show, the stage’s spotlights beam conspicuously from behind the digital projection screen, making them difficult to ignore. At times, the chorus’s blocking is far from seamless; the members sometimes file in and out of the Zeidler Dome before and after singing, distracting from Ullyatt’s onstage monologues.

However, the distractions do not diminish the production’s beauty and ingenuity. The vocals, Ullyatt’s narration, the live band, and the breathtaking celestial projections fuse into an awe-inspiring performance. Aquarius: Songs of the Stars not only beckons audiences to embrace a sense of childlike wonder but pushes the envelope of what live opera can be. 

Image Credit: Edmonton Opera