Interview with Rita Ueda

Canadian composer Rita Ueda sits down with us to talk about her career as a composer and about her latest work, a cantata entitled ‘Debris’ based on the documentary with the same name by John Bolton. The documentary is about Tofino based park ranger and “inter-tidal” artist Pete Clarkson, and his memorial entitled “Swept Away” which honours the victims of the 2011 tsunami in Japan. Rita’s new work, with libretto by Rod Robertson, receives its world premier on May 27th and 28th at the Vancouver Civic Theatres Annex in Vancouver Canada. We would like to extend a big thank you to the Vancouver Civic Theatres and the SOCAN Foundation for their generous support. www.postmoderncamerata.com/tickets

Dido and Aeneas: the Puppet Version

A two-and-a-half-thousand-year-old love story (based on a story from Virgils Aeneid), allied with 350-year-old music composed by musical genius Henry Purcell and a libretto written by the English poet laureate Nahum Tate  and, of course, for these performances only, a lively bunch of contemporary puppets! Dido and Aeneas was one of the very first operas to be written in English, whose first public performance was in 1688 at a private girls school in the (then-) village of Chelsea.

While the six instrumentalists (five strings plus harpsichord) and six voices from the Postmodern Camerata, led by guest musical director Dr Charles Barber (Artistic Director of City Opera Vancouver), present the music in all its baroque splendour, three puppeteers and thirty puppets (the latter ranging in size from six inches to six feet) bring to life the characters in this timeless tale of love gone wrong: a queen desperate for a new chance at joy, a hero washed up on a foreign shore but under direction of the Gods, a sorceress and two evil witches, some very fickle sailors, and a blooded wild beast …

For tickets, visit us here: TICKETS

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This project has been made possible by the Vancouver Civic Theatres

Season Opener: United States of America

october-program-coverMusic of the United States of America constitutes the Postmodern Camerata chamber ensemble’s first concert of their third season: Barber’s Dover Beach, Copland’s Appalachian Spring, Riley’s In C, Argento’s Dover Beach Revisited, all written within a seventy-five year period (1931–2004). This music is, by turn, neo-classical, neo-romantic, minimalist and modernist: come along and you get to match them up, on Sat. Oct. 22nd (7pm St Paul’s Anglican Church) and Sun. Oct. 23rd (3pm Dunbar Heights United Church, note new time). For more information, including tickets, see: www. postmoderncamerata.com/tickets.