On May 29, opera goers wandered from the spring evening streets of Vancouver’s Gastown into the SFU Goldcorp Centre for the Arts. Ushered toward the second floor of the building, we entered Studio T, which seemed to seat less than 150 people. This venue—by far the smallest in which I have seen an opera—seemed ideal for setting up maximum closeness and involvement with the production.
Adanya Dunn (Anna) in City Opera Vancouver’s production of Sophia’s Forest. Photo: Michelle Diamond
Production designer Wladimiro A. Woyno R. ensured the little stage was filled. On the left there were cardboard boxes and a shelf with trinkets and childhood toys. To the right was a living room set-up with a couch, coffee table, wine bottles, glasses, and cigarettes. Due to the smallness of the space, there was no orchestra pit, so musicians were placed centre stage with a small cutout in front of them that acted as a backdrop for light projections. These cutouts were also behind the orchestra, protruding from the wall.
Sophia’s Forest is narrated by Sophia as she reflects on traumatic childhood experiences around her forced migration from a wartorn country. Librettist Hannah Moscovitch wrote the story about a fictional civil war, likely wanting to centre psychological effects rather than historical or cultural impact. I thought grounding this opera in a real-world context would be equally, if not more, impactful. However, I can understand how the complexities of nonfiction events might be too difficult to navigate in a 60-minute production.
Arya Yazgan (Child Sophia) and Elena Howard-Scott (Adult Sophia) in City Opera Vancouver’s production of Sophia’s Forest. Photo: Michelle Diamond
A special aspect of this production is composer Lembit Beecher’s mechanical sound sculptures, which he controls remotely. These structures, made from bicycle wheels and wine glasses, are situated around the stage and are set off in real time during the performance.
In the after-show Q&A, Beecher claimed that these scattered sculptures create a unique experience as the audience hears noises from all different points on the stage. He also described the sound-makers as “a little unpredictable”. Since the audience experiences this story from the mind of Sophia, it makes sense that the sound itself is not perfect like an audio recording: it’s human. This clever sound design, supported by the work of production manager and sound designer Richard Berg, made for an immersive watch.
This production also made good use of light projections, altering the setting through light design rather than moving set pieces on and off stage. I was particularly charmed by child Sophia’s drawings being projected on the background while the actress sat and drew on stage.
Elena Howard-Scott (Adult Sophia) and orchestra in City Opera Vancouver’s production of Sophia’s Forest. Photo: Michelle Diamond
Adult Sophia, played by soprano Elena Howard-Scott, is a demanding role as she narrates most of the opera and has to display a range of difficult emotions without directly interacting with other characters. Howard-Scott handled this challenge well, but I was particularly impressed by her dynamic voice. She alone could make a moment seem frantic or overwhelming by the sheer volume with which she engulfed the entire space. In her quieter moments, the silence hung, heavy and unavoidable. As the space did not allow for supertitles, Howard-Scott ensured her enunciation was clear so that the audience could follow her every word.
Baritone Luka Kawabata, who played Wes, was also excellent with his warm, rich tone and comedic timing. Wes is the only character who offered some levity in this complex opera, and Kawabata played the role well with exaggerated facial expressions and awkward body language in tense moments.
Arya Yazgan (Child Sophia) in City Opera Vancouver’s production of Sophia’s Forest. Photo: Michelle Diamond
With their center-stage placement, the orchestra led by conductor Gordon Gerrard could not be overlooked. They immediately set the tone of the show; the creaking and delicate strings created an ominous and eerie atmosphere in the opening song. When Sophia’s mother would arrive in a scene, they would often pick up their pace and intensity, showcasing the panic Sophia felt around her.
Having the orchestra on stage made their necessary contributions to the performance clearer. Beecher also highlighted that the orchestra and sound structures on stage demonstrate how “music is part of the internal life of Sophia.” This aligns with the fact that the music box given to her by her father plays a big role in how Sophia remembers her lost family members.
City Opera Vancouver’s production of Sophia’s Forest was successful in its intimacy, as well as its relevance to the present. With the ongoing conflicts in Ukraine and Gaza, this opera is an urgent reminder of the long-term effects on survivors.
For more on City Opera Vancouver, visit www.cityoperavancouver.com
