Being a journalist has taken me to places I never imagined as a kid — from crime scenes to the Juno Awards, up close with the pope, and now, the opera. During childhood, my understanding of opera came mostly from Saturday morning cartoons — Bugs Bunny in a tailcoat tuxedo, or whatever was playing on Teletoon that week.
Think of all the usual clichés: horned helmets, a voluptuous woman belting out high notes on a massive stage, an audience draped in feathered boas and opera glasses. And while Brünnhilde does make an appearance in this opera, what I experienced at the Edmonton Opera was nothing like what my imagination had prepared me for. Instead, it was emotional, intimate and physically dynamic.
Edmonton Opera is soon to present Die Walküre at the Citadel Theatre — the second in its Wagner series and the first time this four-chapter epic has been staged in Alberta. Wagner is famous for his long, complex operas with cult-like followings, notably in Germany and Poland. Artistic Director Joel Ivany likened the epic to Star Wars: a doomed love sparks betrayals and broken vows, gods meddle in mortal affairs, and Brünnhilde risks everything to protect the future — only to face her father’s wrath and be cast into a fiery sleep, waiting for a hero to awaken her.
I sat down with Ivany, who explained the vision behind the performance and staying true to the emotional depth of Wagner’s “music dramas” while making the experience accessible — no matter your opera background.
“I think what we’re seeing more of is making it smaller, more intimate,” Ivany says. “That puts more pressure on performers — they can’t just stand and sing. When you’re that close, you have to be fully present. It’s more intimidating, but also more engaging.”
The MacLab Theatre’s 200-degree wraparound stage fosters closeness and immersion. The minimalist set features clean lines and mostly white props — except for the drinks — creating a striking contrast, as I saw during rehearsals of a scene that appeared to be set in a tavern. No matter your seat, you’re close enough to see the performers’ faces and feel their emotions. And if you’re ever lost in the story, English subtitles on the theatre walls guide you through the lyrics.
For die-hard Wagner fans, the musical ensemble is smaller than a traditional orchestra would be — a ‘90s adaptation sized to fit the venue, with musicians switching between instruments throughout the performance. Edmonton Opera is also expanding access by offering free tickets to youth under 21, a program that has seen strong uptake.
“I have an 11-year-old son,” Ivany shares. “His friends come to the opera, not just because of him, but because they bump into each other. It’s this weird shared experience.”
So much for the “park and bark” stereotype. The old idea of opera as static, rigid, and elite doesn’t hold here. What I saw was emotional, kinetic, and intense, demanding more from performers and drawing the audience deeply into the story.
“You don’t need to do two hours of research to understand it,” Ivany said. “It’s relevant — whether it’s capes and swords or modern lives, it’s still about people navigating complicated, tricky lives.”
Ivany believes opera must evolve or risk dying a slow death. Where it resists change, it fades. For example, a recent modernized Don Giovanni in English and with local references — captivated younger audiences, even if it upset some traditionalists, Ivany told me. There are no prerequisites, no fancy clothes — on game days, the audience wears Oilers jerseys. The message is simple: come as you are.
Die Walküre runs June 5, 7, 9, 10, 12, & 13, 2025 at Maclab Theatre at Citadel Theatre.
