October 7, 2026 – The Barber of Seville
The production was a fantastically funny success guided by a gift for comedy, ingenious choreography, and a humorous use of props. Visual elements like costumes and sets consistently raised the visual appeal, creating an impressive experience for both the leads and the company. The audience thoroughly enjoyed the performance, ultimately experiencing a “foamless and fantastically funny production” that left everyone exhilarated. For the musical numbers, the full chorus delivered a lovely opening performance where the addition of women made the softest passages sound much sweeter. Furthermore, the ensemble shone during a second-act number, which provided a “gorgeous balance of voices and clever choreography that made for an impressive four minutes of fun.” – Opera Canada
March 7, 2026 – Aida
Critics praised SOLO as “the community-based opera company that could,” noting the impressive 33-person wall of sound produced by the chorus and the artistic growth of the lead tenors and sopranos. “On March 7th, a sold-out audience packed the Burlington Performing Arts Centre to see Southern Ontario Lyric Opera’s (SOLO) production of Verdi’s Aida. Never one to avoid challenges, Artistic Director Sabatino Vacca did not shy away from tackling this behemoth of grand opera. But how would a work which has featured massive sets, huge casts and, yes, even live animals translate into an effective production in a small theatre in Burlington? The answer is: magnificently.” –Opera Canada
October 4, 2025 – Tosca
Italian-Canadian soprano Maria Vetere starred in the title role of Giacomo Puccini’s Tosca with SOLO. This performance marked her role debut. “The anticipation was palpable, and Vetere held nothing back. The moment she stepped on stage, she inhabited the character physically and vocally…. In Tosca’s final moments, Vetere unleashed a powerful upper register that proclaimed her character’s desperation and pain. Her lover, Cavaradossi, was sung by Romulo Delgado. His chemistry with Vetere was outstanding…high notes were beautifully sustained and dramatically sung.” –Opera Canada
March 8, 2025 – Lucia di Lammermoor
In this acclaimed recent production, the demanding role of Lucia Ashton was performed by lyric coloratura soprano Holly Chaplin. Critics commended SOLO’s ambitious undertaking which highlighted very talented Canadian singers. “Despite a simple set, the lead vocals and Sabatino Vacca’s sensitive conducting created a deeply dramatic musical tapestry.” –Ludwig van Toronto
October 2 & 4, 2024 – La Bohème
This opera was performed twice, first on October 2nd at Burlington Performing Arts Centre, and also on October 4th at Mohawk College’s McIntyre Performing Arts Centre in Hamilton. Reviewer Dawn Martens said,”Founder, artistic director and conductor Sabatino Vacca knows what audiences want: operatic warhorses familiar to the audience, featuring performances by new artists about to lift off in their careers. Judging from the enthusiastic roar of the crowd when Vacca took his final bow, his formula is working.” –Opera Canada
June 2, 2024 – Appetizers & Entrees: A concert of opera favourites and more!
This community outreach concert at West Plains United Church in Burlington, Ontario was a great success with our audience:
Fantastic afternoon! It was my first opera, but I recognized a lot of the music and loved the violin solos. – Christine B., Oakville
This concert was much more than opera! It had solos, violin, choir, piano; there was a great variety of music that everyone could enjoy. – Grace T., Oakville
Review from Joanne B., livestream viewer from Oakville: Wow! If anyone heard ‘Opera’ and went the other way – they missed great music by musically talented and gifted people…Thank you West Plains for providing musical enrichment throughout the year!
Review from Lynn W., livestream viewer from Calgary: All I can say is superb!!!! A million times! Every song beautifully performed- wonderful rich voices! West Plains’ sanctuary sound is also great on livestream!! A million thanks!
Beth Hounsome of Waterdown brought her dad, Hugh Fraser, who was the long-time music critic at the Hamilton Spectator in the ’80’s and 90’s. Beth reports: We loved the concert!
First-time opera attendee Neil S. of Aldershot, Burlington, thoroughly enjoyed the concert, and thought the introduction and explanation of each piece by the maestro, together with the English surtitles on the TV screen, certainly enhanced the experience and made opera less intimidating!
It was an incredible musical experience! Bravo! My 92 year-old mother and I experienced so many emotions, that’s how talented the performers were! We are so lucky to have these musical events in our community. – Judith G., Aldershot, Burlington
I didn’t know what to expect, but this concert exceeded my expectations! – Fiona C., Burlington
March 2, 2024 – Carmen
This production was praised for its strong execution of the lead and supporting roles, particularly highlighting the stunning performance of the young cast. “Bravo to Vacca for working with young artists who will appear on mainstages across the world, while also encouraging local talent to give their best for this all-encompassing art form.” –Ludwig van Toronto
October 15, 2023 – Madama Butterfly
“From the moment they stepped onstage, Teiya Kasahara embodied Cio-Cio-San. They convincingly portrayed the vulnerable and child-like Butterfly, while also unleashing inner passion when singing her tour de force “Un bel di” (which was met with thunderous applause before the aria was even finished). Kasahara seamlessly navigated Puccini’s vocal marathon, using their lush liquid lower tones, while also showcasing their thrillingly high register. Ernesto Ramirez was a solid Pinkerton.” –Opera Canada
May 13, 2023 – La Traviata
Opera Canada described this performance as “an evening of superb vocalism” and gave high marks to the warm vocal tones of the principals and the committed supporting cast.
September 25, 2022 – Verdi’s Messa da Requiem
While a formal press critique wasn’t circulated, community and listener feedback highly praised SOLO’s “ability to balance delicate, haunting solos with an overwhelming, monumental wall of sound. Patrons specifically highlight the emotional tension achieved in the quieter, introspective movements of the score.”