Today I witnessed the Canadian premiere of André Grétry’s Richard Coeur-de-Lion, presented by Voicebox: Opera in Concert at the Jeanne Lamon Hall.

Colin Ainsworth was singing the title role, but was indisposed, courageously singing the role but often dropping to a lower octave. The result was bravely harmonious, even if it wasn’t precisely as Grétry wrote it. I suppose it’s fitting that in this portrayal of the heroic lion-hearted king, Colin seemed to be fearless, truly brave in what he did with his voice. While it wasn’t as written it was stunning to watch all the same, part of an entertaining afternoon of music theatre.

The chorus was the big star of the show. Robert Cooper was self-effacing while directing them to perfection, especially the men, who had a much bigger role to play in this macho story of heroism. Sometimes they were in the background, sometimes they had to move or dance, and the whole time they were clearly enunciating their French.

Music Director Suzy Smith at the piano was the other key, excuse the pun, leading a tight & brisk reading that made a strong case for Grétry’s score.

I sincerely congratulated Guillermo Silva-Marin afterwards for this milestone. This is the reason we go to hear Voicebox, for the priceless opportunity to discover new operas like this one. Sung in French but with English dialogue by Guillermo & Diane Loeb, the audience gobbled it up with enthusiasm, laughing often.

While Richard Coeur-de-Lion may be understood as a prototype for rescue opera, it felt like Fidelio turned upside down. Instead of a comic beginning overtaken by a serious dramatic opera, Grétry’s preference was for beautiful melodies and a fun story without much real suspense or danger.

It was very entertaining. Premiered in 1784 this is not to be mistaken for a piece full of virtuoso arias or high notes to show off the voice, but rather a tuneful composition allowing everyone in the cast to shine, the music in service of the storytelling.

Richard may be the title role but his friendly squire Blondel (tenor Yannik Gosselin) has a much bigger part. Initially disguised Blondel is trying to find his master, aided by Antonio, a trouser role sung by soprano Madeline Cooper. The story is as much romance as rescue. Florestan (Taylor Gibbs) was going to meet Laurette (Alice Macgregor), but unexpectedly he’s surrounded & the troops of the Countess (Nicole Katerberg) will help rescue Richard. Everything ends happily, and never mind how it’s accomplished, considering that it’s not the way the historical story played out. Love conquers all.

Voicebox: Opera in Concert return Saturday, February 14, 2026 (3 pm) at Jeanne Lamon Hall, Trinity-St. Paul’s Centre for La Sonnambula.