FOOD

FOOD When it comes to perfect steaks, simple is good

By Martin Dunphy

A little oil, some kosher salt, and a lot of fresh-cracked black pepper are the only ingredients you will require to grill the best steak you have ever eaten. Photo by Getty/Lisovskaya.

The advent of summer is also that time of year when anyone who knows anything about barbecuing seems to want to tell everyone cooking, tougher texture, and less moisture. is attention to temperature is extremely important. Until you become a master griller—one who can judge a everything they know.

A er the YouTube tutorials and morningTV guest chefs have had their shot at getting you to buy that home smoker, charcoal chimney, or eight-burner propane grill, though, you can quietly stick to your small, simple backyard charcoal bowl or gas grill.

For the most part, those whose “perfect” steak and hamburger grilling techniques consist of a dozen or more steps and ingredients can be safely ignored.

Grilling done well is also grilling done simply, and the best grilled or barbecued steak you will ever taste will only require three of the simplest ingredients—salt, pepper, and a little oil—a er you choose the actual cut of steak.

It is that selection of steaks that will, ultimately, be what makes or breaks your shot at grilling perfection. You can execute everything to the letter and still end up with proverbial shoe-leather if you haven’t started with the right cut of beef. e only advice here is to pay the price that quality demands. Get a choice grade New York–style strip loin or rib eye steak, well-marbled with fat (especially for rib eye) and about one inch thick and 12 ounces or so in weight.

Talk about incentive for proper cooking. Perfectly grilled steaks for six can mean a wonderfully memorable meal with friends. Ruined steaks, on the other hand, make for a miserable dinner and occasion, not to mention more than $100 worth of meat that’s suitable only for compost.

Perhaps paradoxically, two of the most important steps in grilling that marvellous meat don’t involve any cooking whatsoever. e rst step is to take the steaks out of the fridge and bring them to room temperature. A cold steak will take longer to reach the ideal temperature, resulting in uneven steak’s perfect doneness with a glance at the char and the juices and a nudge with the tongs—it’s all about temperatures: room temperature to begin cooking, proper temperature for nishing, and a temperature cool-down prior to eating to ensure ideal texture and juiciness. You will also be starting to cook at a higher temperature than nishing, and that will require your barbecue to have a hood/cover, so you can maintain a hot, ovenlike heat after you move your steak from cooking over a high, direct-heat source to an indirect one following the initial sear. is will ensure even, thorough cooking without burning. You can turn o the gas burner(s) on the other side of your grill to obtain that “cooler” area, or you can push your charcoal over to one side of the bowl to achieve the same. You will require an instant-read thermometer before you gain the experience needed to produce great steaks every time. An adequate one can be bought for $15 to $50 (don’t be tempted by, say, four-probe Bluetooth remote thermometers for hundreds of dollars; simple is better). So let the steak sit at room temperature for at least 30 minutes to an hour. Pat dry (patting the meat with a paper towel before seasoning can mean better browning by reducing the ash of steam cooking that takes place when the steak hits a hot surface), rub lightly with oil (canola or extravrgin olive), then add lots (lots!) of freshcracked black pepper. Sprinkle kosher salt thickly on the meat just before starting the sear on the preheated grill. (If you salt the steak too early, it will start to draw out moisture that will “pool” and, again, ashsteam the meat surface when you are trying to get that avourful sear happening.) If cooking on a gas or charcoal grill, it’s best to sear both sides of the steak over high heat at the beginning of the cooking process. And that rst ip should be the only time you touch the meat again during cooking except to move it to the cooler, indirect-heat side a er the sear and to nally place it on the serving platter.

Using only tongs, put the steak on the cooking surface. (And know that piercing the meat in any way during cooking with barbecue forks or by cutting into it to check for doneness are capital crimes, even for newbs.) Sear for about 1 1/2 to two minutes per side before moving the steaks over to the indirect-heat side of the grill. Close the hood and cook for about another ve to seven minutes, depending on the thickness of the steaks and what your instant-read thermometer tells you.

Most purists reject anything other than rare or medium-rare in terms of sublime steak avour. e internal temperature should be between 130°F and 140°F for medium-rare to medium-well doneness, with about 130° bringing the desired red-topink nish of a perfect medium-rare steak.

And that’s it. Almost.

Now comes another very important step in the “cooking” process: letting the meat sit and gently cool on a platter, tented in tin foil, for ve to 10 minutes while the juices redistribute throughout the steak from its surface.

Cutting into the meat without this taking place rst will drain the steak’s juices, ruining all your good work up to that point. g

FOOD Patios old and new anchor summer snack scene

by Charlie Smith

With the start of summer coming on Tuesday (June 21), it’s safe to say that patio season is now upon us. And if there’s any silver lining from this ghastly pandemic, it’s been the proliferation of patio dining across the region. Everyone seems to be getting in on the action: breweries, ne-dining establishments, and takeout pizza joints.

Patios are even showing up on public property, like Sasamat Street south of West 10th Avenue, Maple Street south of West 4th Avenue, and Bute Street south of Robson Street, among other locations. But some of the greatest dining patios remain on the premises of local restaurants. Here are five of our favourites.

ANCORA WATERFRONT DINING AND PATIO 1600 Howe Street, Vancouver 1351 Bellevue Avenue, West Vancouver Both locations o er superb outdoor patios with gorgeous views of the water. Given Ancora’s masterful harmonization of the cuisine of the seaside nations of Peru and Japan, it’s quite tting to spend this time of the year outside nibbling on Ancora’s delicious sushi pizza or digging into a main course like seafood paella. ere are actually strong historical connections between Peru and Japan—many Japanese headed to South America when racist American and

The 1931 Gallery Bistro has been the star of the Vancouver Art Gallery district for more than 90 years, and its quiet and large patio confounds expectations in the city’s busy downtown core. Canadian governments restricted immigration a er a white mob invaded Vancouver’s Chinatown and Japantown in 1907. So it’s not a big leap to bring the food of Peru and Japan together in one menu.

CACTUS CLUB CAFE 1790 Beach Avenue ere’s not much in Vancouver that can rival the setting sun over English Bay. And nowhere is there a better view for diners than the Cactus Club’s expansive patio on Beach Avenue. Are you curious to know about supply-chain problems in the economy? Just sit there and count all the cargo vessels out on the bay. Better yet, tuck into the Bandara salad along with a Polynesian margarita. at will help you forget about in ation, rising interest rates, and the war in Ukraine.

DOCKSIDE RESTAURANT 1253 Johnston Street, Granville Island is gem on Granville Island o ers one of the com est seasonal patios in the region. Apart from the breeze o False Creek, you don’t even feel like you’re in Vancouver because it’s so damn peaceful. No wonder Georgia Straight readers voted Dockside as having the best patio for the Golden Plates awards in 10 consecutive years. ere’s an extensive lunch menu, with everything from pesto chicken salad to duck leg, so what are you waiting for?

1931 GALLERY BISTRO 750 Hornby Street, Vancouver Plants, couches, and a terri c view of Robson Square—the tastefully minimalist patio at 1931 Gallery Bistro is a revelation to anyone who visits for the rst time. How can something so quiet possibly exist in the downtown core? e 120-seat patio is part of a restaurant named in honour of its founding year, which speaks to the history of this establishment attached to the Vancouver Art Gallery. All proceeds go to the gallery, a vital Vancouver cultural institution. It’s an ideal place to nestle a er taking in the VAG’s newest exhibition, Uninvited: Canadian Women Artists in the Modern Moment.

TAP & BARREL 75 Athletes Way, Vancouver ere are now four Tap & Barrel locations, and according to Georgia Straight readers, its best patio is at the Olympic Village location, which o ers a magni cent view across False Creek to downtown Vancouver. And with the Concord Paci c Dragon Boat Festival returning to the water from June 24 to 26, there’s no better time to enjoy a cool one with some lunch on this patio. If you’re bringing a pooch, make sure you sit near the fence so the dog can be leashed nearby.

Of course, there are many other restaurant patios worth visiting in the region. Here are eight others worth taking in: Ember Indian Kitchen (135–6168 London Road in Steveston), e Vancouver Fish Company Restaurant & Bar (1517 Anderson Street, Granville Island), H Tasting Lounge (1601 Bayshore Drive, Vancouver), Oakridge x Pac Rim Patio pop-up (1038 Canada Place), e Roof at Black + Blue (1032 Alberni Street), Joe Fortes Seafood & Chop House (777 urlow Street), Li Bar Grill (333 Menchion Mews, Vancouver), and Local Public Eatery (2210 Cornwall Avenue). Happy dining! g

ARTS VAG showcases artists Uninvited by Establishment

by Charlie Smith

In the late 1930s, as Adolf Hitler was consolidating control over Germany and the Spanish Civil War raged, artist Paraskeva Clark became exasperated with the complacency of the Canadian art world.

Clark, a le ist immigrant from St. Petersburg, was infuriated over many of her fellow painters’ obsessions with landscapes rather than the plight of the poor. So she took out her frustrations in a 1937 essay called “Come Out From Behind the Pre-Cambrian Shield”, which was published in New Frontier.

“Her position was, ‘How dare you be looking at rock and trees and sky and mountains when the Great Depression was unfolding and when fascism was rising in Europe and when there was so much inequity in the world and pain and su ering?’” Sarah Milroy, chief curator of the Vaughan, Ontario–based McMichael Canadian Art Collection, tells the Straight by phone. “She thought it was extremely decadent.”

A Paraskeva self-portrait is one of more than 200 artworks produced by women from across Canada that are part of a new exhibition at the Vancouver Art Gallery called Uninvited: Canadian Women Artists in the Modern Moment. Milroy curated the show.

“ e title, ‘Uninvited’, simply refers to the fact that no women were invited to join the Group of Seven,” she says. e Group of Seven is the famous set of Canadian male landscape artists who held their rst show in 1920 and who became the country’s most famous painters over the next two decades, along with Tom omson, who died in 1917. e McMichael presented a major exhibition of the Group of Seven in 2020 to mark its centenary. at prompted Milroy to think about creating an exhibition about what female artists were doing when the men were getting so much attention.

“Of course, one of the most important social and cultural things that was happening in this time was the displacement of Indigenous people o their lands,” she says.

In addition, this era was marked by the intensi cation of resource extraction in Canada, the growth of the tourism industry, and increasing urbanization.”

“So we wanted to make an exhibition about this period, 1920 to about 1945, and turn to the artists that were attending, really, to all those changes in Canada, which were the women artists of the day,” Milroy says.

CHOR LEONI

Prudence Heward’s 1928 At the Theatre (Montreal Museum of Fine Arts purchase, Horsley and Annie Townsend Bequest) is part of the Uninvited exhibition. Photo by MMFA/Christine Guest. e works of some Beaver Hall Group of painters of Montréal, such as Anne Savage and Lilias Torrance Newton, are featured in Uninvited, as are paintings by legendary B.C. painter Emily Carr and Torontobased sculptors Elizabeth Wyn Wood, Frances Loring, and Florence Wyle. ere are several female Indigenous artists’ work on display, including Nunavut’s Attatsiaq, Sewinchelwet (Sophie Frank) of the Squamish Nation, Mi’kmaq quill box maker Bridget Ann Sack, and Rose Runner of the Tsuut’ina First Nation.

In addition, immigrant artists to Canada such as Clark and Regina Seiden Goldberg are featured.

Milroy says that when several members of the Group of Seven dropped away, they were invariably replaced by other men, even though several appreciated the genius of Carr. e Victoria artist’s paintings of trees and totem poles, as well as forestry’s denuded landscapes, make her works as relevant today as when they were originally created.

“Lawren Harris is to be thanked for li ing her up out of obscurity and incorporating her into an exhibition that was really important in 1927,” Milroy notes.

However, because women were not invited into the Group of Seven, this kept many talented female painters in the shadows. “I think there’s been a lot of very good scholarship on these women over the last decade, but museums have been loath to throw a lot of resources behind monographic exhibitions of these artists because the assumption was, you know, no one will come because they’re not famous,” Milroy says. Uninvited includes a wall of Emily Carr’s paintings of trees and a totem pole. And in front of these works of art is an undulating series of cases housing Coast Salish baskets from many di erent communities. “ ose are baskets that have not been back in B.C. for God knows how long,” Milroy acknowledges. e goal, she adds, was “to set up a discussion” between the paintings, which include a focus on clearcut landscapes and resource extraction, and the baskets, which resulted from the culling of resources in a completely di erent way. One of the baskets was created by Sewinchelwet, a longtime friend of Carr’s. In her view, this part of the exhibition represents the symbiotic relationship between Indigenous people and the natural world that evolved over a long period of time. “And then our way, in the clearcutting, is fast and, of course, catastrophic,” Milroy says. g

ARTS Bach fest focuses on fiddlers and baroque masters

by Charlie Smith

Music lovers in the 21st century don’t normally connect Scottish ddling and jigs with great baroque composers like Johann Sebastian Bach or Antonio Vivaldi. It’s a heretical thought for those who associate classical music with grand concert halls and tuxedo-wearing conductors.

But, in fact, some fashionable baroque composers of the 17th and 18th centuries did rub shoulders with these ddlers from Scotland. And this le a lasting in uence on baroque, a complex style of music that includes harmonic language and requires many more instruments than do Scottish folk songs.

Suzie LeBlanc, a highly regarded soprano and the artistic and executive director of Early Music Vancouver, tells the Straight by phone that Scottish ddle music and jigs actually inspired several Italian baroque composers, including Francesco Geminiani. In addition, these ddlers had an impact on Germany’s Georg Philipp Telemann and France’s Georg Mu at, who was of Scottish descent on his father’s side.

“ ey were just immersed in it,” LeBlanc says. “So the ties, are very, very close. It’s a lot of fun to look at baroque music through that lens.” at’s precisely what Early Music Vancouver will do at this year’s Vancouver Bach Festival, which runs from July 26 to August 6. By examining Scottish baroque and other traditions, the festival is breaking new ground.

It’s also an acknowledgement that the “Old Wig”, as Bach was called, employed musicians who o en played in taverns.

“It’s historically really sound to talk about it,” LeBlanc says. “It can change the way people approach a composer like Bach, for example.

“Most of the music by Bach is dances,” she continues. “And where did these dances originate from? ey’re in traditional music.”

Early Music Vancouver has two artistsin-residence who will reinforce this year’s theme at several concerts during the Vancouver Bach Festival.

One of them, Scottish keyboardist and University of Glasgow senior lecturer David McGuinness, is a scholar of Scottish musical traditions. e other artist in residence, baroque violinist and Cape Breton ddler David Greenberg, is ideally suited to interpret the ties between Scotland and the baroque music that rst emerged in Italy and spread across Europe. In the 1990s, he wove together Scottish, Cape Breton, and baroque music in three recordings with Puirt a Baroque.

LeBlanc says that the two Davids have not played together since the pandemic began. According to her, they’re really looking forward to the festival’s opening night concert, Ebb and Flow, at the Chan Centre for the Performing Arts on July 27.

“ ey are musicians who are versed in what we call HIP—historically informed practice—in baroque music,” LeBlanc says. ey will join the Paci c Baroque Orchestra, led by Alexander Weimann, in a celebration of water. Together, they’ll

In August, star violinist Chloe Kim will play in two concerts put on by the Vancouver Bach Festival, which will explore links between Scottish folk tunes and baroque music. Photo by Kelsey Goodwin.

Fête de la Musique

Vancouver

PRESENTED BY ALLIANCE FRANCAISE VANCOUVER 2022

A MUSIC FESTIVAL FEATURING Ariane Roy valence Gatha

hollow twin francis baptiste

Élodie orsei dj nea

06.21.2022 the Beaumont studios 5pm-11pM free ADMISSION

Most of the music by Bach is dances. And where did these dances originate from?

– Suzie LeBlanc

perform George Frideric Handel’s Water Music, Telemann’s Hamburger Ebb’ und Fluth, and Alasdair MacLean’s e Silken Water Is Weaving and Weaving.

LeBlanc says that this show will also feature Vancouver poet laureate Fiona T. Lam o ering verses that will be interspersed with Greenberg’s improvisations.

“It’s all about the importance of water for human beings…something we treasure and take care of on our planet,” LeBlanc says. “ ere are lots of beautiful messages there.” is year, Early Music Vancouver has also invited soprano Ellen Torrie and violinist Marie Nadeau-Tremblay to be the rst members of its emerging-artists program. On August 3, they will perform at Pyatt Hall in the VSO School of Music with theorbist Sylvain Bergeron in a show called e Next Generation: Baroque Innovations.

LeBlanc, who taught at McGill University until the end of the 2020-21 academic year, has been impressed by how many young singers are also mastering popular instruments from the early-music period, such as the lute and the harp.

“Ellen Torrie has learned to play the baroque guitar and will self-accompany herself,” LeBlanc adds.

Another young musical star, B.C. violinist Chloe Kim, will perform with Tremblay and last year’s Early Music Vancouver artist-in-residence, baritone Jonathan Adams, in a show called Out of the Deep on August 4 at Christ Church Cathedral. ey’ll be joined by Margaret Little on viola da gamba, Lucas Harris on theorbo, and Avi Stein on keyboard.

Kim will return to Christ Church Cathedral on the following night for Bach: Four Sonatas and a Concerto, with Stein again on keyboard and Christina Mahler on cello.

LeBlanc is also looking forward to several other concerts, including Ensemble Arkora’s exploration of links between new Canadian works and ancient pieces by Hildegard von Bingen at Christ Church Cathedral on July 28. e group will be joined by Lan Tung on erhu.

One the world’s great horn players, PierreAntoine Tremblay, will join Weimann in a concert called e Last Rose of Summer at Christ Church Cathedral on July 29.

Another festival highlight will be Contrasto Armonico’s concert, entitled Les Nations, at Christ Church Cathedral on July 29. LeBlanc describes the group’s founder, Palermo-born harpsichordist and organist Marco Vitale, as “a shaker and a mover” in baroque music. He became music director of Denman Baroque in 2017.

Vitale is also one of four harpsichordists—along with Weimann, McGuinness, and Christina Hutten—who will be at the Chan Centre for the Performing Arts on August 5 for Bach’s revered Concerto for four harpsichords in A minor, which was a reworking of Vivaldi’s Concerto for Four Violins and Strings. Greenberg and Chloe Myers will be on violin.

LeBlanc says that this concert will feature four early French harpsichords of the same make created by West Vancouver’s Craig Tomlinson. She also points out that there are only four of these instruments in Vancouver and they’ll be on-stage together.

“Many people have performed the harpsichord Concerto for four harpsichords by Bach,” the Early Music Vancouver artistic and executive director acknowledges. “But I’m not sure they’ve done it on identical instruments. So it’s going to be really fun. You’ll hear the character of each particular one within a family.”

And fans of LeBlanc’s work as a soprano also won’t be disappointed. She, along with Tremblay, Bergeron, and recorder player Vincent Lauzer will mix Acadian folk songs with airs de cour from the French court of Louis XIV in an August 2 concert at Christ Church Cathedral.

LeBlanc says that she and the musicians were already going to perform this concert at another festival in July. “And they said, ‘Can we do this in Vancouver?’ I said, ‘Okay, let’s do it!’” g

The Vancouver Bach Festival runs from July 26 to August 6. For more information and tickets, visit EarlyMusic.bc.ca.

ARTS Chor Leoni closes season with pop-music classics

by Charlie Smith

The Chor Leoni Men’s Choir has impressed Vancouver audiences on numerous occasions, including at its sombre annual Remembrance Day concerts and with its rich, spiritual songs at the VanMan Choral Summit. Now, to end its season, the 67 men in the choir plan to let their hair down with a raucous show of popular music. Popcappella II will feature songs by e Weeknd, Stevie Wonder, Jimmy Cli , A-ha, Irving Berlin, Indigo Girls, and others.

“A lot of times when choirs do these types of programs, maybe there’s a soloist in front and the choir does some ‘oohs’ and ‘aahs’ as the backup,” Chor Leoni artistic director Erick Lichte tells the Straight by phone. “ at’s really not how we approach this. We do a lot of in-house arrangements. We’re really trying to take this music on.”

So anyone in the mood to hear dozens of men joyously singing Wonder’s “For Once in My Life” will have to be at St. Andrew’s–Wesley United on June 25, where Chor Leoni is the choir in residence. e venue will make this concert unlike any other pop concert in town, according to Lichte. “We have those amazing acoustics,” he says with enthusiasm. “We also have the pipe organ.”

Lichte says that this will be a real treat when the men sing Arcade Fire’s “Intervention” from the Neon Bible album. And Arcade Fire and e Weeknd aren’t the only Canadian connections in Popcappella II. ere will also be songs by Tegan and Sara, Caribou, and Jodi Proznick.

Proznick will also play bass as part of the band backing up Chor Leoni, along with percussionist Liam MacDonald and guitarist Keith Sinclair. Tim Woodford, the director of music at St. Andrew’s–Wesley United, will play the church’s recently restored Casavant organ. e Chor Leoni singers have decided to make this concert mask-optional. is means it will be the rst time since the pandemic’s start that the audience will be able to see singers’ faces.

“ at’s been a tricky decision to make, but it’s one that the choir has wanted to do,” Lichte says. “We’ve been able to commune with sound with the choir singing live, but this takes it to a whole other place. And I can’t think of better music than this to be connecting with and seeing those faces.”

He adds that some performers will still be wearing masks, and the group is encouraging audience members to also wear them.

“We are all triple-vaxxed,” Lichte declares. “We are rehearsing with the masks on but we’re taking that hour and 15 minutes and spreading guys out on the stage. ankfully, we have a huge stage that we can create at St. Andrew’s. And really good ventilation is the other thing, too.” g

For its upcoming Popcappella II, the Chor Leoni Men’s Choir will be giving audiences special in-house arrangements of songs by the likes of Arcade Fire, Caribou, A-ha, and the Weeknd.

Chor Leoni Men’s Choir presents Popcappella II at St. Andrew’s–Wesley United at 5 p.m. and 8 p.m. on

Concord Pacific Dragon Boat Festival gets ready to welcome more than 130 teams from across Canada and the United States

( is story is sponsored by Dragon Boat BC.)

From June 24 to 26, North America’s agship dragon boat festival returns to three of Vancouver’s most picturesque outdoor locations: Concord Paci c Place, Creekside Park, and False Creek.

While the Concord Paci c Dragon Boat Festival has certainly evolved from its ancient roots, it continues to bring people together through culture and sport. e races have become a highly anticipated summer event for many Vancouverites.

Because of the pandemic, the 2021 festival was smaller and featured fewer teams, as many faced travel restrictions. It was also postponed, ensuring that Dragon Boat BC had enough time to adjust its programming to keep workers, athletes, and attendees safe.

But this year, there will be more than 130 teams from across Canada and the U.S., each made up of race-ready paddlers from di erent backgrounds—dragon boat is an inclusive activity.

“ rough the di culties of the past two years, we’ve pivoted, adjusted, and reimagined what the Concord Paci c Dragon Boat Festival is, but ultimately at our core, we are a cultural sport that unites people,” shares Dominic Lai, development, marketing, and operations director at Dragon Boat BC. “We’re excited to welcome back paddlers to False Creek, where dragon boat began in Canada back at Expo 86.”

At the festival, you’ll see paddlers training for the World Championships, recreational teams, and teams made up of friends, youth and school groups, parapaddlers, and those simply looking to try out a new sport. Participants range in age from 12 to 90, highlighting that the cultural sport is more about coming together and less about combative competition. e 2022 Concord Paci c Dragon Boat Festival will also feature the Paddlers Abreast Canada Breast Cancer Survivor division. is special racing event reunites paddlers from across Canada to the spot where breast cancer paddling began decades ago—as a result of local research.

“Dr. Don McKenzie started the breast cancer survivor paddling movement as part of a UBC clinical trial in 1996. His goal was to prove that the disease could be the beginning of a new journey, which involved a dragon boat,” says Kathleen Myers, Paddlers Abreast Canada committee member and breast cancer survivor. “Now, 26 years later, 19 breast cancer survivor boats from teams across Canada will be coming together in False Creek for the rst time since the pandemic.” ankfully, this year’s 34th edition will look more like the Concord Paci c Dragon Boat Festival we know and love. In addition to the high-energy races, guests can also enjoy live music, the Expo 86 Original Teak Dragon Boat Display, art installations, and tasty food from several vendors. e Main Stage will also feature a 100 percent local lineup, with headliners e Zolas supported by Hotel Mira, Mauvey, and Desirée Dawson.

Public activities are held on June 25 and 26, and private racer-only events will take place on June 24. Festival admission is free. g

After a 2021 pandemic year that was downsized because of travel restrictions, a reimagined Concord Pacific Dragon Boat Festival has returned to thrill viewers and unite Vancouverites.

JUNE

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Nicholas Wright

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JULY

6/7

JULY

8/9

This Summer with the

La Dolce Vita

Sat | 8pm | Chan Centre

Beloved VSO Concertmaster Nicholas Wright performs triple-duty as curator, leader, and soloist for an exciting concert showcasing the beautiful sounds of the VSO’s string section. Featuring Italian and Italian-inspired works by three musical giants: Sammartini, Haydn and Tchaikovsky.

VSO @ Bard: Marvellous Music

Tues | 7:30pm | Orpheum

The tradition continues! Join us for a summer evening concert at Bard on the Beach. Treat yourself to classical masterpieces with the idyllic backdrop of mountains, sea and sky.

Star Wars: Return of the Jedi

In Concert Wed & Thurs | 7:30pm | Orpheum

Experience the spectacular Return of the Jedi on the big screen, with the full score played live by the Vancouver Symphony Orchestra.

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The Princess Bride™ In Concert

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Experience one of the most beloved films of all time as never before… with the power of a full symphony orchestra performing Mark Knopfler’s unforgettable score. Missing this cinematic experience would be inconceivable!

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Harry Potter and the Deathly

Hallows™ — Part 2 In Concert

Wed, Thurs & Fri | 7:30pm | Orpheum

Audiences will experience the final chapter of the Harry Potter Film Concert Series with the VSO performing Alexandre Desplat’s entire Grammy® nominated score live, while the entire film plays in high-definition on a 40-foot screen.

PART OF THE HARRY POTTER™ FILM CONCERT SERIES • BROUGHT TO YOU BY CINECONCERTS HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. J.K. ROWLING’S WIZARDING WORLD™ J.K. Rowling and Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s22)

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Symphony at Sunset

Sat | 7pm | Sunset Beach, Vancouver

2 FREE OUTDOOR CONCERT!

Launch your summer fun with Symphony at Sunset! Join Maestro Otto Tausk and the VSO for a Latin infused program of sultry summer heat, with the beautiful backdrop of Sunset Beach behind.

JULY

16

The VSO at Deer Lake

Sat | 7pm | Deer Lake Park, Burnaby

FREE OUTDOOR CONCERT!

The VSO’s 30-year tradition continues! Enjoy favourite symphonic hits from Tchaikovsky to E.T., Stravinsky to West Side Story. Bring your lawn chairs, and delight in free, fun for all.

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