Review: Madame Chandelier Saves Opera

In Just the Tonic’s cave-adjacent pub-hub there are several notices asking patrons to swap glasses for plastic, pre-show, and that’s particularly relevant for Madame Chandelier’s crowd. Right from the start the superwigged diva hits a pitch of pint-shattering impressiveness, with a hint of regret. “I should save that high note for the end,” she sighs. Actually the end is already covered – there’s a designated encore-shouter. Our host does not lack confidence, and rightly so.

Chandelier is the creation of Canadian opera singer Delea Shand, and after introducing audiences to the often-offputting artform in previous shows, this time there’s a weightier purpose. Shand is troubled that so many great operas feature the death of a female protagonist, in all sorts of unpleasant ways. So she sets about changing that narrative, rewriting lyrics from The Marriage of Figaro, letting Carmen bodyswerve the dagger, all while belting out the hits. 

Some of the between-song chat could do with sharpening, in truth, but Chandelier is never less than charming, while adding grit this time, too. And you can’t argue with that singing. Experiencing such a big voice in such an intimate space – sometimes right up in your face – will always be extraordinary. Encore, Madame!