October 22, 2018 - The 18th annual Opera Canada Awards — 'The Rubies,' was a stupendous success....
Angie Bell
Review: Pacific Opera Victoria’s Fidelio: superb cast—heavy-handed production
Pacific Opera Victoria’s season-opening production of Beethoven’s Fidelio is musically...
FEMMES — MARIE-JOSÉE LORD
[vc_row][vc_column][vc_column_text]“Lord's vibrant, dark-hued soprano, with its lively vibrato, is...
PINOCCHIO — BOESMANS
[vc_row][vc_column][vc_column_text]“As Pinocchio (Le pantin), soprano Chloé Beuron is charming and...
Review: Canadian Opera Company’s Hadrian offers “operatic alchemy” despite “unimaginative production”
At Canadian Opera Company on Oct. 13th, Daniel MacIvor and Rufus Wainwrights’ first collaboration,...
The Rubies 2018: Spotlight on Dominique Labelle
Soprano and vocal pedagogue Dominique Labelle feels honoured to receive one of this year’s Opera...
Review: Canadian Opera Company opens its season with an “intelligently and unfussily staged” Eugene Onegin
Less is not always more, especially in opera staging and design, but director Robert Carsen and...
The Rubies 2018: Spotlight on Alexander Neef
Opera Canada Awards 2018 honouree, Alexander Neef, is in a thoughtful mood as he looks back on his...
Review: “Thought-provoking and very funny” new play-opera I Call myself Princess tackles cultural appropriation at premiere in Toronto
Jani Lauzon’s I Call myself Princess (seen Sept. 13th) skilfully weaves together two stories. The...
Review: English National Opera’s high-energy production of Paul Bunyan an “immersive theatrical event”
The trouble with Paul Bunyan is that the music is too good. If Benjamin Britten hadn’t been...