It was with a certain degree of ambivalence that I attended the summer 2018 production of La...
Angie Bell
Review: Russell Braun demonstrates “astonishing expressive power” in The Bassarids at Salzburg Festival
When he began working on The Bassarids in 1963, the 37-year-old Hans Werner Henze (1926-2012) had...
News: Opera Canada to participate in mentorship program for emerging arts critics
The Emerging Arts Critics programme (EAC) is an initiative aimed at supporting and fostering...
Review: Santa Fe Opera returns to its Straussian roots with a new, “not to be missed” Ariadne auf Naxos
When the late John Crosby created an opera house in the middle of the New Mexican desert, just...
Preview: Ode to the operetta—where do things stand for light opera in Canada?
Enjoy a snippet from writer Catherine Kustanczy’s feature in our upcoming issue exploring ‘light...
The New York Times praises Dominique Labelle, 2018 Opera Canada Awards honouree
Our 2018 Opera Canada Awards: The Rubies honoree Dominique Labelle was recognized in a New York...
Review: Karina Gauvin’s “consistently beautiful singing” is the highlight of Glyndebourne’s Saul
Back in the days before we expected Handel’s oratorios to be staged as operas, the smart comment...
Review: BrottOpera’s production brings “artistic strength” to Mozart’s The Magic Flute
After a seven-year absence, fully staged opera returned to FirstOntario Concert Hall for one night...
Review: Royal Opera House’s midsummer Falstaff is “truly a dream”
It’s no secret that Robert Carsen’s production of Falstaff (seen July 13), which premiered at...
Opera Canada Awards—’The Rubies’: Announcing our 2018 Honourees!
Opera Canada is proud to announce the three distinguished honourees who will receive the 2018...