Few operas can have enjoyed a splashier premiere than Francesca Caccini’s Alcina. In the Florence...
![Boston Early Music Festival Circé “no one knows the nuances of French baroque style better than [Karina Gauvin] does.”](https://operacanada.ca/wp-content/uploads/2023/06/2023-06-03-Circe-dress_8-1.jpg)
“Wort oder Ton?”: which has the upper hand, the words or the music? That centuries-old debate, as...
How often does an opera audience seem united by one big, heady communal high? That was the feeling...
There’s a fistful of good reasons for seeing Champion. There’s the story, a real and strong one:...
In his not-quite-fourteen years at The Metropolitan Opera, that compact bundle of...
![Metropolitan Opera Falstaff “Everything about [Rustioni’s] deft, graceful, shipshape account of this infinitely rewarding score seemed unobtrusively right”](https://operacanada.ca/wp-content/uploads/2023/03/Fals_1435_C.jpg)
Since its unveiling at London’s Royal Opera in 2012, Robert Carsen’s temporal transplant of...
I didn’t much care for his Parsifal, and I liked his Flying Dutchman even less, but at the first...
Is Kevin Puts’s The Hours the best brand-new opera the Metropolitan Opera has presented in years?...
Patience can be amply rewarded: Teatro Nuovo’s Maometto Secondo, thrice deferred, at last hit the...
Some operas have grown on me over the years; some productions have, too. Lady Macbeth of Mtsensk...
