Dead Man Walking, the opera, has enjoyed a remarkable life: it’s been around for twenty-three years now, performed in dozens of venues worldwide and commercially recorded twice, and it shows no signs of going away. I first encountered it in 2002, in Cincinnati, caught...
Canadian soprano Jennifer Maines is in Victoria, BC preparing to add a seventh role to her impressive list of Wagner roles, making her debut as Brünnhilde in Pacific Opera Victoria‘s production of Die Walküre opening this week. We caught up with her this week to reflect on her career in opera, what inspired her to begin singing, the best part of being an opera singer, whether she believes in fate, and more.
Beethoven famously regarded his only opera, Fidelio, as a problem child that cost him dearly, and certainly it took about a decade from 1804-1814 and three distinct tries for him to get to the version that holds the stage today and that opened the Canadian Opera...
The Canadian Opera Company mounted its John Caird staging of Puccini’s La bohème for the third time in a decade October 6 with a performance that was endearing if not on opening night as emotionally affective as it might have been. A co-production with Houston Grand...
The (R)evolution of Steve Jobs by Mason Bates, with libretto by Mark Campbell, starts with Jobs’s frenzied 2007 launch of “the device” that has altered world culture and the habits of hundreds of millions of people--the actual name never proclaimed. It fits the hand,...
Finnish soprano Miina-Liisa Värelä is in Toronto making her debut as Leonore in Beethoven’s Fidelio at the Canadian Opera Company with COC Music Director Johannes Debus conducting. She takes us with her to explore the Toronto area this week, marvelling at the majestic beauty of Niagara Falls, the fine acoustics of the Four Seasons Centre, tasty coffee from The Rooster and more.
What is it about Schubert song cycles that attracts the Regie gang? In recent years Christof Loy, William Kentridge, and David Alden have all had a go at Winterreise, whose coherent narrative plausibly invites theatrical treatment. Now Claus Guth has tackled...
Giuseppe Verdi’s Il trovatore is about a hallucinating witch and two men who do not know they are brothers. They both love the same woman. It is one of the great sing-fests in all of opera, lavishly piling glorious (often famous) numbers atop one another. The blood...
Egyptian soprano Amina Edris is in Toronto, preparing for the first of five role debuts in her 2023/24 season, singing Mimi in the Canadian Opera Company’s production of Puccini’s La Bohème, running Oct 6 to 28. This week, she shares seminal moments in her career journey with us and reflects on the importance of investing in yourself as an artist.
Canadian soprano Kirsten MacKinnon is in her hometown of Montreal making her company debut with Opéra de Montréal kicking off their 2023/24 season with Mozart’s The Marriage of Figaro, which runs until Oct 1. She takes us to beautiful, colourful Montreal this week to explore mural-filled city streets, cafes with snuggly rescue kittens, and so much more.
Canadian-German soprano Anna-Sophie Neher is in Toronto, preparing to return to the Canadian Opera Company’s stage as Marzelline in Beethoven’s Fidelio which opens this Friday, running Sept 29 to Oct 20. This week, we sat down with her to discuss her life and career, singers that keep her inspired, roles she’d like to be singing, and what it’s like to juggle family with a career in opera.
In Denise Wendel-Poray’s words: “Relyea‘s final entrance as the Commendatore is electrifying…his massive stature, charismatic presence, and sonorous voice, looming through the penumbra to deliver the final and fatal blow.”