As the most compact of the Ring operas —clocking in at a trifling two-and-a-half hours— Das...
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Review: At Metropolitan Opera, Sondra Radvanovksy is the “most complete…Tosca of the past two or three decades”
There’s almost always a certain splashy excitement attendant on a new production’s opening night,...
Review: Wexford 2018 “yielded many an unexpected pleasure” while some elements “felt out of place”
I’m an unabashed admirer of verismo opera, but I freely admit having qualms when Wexford announced...
Review: English National Opera’s Lucia di Lammermoor is “powerful, memorable and effective”
While David Alden’s production of Donizetti’s Lucia di Lammermoor contains a few puzzling or...
Canadian Opera Company’s Hadrian: commanding vocals and powerful symbolism
“The Empire holds its breath, awaiting orders.” These lines, sung early in the Canadian Opera...
Canadian Opera Company’s Eugene Onegin: “dynamic as it is sparse”
Canadian Opera Company’s season-opening, Eugene Onegin (seen Sept. 30th), was thrilling in its...
Opera Canada Awards — ‘The Rubies’ 2018: A Night of Celebration
October 22, 2018 - The 18th annual Opera Canada Awards — 'The Rubies,' was a stupendous success....
Setting the stage for Opera Atelier: a chat with set designer Gerard Gauci
From the dark, brooding tale of punishment that is Charpentier's Actéon to the ethereal splendour...
Review: Pacific Opera Victoria’s Fidelio: superb cast—heavy-handed production
Pacific Opera Victoria’s season-opening production of Beethoven’s Fidelio is musically...
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,...