Less is not always more, especially in opera staging and design, but director Robert Carsen and...
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Live-streaming: why are Canadian opera productions missing from the worldwide phenomenon?
The availability of live-streamed and on-demand opera has exploded in the last five years. Major...
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: Opéra de Montréal’s “ultra-conventional” approach to Rigoletto feels out of place in #MeToo era
Is there a more problematic opera for the #MeToo era than Rigoletto? As yet another wealthy,...
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...
Preview: dark comedy meets fantasy in City Opera Vancouver’s “operatic thriller” Nigredo Hotel
City Opera Vancouver opens its 2018 season this week with a new production of the classic '90s...
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...
News: Musique 3 Femmes announces winners of new prize supporting emerging female opera creators
Musique 3 Femmes has announced the winners of a new prize honouring emerging Canadian women...
Review: Manitoba Underground Opera wraps up another season of re-imagined classics
Manitoba Underground Opera surfaced once again on the cusp of Winnipeg's regular arts season with...
Review: Highlands Opera Studio 1940s La Bohème much more than an operatic warhorse
It was with a certain degree of ambivalence that I attended the summer 2018 production of La...