For the first time in its 18-year history, the 2018 Rubies is honouring one of its own. Fittingly...
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Step into the world of Hadrian: interdisciplinary conference offers insights into new opera
Hadrian, Rufus Wainwright’s all-new operatic creation, is days away from hitting the main stage....
The Rubies 2018: Spotlight on Dominique Labelle
Soprano and vocal pedagogue Dominique Labelle feels honoured to receive one of this year’s Opera...
Review: Canadian Opera Company opens its season with an “intelligently and unfussily staged” Eugene Onegin
Less is not always more, especially in opera staging and design, but director Robert Carsen and...
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...