When he began working on The Bassarids in 1963, the 37-year-old Hans Werner Henze (1926-2012) had...
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Preview: Opera up close and personal at Manitoba Underground Opera
From the stony ruins of a historic cathedral to the stately grandeur of Manitoba’s Legislative...
Review: Joyce El-Khoury brings a ‘meaty dramatic approach’ to long-lost Liszt opera Sardanapalo
Can something be called ‘new’ 170 years after it was written? In the case of Franz Liszt’s...
News: Opera Canada to participate in mentorship program for emerging arts critics
The Emerging Arts Critics programme (EAC) is an initiative aimed at supporting and fostering...
Preview: Bizet meets Banksy in Opera Kelowna’s modern-grunge makeover of Carmen
Opera Kelowna is bringing the “unbridled heat and dangerous passions” of Bizet’s beloved opera to...
Review: Santa Fe Opera returns to its Straussian roots with a new, “not to be missed” Ariadne auf Naxos
When the late John Crosby created an opera house in the middle of the New Mexican desert, just...
Review: Robert Lepage’s techno-heavy The Magic Flute at Festival d’Opéra de Québec
The blockbuster show at this summer’s Festival d’Opéra de Québec is Robert Lepage’s new production...
Preview: Ode to the operetta—where do things stand for light opera in Canada?
Enjoy a snippet from writer Catherine Kustanczy’s feature in our upcoming issue exploring ‘light...
The New York Times praises Dominique Labelle, 2018 Opera Canada Awards honouree
Our 2018 Opera Canada Awards: The Rubies honoree Dominique Labelle was recognized in a New York...
Review: Karina Gauvin’s “consistently beautiful singing” is the highlight of Glyndebourne’s Saul
Back in the days before we expected Handel’s oratorios to be staged as operas, the smart comment...