While David Alden’s production of Donizetti’s Lucia di Lammermoor contains a few puzzling or...
Reviews
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...
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,...
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...
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...
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...
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...