The final Mozart-Da Ponte collaboration, 1790’s Cosí fan tutte, o sia La Scuola degli Amanti...
Reviews
Review: Die Walküre times two at TSO and LPO
Experiencing two concert presentations of Wagner’s Die Walküre within a week on two different...
Review: Edmonton Opera’s Hansel and Gretel “enchanting and appropriately ghoulish”
There was a time when ‘opera’ implied a notion of music that unabashedly included the expectation...
Review: Gerald Finley brings an “aching pathos” to Metropolitan Opera’s Bluebeard’s Castle
To see or not to see: that’s the question posed by Metropolitan Opera’s intriguing pairing of...
Review: L’Opéra de Montréal’s Champion offers redemption…in black and blue
What makes a man? His wins? His losses? His mistakes and regrets? His memories? Is it in how he...
Review: Canadian Opera Company Elektra “a rare theatrical perfect storm”
Best productions of Elektra have a lead singer who can make the jagged vocal score sound...
Review: Die Fledermaus a 2018 antidote from Toronto Operetta Theatre
Tired out from the Holiday Season festivities? How about something frivolous, frothy and fun to...
Review: Festival d’Automne à Paris’ Kopernikus: a “brilliant performance” of Claude Vivier’s “other-worldly, ethereal work”
Kopernikus (Rituel de la mort, 1978-79) was Claude Vivier’s only opera. Seen Dec. 4th at Espace...
Review: San Francisco Opera’s It’s a Wonderful Life “Everyone loved it. There were tears.”
San Francisco Opera’s It’s a Wonderful Life (seen Nov. 20th), Jake Heggie’s latest work for the...
Review: Bavarian State Opera’s Otello: Gerald Finley’s Iago shines in misguided staging
Bavarian State Opera’s new production of Otello (seen Nov. 28th) would seem to have all the...