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...
