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...
