In review: Suffragette

Review

Director Jessica Derventzis opened The Boatswain's Mate with a rousing British chorale vigorously waving Canadian Flags, Gay Pride Flags, and Trans Pride Flags - only to not introduce a single queer character. It seemed disjointed, out of place, and kind of pandering. While I respect that there are queers all over this industry, if you're going to wave our flags in your opening number of your show, we should at least be in the show somewhere. Ultimately, I felt like Dame Ethel Smyth's suffragette mentality and protest spirit was missing in the material.

In review: Hamlet at Glyndebourne

Review

Allan Clayton was sensational in the title role. From the first scene we get a sense that he is a black sheep to the rest of the royal family, and in the two acts of the opera he is in a constant state of unhinge - sometimes he is laughing and enjoying life with Horatio, but one comment from Gertrude can set him off into a frenzy. Clayton played Hamlet on the brink of a breakdown without sacrificing the beauty in his vocal production.

Josephine and The Artizans' HipHopera: Act II

Review

Above it all, Josephine's voice soars. Hardcore opera fans may have a tough time with JATA's almost instrumental use of the voice - its function melodic, a unique ingredient in their music's texture - yet it's a testament to Josephine's savvy straddling of classically-inspired songwriting and producing work that has commercial appeal.

In review: Miss Hope Springs at Wigmore Hall

Review

It's difficult to come up with any artists who have recently graced Wigmore Hall who have that same power - whose mere entrance can rile up a crowd, who doesn't even have to play a note to have us on the edge of our seats. This is the kind of magical ability that classical performers should be trying to discover.

In review: The Seven Deadly Sins at TSO

Review

Ivany seems to take a different tack with their relationship. It almost seems this time around as though Anna I (the singer) is actually part of Anna II's (the dancer) demise. She seems to be the one encouraging her sister to indulge in the seven sins in order to make their money. #CouPIMPgh.

In review: Hipermestra at Glyndebourne

Review

Fifty brides, a giant flying peacock, and appropriated costumes from the middle east are all present in Glyndebourne’s new production of Hipermestra by Cavalli. Long-established Glyndebourne veterans William Christie and Graham Vick collaborated to bring this opera to life for the first time since the seventeenth century.

A full house for Canadian art song at 21C

Review

The Canadian Art Song Project itself has an unblemished history of presenting concert events that are thoughtful, wisely collaborative, and beautifully executed. No doubt, their high standards of concert-giving would extend beyond the realm of Canadian music; yet a trustworthy entity like CASP is a valuable tool in the large challenge of getting Canadian music written and heard. Simply put: if there's quality to the work, a sold-out crowd is no mystery.

Tough to watch: Oksana G.

Review

There's much about Oksana that's maddening. Kind and trusting people make risky and uninformed decisions, and evil people lie and harm others with no remorse; everyday people ignore cries for help from sex workers, and helpless parents, left without money or police, turn to fortune-tellers in times of desperation. Maddening as it may be - and easy as it seems to say, "I'm too smart to fall for that" - the story of human trafficking is true and happening now.

Hype for a reason: AtG's La bohème

Review

There are a few moments that always kill me in La bohème. There's the sexy "buona sera/good night" that Rodolfo says to Mimì in Act I; there's that that part in Act IV where he tells her she's as pretty as a sunrise, and she corrects his poetry, saying it should be "sunset". There's the look on Schaunard's face when their fun and games pull a sudden 180, and he's faced with the scene of a dying woman and a very sad friend.

Going out in style: Sy & Kwon in the RBA

Review

It seems appropriate that the Les Adieux concerts show off a side to these singers that's rarely seen on the COC mainstage. For Sy, this was the first undertaking of Schubert's behemoth song cycle, and his performance had a beautiful balance of fresh youthfulness, and careful thought. He took enormous risks in vocal colour, nailing just about all of those choices; the detail work was impressive, and his sound has settled into something unique and warm.