In review: Partenope at ENO

Review

There's no envy on our end for directors who put up Handel operas, and Partenope seems another which poses tricky dramaturgical questions; the biggest of these is the problem fo where these characters are, and why they share a common space. Alden's open-house concept, where everyone seems to hang out chez Partenope, works well; he finds an organic way to waver between real-time action and inner monologues, as though he hits "pause" and "play" on the general timeline of the story.

In review: LPO presents St. Luke Passion

Review

What struck us most about this performance was how clear these characters appeared to this modern audience. The passion is truly a timeless story, and to see these thousand-year-old character’s come to life in an extremely relatable way is why we yearn to keep seeing passions performed.

Sexy operas: The Tale of Januarie

Review

It has all the stuff of classic storytelling: an old man marries a young blonde girl, a young man is lovesick over that same blonde girl, and the whole story is fuelled by sex. In fact, Priapus himself (played by Carl Stone) sets quite the tone indeed, introducing the story with a penile hat atop his head, a wheelbarrow in front of him to carry the weight of his four-foot-long penis.

In review: Songbook VII at Tapestry Opera

Review

For the last few years, one of my favourite events is the Songbook series presented by Tapestry Opera. It's one of my favourite events because it's something I believe we should see more of here in Toronto. As Artistic Director Michael Mori pointed out in his preamble speech, the unfortunate thing that often happens in Canada with new works is that they only get heard once.

At arm's length: Goerne & Hinterhäuser in recital

Review

Not only did Hinterhäuser make for an uncomfortable start to a recital, but he seemed to behave it poor, selfish taste. Goerne seemed prepared to continue singing, even if Hinterhäuser needed to scramble to save the missed page-turn; yet this pianist decided to stop the whole thing entirely, draw attention to the human error that may have happened beside him, and force Goerne to restart.

In review: An Evening with the Ensemble Studio

Review

With the incredible COC Orchestra on stage surrounded by the set of their current production of Mozart's The Magic Flute, the night opened with the overture and first five scenes of Mozart's La finta giardiniera, then the stunning Norma/Adalgisa duet scene from Norma. After intermission they closed out the night with the final string of scenes from Handel's Ariodante.

In review: Snow

Review

"The absence of the narrative episode in which Snow White is bewitched into suspended animation by her jealous stepmother leaves a tantalizing question about how our heroine comes to be interred in a casket," writes Hurley in his director's notes. "Snow White's implied death became the conceptual starting point for approaching the three operas as a through-drama; a young woman at the end of her life searches her past for clues to her tragedy."

In review: Peter & Deutsch at Wigmore Hall

Review

Peter and Deutsch chose songs that were a blatant reminder of just how tender-hearted men can be, especially concerning the opposite sex. There seemed a theme of lavishing praise on women, and Peter had us convinced that he was a true heart-on-his-sleeve romantic.

The best bad meal in London: the Faulty Towers Dining Experience

Review

It's an evening full of scripted sketches and impressive improvisation alike, all three characters constantly interacting with the guests. Diners were scolded for "hanky panky" at the table, reprimanded for taking too long to eat their soup, and they made room under the table for hiding Basils. Manuel caused wave after wave of eye rolls with his hilarious lost-in-translation antics, and the simmering domestic dispute between Basil and Sybil was anything but subtle.

In review: The Pirates of Penzance at ENO

Review

With the ENO Orchestra sounding the best yet we've heard them under Gareth Jones, this Pirates of Penzance has a ball with everything that's silly and absurd about the show. Broad, flat geometric shapes created imaginative, flexible sets; saturated blues and reds placed us properly in Britain, and flashes of green came with the young, fresh flock of Stanley girls, and a murky purple took the story into the nighttime hours.