Elza van den Heever and the MET Orchestra: A stunning all-Strauss program
Reviews
In review: Earnest, the Importance of Being
ReviewLast night I went to opening night of Earnest, the Importance of Being at Toronto Operetta Theatre. The piece, by Victor Davies and Eugene Benson, had its premiere in 2008. It's a rare thing to find an original Canadian operetta, and this one is a hilarious and charming take on Oscar Wilde's *The Importance of Being Earnest*.
In review: Béatrice & Bénédict at MYO
ReviewYesterday I went to hear Metro Youth Opera's production of Berlioz' Béatrice & Bénédict at Daniels Spectrum. I hadn't seen the opera before, and whenever I plan to see a piece for the first time, I rarely look up details like a plot synopsis. I'm one of those people that thinks that opera fans should have the option of enjoying a piece without needing to do homework, and I was pleased that MYO's B&B was clear and entertaining, language barriers (and Shakespeare) aside.
In review: The Barber of Seville at the COC
ReviewI went yesterday afternoon to see The Barber of Seville at the Four Seasons Centre. The anticipation was serious, especially since I was able to see the director's concept discussion, and I interviewed three singers from the cast, Joshua Hopkins, Alek Shrader, and Serena Malfi.
In review: Die Walküre at the COC
ReviewLast night I finally got the chance to satisfy my curiosity, by seeing the Canadian Opera Company’s current production of Die Walküre, directed by Atom Egoyan (and running until Feb. 22). Since the 2014/15 season was announced, I had been eager to see Egoyan’s take on Wagner, and to hear Christine Goerke as Brünnhilde.
The 2015 Quilico Awards
ReviewLast night the members of the COC Ensemble Studio competed in the Christine and Louis Quilico Awards, in the Richard Bradshaw Amphitheatre at the Four Seasons Centre. From my own experience with the 2013 Quilico Awards, I know that this intra-Ensemble competition can be tough on the singers.
In review: Jane Archibald and Liz Upchurch
ReviewOut of this season’s Free Concert Series in the Richard Bradshaw Amphitheatre, Jane Archibald‘s recital with Liz Upchurch was one I was really looking forward to. I was by no means disappointed. Jane’s is a voice I’ve admired since I heard her as Zerbinetta in her COC debut in 2011.
Toronto City Opera: Don Giovanni
ReviewWednesday night, I went to see Don Giovanni at Toronto City Opera; I don’t know much about the company, and I was most surprised to learn that they’re in their 48th season. Forty eighth! TCO’s mission is to “grow the art of opera. It will facilitate this by training young and/or inexperienced singers through an intense regimen of coaching in musicianship, stagecraft and performance.” I’m a big fan of companies who create performance opportunities for young singers.
In review: The Whisper Opera
ReviewOn Saturday I had the chance to see David Lang‘s The Whisper Opera, presented by Soundstreams at The Theatre Centre; with a sold-out run, I was lucky to catch this in Toronto. It was one of the coolest things I’ve seen in a long time, made better by the few expectations I had beforehand. The Pulitzer Prize winning composer (the little matchgirl passion) asks, “what if a piece were so quiet, and intimate, and so personal to the performers, that you needed to be right next to them or you would hear almost nothing?” The Whisper Opera is aptly named; it’s certainly a piece that achieves Lang’s aim to write “pieces that try to highlight things that can only happen live.”
In review: Harper Regan
ReviewFor a while, I’ve been itching for a change: I wanted to see more non-musical theatre. Maybe it’s because opera lets me hear fantastic singers regularly, but there’s rarely a person onstage who started their training in drama, rather than music. I was really thrilled to be able to catch Simon Stephens‘ play Harper Regan at Canadian Stage, which premiered in 2008 at the Royal National Theatre. I figured it would quell my straight theatre bug, and I was clearly curious to see Molly Parker (House of Cards, Deadwood) in the title role. Harper Regan is inspired by the Greek plays surrounding the House of Atreus, and the stories of a cursed family
In review: Dido and Aeneas with Capella Intima
ReviewCapella Intima showed off some incredible solo and ensemble singing, supported by the exciting chamber ensemble of the Gallery Players of Niagara (Rona Goldensher and Julie Baumgartel, violins, Brandon Chui, viola, Margaret Gay, cello, Borys Medicky, harpsichord).