San Diego Opera's 60th Anniversary La bohème sees Mimì as a ghost
San Diego Opera's 60th Anniversary La bohème sees Mimì as a ghost
ReviewI do not have enough superlatives to describe Moore's rich, clear, precise and beautifully rounded voice but suffice it to say she is for me one of the best sopranos singing currently.
Immersive and imaginative: Manitoba Underground Opera's Tales of Hoffmann
ReviewThere's something elemental about the raw power of the human voice that can move the soul. When a singer is right behind you or a few feet in front of you, there's something magical that happens that can be hard to put into words. I felt like I was part of the show, part of the story, even in the show.
Jonathan Tunick's symphony size orchestration for Sondheim's A Little Night Music
ReviewGraham captures Desiree's humor and sass and broaches the melancholy in the ever sigh-worthy Send in the Clowns.
Opera 5 turns up the spooky in Turn of the Screw
ReviewThe orchestra, under Music Director and conductor Evan Mitchell handled the score and the unconventional space magically. The flow of the score ameliorated the pace of the show itself and vice-versa.
Matthew Polenzani in recital: an abundant performance
ReviewPianist, Ken Noda, with whom Polenzani shares a seemingly symbiotic musical relationship, projects an all together different presence. Appearing almost motionless at the keyboard, he nonetheless captures the myriad moods and musical nuances required by the songs. Noda appeared to be holding his breath while Polenzani reveled in the music. Their interplay was mesmerizing.
A must-watch: SWEAT on-screen
ReviewBefore you even realize it, you know who's soft-spoken, who jokes the most, who's an activist, who's most in it for herself; you know what their desires and fantasies are -- to be a star of the fashion industry, of course -- and what they'd do with any sort of livable income they dream of making.
Chiara Isotton's 'chilling' Medea a bloody good season closer
ReviewHer portrayal of the sorceress's tortured descent into madness, culminating in her murdering her own children, was nuanced and gripping. You were regularly torn between fearing her and pitying her -- and that is the key to Medea.
Feisty, frivolous Don Pasquale not quite in the patter pocket
ReviewWhile the amount of syllables that were flying by were impressive and the pace was astounding, I felt no one was really in the pocket of the piece -- neither the pit nor the stage.
Calgary Opera caps 23-24 season with innovative run of Wagner's Das Rheingold
ReviewOn this night, the chemistry and blend were first-rate, setting the tone for the night's performance. Each embodied a mischievous playfulness in their encounter with Alberich that sets the action of Das Rheingold in motion.
Vancouver Opera's smoking Carmen
ReviewNo longer set as a racial stereotype, Carmen and her companions are, simply, smugglers. No need to give them a particular racial background and attribute that to their criminal behaviour, they just happen to be a group of people living outside the law. And not only was none of the racial elements missed, it made it a much more cohesive story, making Don José an outsider not because of his ethnicity, but because he represents the law they're trying to evade.