San Diego Opera's 60th Anniversary La bohème sees Mimì as a ghost
In review: Sweat
ReviewIt's a story that confirms one's hunches about where their $12 tank tops come from, and one that addresses the unresolved truths that are sadly outweighed by the temptations of corporate profit and customer convenience ("If I don't buy it, someone else will."). The opera itself is a cross between an ensemble piece and a vaguely heroic story of one factory worker who fights for fair treatment.
Moral issues & well-loved tunes: BK Opera's La traviata
Interview"I think the idea that Violetta is a delicate, fragile person who sacrifices herself for a man is a problematic one. She makes the decision to leave Alfredo with a heavy heart and is independent and strong - which then makes her death all the more heart-wrenching."
Ariadne comes to the Berkshire Opera Festival
Interview"I anticipate that with the Berkshire Opera Festival staff and the talent we bring in, artists and designers, that we will have similar if not greater success than last year. In addition, producing a lesser-know piece like Ariadne doesn’t worry us because the Berkshire audience is a sophisticated one. They do not need to recognize a name in order to attend a show. Exploring the entire operatic repertoire is a part of the Berkshire Opera Festival mission."
In review: SOLT's Canadian double-bill
ReviewNight Blooming Cereus and A Northern Lights Dream have little in common except the fact that they're Canadian operas, set in the worlds of small-town Shakespeare, Ontario.
Young singers in Santa Fe: Stephen Martin
Interview"Of course there is also the house audition, where directors, agents, and other music staff from opera houses from the United States and around the world attend to hear each apprentice sing an aria. It's huge exposure for us."
In review: Dead Man Walking at Miami Music Festival
ReviewThe audience was left with no question of Joseph De Rocher's guilt – but Sister Helen's resolute narrative transformed the convicted murderer into a man who is conflicted, complicated, and deeply human. In the final scene, De Rocher was administered the lethal injection, strapped upright to a gurney in imagery undoubtedly evoking a crucifixion. The audience, then, was left with questions: did De Rocher's death truly achieve justice? In admitting his guilt, did he open himself to forgiveness? Or were his horrible crimes simply unforgivable?
Music degrees & expectations: 4 tips for new students
EditorialRemember that being able to call yourself a Curtis student or a Juilliard student or say you attend the Conservatoire is a statement about status, and no indicator of your musicianship. So, be fair to your chosen school and what it can offer; more importantly, be honest with yourself about your academic goals.
Fab nights: Whose Opera is it Anyway?
EditorialThe players onstage, who in fact make up "Canada's only Opera Improv group" had fun and poked fun. They conjured up cringe-worthy audition situations, laid out solid impressions of well-known opera bosses, and basically roasted every stereotype of "Canadian contemporary opera". By design, what happened onstage was not only relevant to the audience, but hopelessly intertwined.
In review: TSMF's Night at the Opera
ReviewThere were some serious highlights of the evening; Lorèn earned some well-deserved "bravas" after her stunning "Caro nome" from Rigoletto, and Honeywell made an impactful entrance with his first aria, "Ah, la paterna mano" from Verdi's Macbeth. Relyea made us lean in with his "Il lacerato spirito" (Don Carlo), and Nesrallah broke the ice with her lovely starter, "Mon coeur s'ouvre à ta voix" (Samson et Dalila). Plus, honourary singer of the evening Nikki Chooi broke hearts with the Méditation from Massenet's Thaïs.
Don't miss: Beatrix Potter at Edinburgh Fringe
Interview"Beatrix Potter's storytelling was straightforward and honest. She never talked down to her young readers whilst still making them believe that it's perfectly normal for animals to talk and interact with humans."