Fierce recitals: Karita Mattila at Wigmore Hall

Review

Was it perfect? No. In fact, she threw perfectionism out the window. But what she gave up in terms of perfecting the music, she gained in the freedom of her expression. Wild and uninhibited, she switched freely from head voice to chest voice, casting away any notion that she would be singing in a reserved or false manner.

Don't miss: Il matrimonio segreto on tour

"I don't believe there is a 'traditional' way of performing opera whatever the context. However, what is interesting is taking the opera out and about to farms, castles, studios and churches and bringing the audience very close to the voices. Opera buffa was and is a popular form, so Pop-Up Opera's mission can tap into that spirit."

In review: Tosca at the COC

Review

She seemed deaf to much of the text, and her over-conducting (opting for 6 beats when 2 would do) left her with little room to follow the voices' lead. Plus, her frustrating choice to leave a break for applause after both of Cavaradossi's arias seemed to completely undermine the careful dramatic timing in Puccini's writing. Thank goodness for Adrianne.

Success & hype: the first season of Opera Pubs in Toronto

Editorial

The success of the Opera Pubs brings to light something that is - and should be - considered seriously among operatic circles across the globe: the potential for circular gratification among those on the inside. In Toronto, the audiences of most operatic events include familiar faces - fans, colleagues, and friends of those involved in the show; these are a beautiful group of folks, full of support and delight for the work done in their city. But any opera company worth the hype is constantly seeking audiences full of new faces, an ever-widening pool of interested listeners.

Take a joke, have a nap

Op-ed

We may feel a bit miffed, but for the people who did find Roker's joke blatantly funny, we are not going to change their minds by shouting "disrespect!" and tsk-tsking them for laughing. If the feared stereotype is that opera is uptight and snoozeworthy, we are not proving them otherwise by telling Roker that he's "embarrassing".

In review: Lawrence Zazzo at Wigmore Hall

Review

We are constantly looking for more representation of women composers, which is why we were so upset to see Zazzo mocking Strozzi's music and Strozzi herself. Seated behind a music stand, he made faces that we took to be "imitating a woman," like an exaggerated oil painting of a "feminine" gesture or sigh. We were happier when his face was buried in the stand.

In review: the Mississauga Symphony presents Carmen

Review

This was a sold out house at the Living Arts Centre in Mississauga, and you could tell by the millings about that most of these people rarely, if ever, go to the opera. To be clear, this is really exciting. It shows the strength of the medium and that it, by no means, is a dying art. The overture started and the audience was still milling about excitedly, chatting and laughing and drinking.

Meet the folks: Collectìf

Interview

"We were all coming to the end of our academic careers at around the same time. We were looking to create something interesting, and we wanted to be our own bosses. Each of us adds something totally unique to the dynamic of the group, and we are completed by Tom King, who has been out pianist for every show."

In review: The Italian Girl in Algiers at MYOpera

Review

Rossini's music demands plenty from its singers, and Italian Girl comes with the extra challenges of making a comedy, well, funny. It may sound like a small thing, but this production succeeded largely because of the fun and risk that the cast took in the Italian recitatives. The singers allowed themselves silly sounds, and pulled the notes clear off the page into the realm of spoken text. It's one of the hardest things about performing this kind of opera, and their skill with the Italian text allowed the audience to embrace the show's absurdities.

Canadian YAPs & missed opportunities

Review

hat seemed like the true oversight, at least for this recital of Canadian young artists, is that no young, Canadian music made it onto the programme. These annual collaborations between two of Canada's biggest opera houses seem like a perfect opportunity to explore the huge library of 20th- and 21st-century opera, much of which comes in the form of short, self-contained scenes that are perfect for a showcase concert.