Updating operas: why stop at the libretto?

Editorial

Does this point to a subtle, non-malicious, yet inherent slight towards libretti, and by extension, librettists? If opera is the spectacular melding of music and text, why does the former seem more sacred than the latter? And finally, is an updated libretto to the tune of un-updated music a fundamentally incomplete idea?

Roxanna Walitzki: Exquisite Corpse

News

"I only recently began down this path, but have received mostly positive feedback about my approach. What I do isn't what most people expect when picturing electronic-meets-classical (it's a far cry from things like The Fifth Element aria and other techno-driven reinterpretations), but the layering of textures can be helpful to those less accustomed to listening to art songs. It adds another emotive dimension to tune into, and I try to stay attuned to, and respectful of, what made the compositions great in the first place."

Banff-bound, 2016

News

Like we've done in previous summers, we'll keep up our coverage of the operatic goings on across the globe, and we'll also be able to keep you in the loop with the artists of this year's Open Space programme. We also hope to get to the faculty a bit better, which this year includes baritone Russell Braun and soprano Adrianne Pieczonka, and the Canadian Opera Company's General Director, Alexander Neef.

Don't miss: Verdi's Requiem at the Southbank Centre

Interview

On May 23 at the Royal Festival Hall, the English Philharmonia & Chorus present Verdi's Requiem, with soloists Naomi Harvey, Maria Gulik, John Hudson, and David Soar. Graham Wili, Music Director of both the English Philharmonia Orchestra and Chorus, will conduct; we had the opportunity to ask him about putting together a piece like Verdi's Requiem, with a chorus of 250+, a full orchestra, a four tireless soloists.

In review: A Little Too Cozy

The show has a longer run than most AtG shows (running from now until May 21) so now even more people get a chance to experience the magic. This group keeps turning out hit, after hit, after hit, and the shows will no doubt sell out. They keep changing up the game with their many-pronged media attack, and I think A Little Too Cozy succeeded moreso than the other DaPontes.

In review: Against Nature

Review

The overall effect of the piece was enchanting. A moving piece of lyrical theatre that is a perfect fit for this time of year. Beautiful music with entrancing movement in a charming space that tells a nuanced and layered story. Toronto has had a great spring so far with regards to performing arts and events, and Against Nature is one of the reasons.

Aria Guides: Dies Bildnis ist bezaubernd schön

How-To

Next up for our Aria Guides: the tenor's favourite scary aria, "Dies Bildnis ist bezaubernd schön" from Mozart's Die Zauberflöte. It's an aria about love at first sight, about idealism, and about proving that music can be difficult to sing even if there are no B-flats or crazy coloratura. Along with your teachers and coaches, we can help with some tricky corners of this aria, and even get you confident about adding it to your audition package.

In review: Synesthesia IV pt.1

Review

The singing was clean and beautiful, even if in my opinion there was far too little of it. MacArthur's light lyric tone and fantastic English diction marry so well with contemporary pieces, I was felt wanting a lot more from him - not because his performance lacked anything, but the complete opposite; he was so good I wanted more, but there were only 2 pieces of the six that featured a singing vocal line.

Aria Umezawa: Opera 5's Die Fledermaus, with surprises

Interview

June 8-11 at Toronto's 918 Bathurst, Opera 5 presents Die Fledermaus, that beloved, waltz-tastic tale of parties and blackmail. Rachel Krehm and Michael Barrett star as Rosalinde and Eisenstein, sharing the stage with Julie Ludwig as Adele, Keith Lam as Falke, and Erin Lawson as the heiress Oksana Orlofsky. Of course, in Opera 5 fashion, this Die Fledermaus is updated, interactive, and audiences will meet a very special guest, by the name of Pearle Harbour.

Is it time for the Met to move?

Editorial

It would be decidedly difficult for the Met as a company to wriggle free from the Met as a building. They're absolutely one and the same, especially for the new audiences, who are being courted while loyal subscribers grow older, and single-ticket buyers become more important sales targets. For these new people that the Met wants in their seats, the experience of going to that building is as much a part of the evening as the show itself.