Don't miss: Electric Messiah

News

These days, you can hear your beloved Messiah any way you like it. Soundstreams is trying out a brand new way to hear Handel's ubiquitous, beloved work. On December 7 and 8, as part of their Ear Candy series, Soundstreams presents Electric Messiah, or, "Handel goes Underground: A stripped down, surround-sound electro-improv Messiah for today’s Toronto."

Aria guides: "Deh vieni alla finestra"

How-To

For good reason, Don Giovanni is one of the most coveted baritone roles in opera. His aria, "Deh vieni alla finestra," is an incredible scene, a picture of Don Juan in action, unencumbered by angry exes or jealous fiancés. He's serenading a nameless woman (Elvira's maid, technically), in that truly Spanish style, with a guitar outside her window.

Paid summer programs: is it time for a revolution?

Op-ed

Summer programs, and their expensive nature, have been under scrutiny during this 2015/16 audition season. It's not a new conversation; the advent of bloggers has meant conversations about not-cheap aspects to the opera training industry, including famed bass-baritone Alan Held's strong words for YAPs (conversely, there's this controversial article about why audition fees are necessary).

In review: Elektra

Review

L'Opéra de Montréal is in the middle of a four-show run of Strauss' Elektra, the opera that I'm still waiting to see as a double bill on steroids with Salome, for a full night entitled, Women Who Behave Horrendously. It was a thrill to watch Yannick Nézet-Séguin conduct Strauss' delicious score with the huge amounts of energy he brings. He became somewhat of a meta-principal character in the show; it seems appriopriate, since the music speaks so much detail in this story of revenge.

Emotional extremes & bringing your work home

Op-ed

Roles like Violetta and Don José can emotionally cost a lot, and, some singers feel the need to shake off a character's heaviness after rehearsal is done. Women who sing Cio-Cio San (not to mention those who have kids of their own) can have an inevitable sympathetic resonse to that final scene. Singers playing villain roles might feel guilt or disgust after staging a particularly nasty scene, despite the obvious fictional element to the whole thing.

Don't miss: AtG's Messiah

News

Hallelujah! Massey Hall presents AtG's Messiah at the Harbourfront Centre Theatre, December 16-19th. Mokrzewski conducts Handel's infamous score (bonus: I can be spotted at the harpsichord), and Ivany collaborates with dancer and choreographer Jennifer Nichols to present something innovative, featuring very little parking or barking. "We ditched the 'stand and deliver' performance, tuxedos and choral folders, and mounted a barefoot, choreographed oratorio — one that walked the line between edgy and faithful."

Audition arias 101: the young singer's guide

Op-ed

I've written before about the psychology of an opera singer's audition, and playing a strategic game with your aria package. Singers learn the rules of said game through audition experience. So, what if you don't have any?

Singing in English: 3 reasons why no one can understand you

Editorial

It's hard to think of your own language objectively, and English is often a complicated mess of vague vowels. In today's opera and classical music scenes, it's more important than ever for young singers to sing well in English, and to be understood by their audiences. Crisp consonants can go a long way, but here are three valuable tips to keep your listeners' attention, and eventually make same-language surtitles a thing of the past.

Gems: Maestro Rowan Atkinson

Humour

A little about me: I'm a fan of conductors, parodies, and Mr. Bean. So, here's all three, in the form of Rowan Atinkson hilariously taking the podium for Beethoven's 5th. Hilarious, but also legitimately brilliant. Enjoy!

On the road with JMC's Roméo et Juliette

Interview

Jeunesses Musicales du Canada is about getting more people, young people in particular, listening to classical music, and getting emerging artists to present it. Part of JMC's annual calendar of around 1600 concerts and workshops is a touring operatic production, and this year's pick is Gounod's Roméo et Juliette. A cast of six singers and one pianist bring the production, directed by Oriol Thomas, around Québec, New Brunswick, and Nova Scotia.