Aria guides: the Count's Aria

How-To

We're continuing our new series of Aria Guides with more Mozart, this time for the men: baritones, it's your beloved Count's Aria from Le nozze di Figaro. Like all you aspiring Counts, I too love this aria to bits. It's got a recit that's both textbook and full of life. The aria is wild soliloquy, full of unnatural mood swings from a powerful man who realizes that he can't buy intelligence.

Aria guides: Deh vieni, non tardar

How-To

Readers, we've got a new treat for you! Welcome to our new series of posts that take you through popular arias of all voice types, step by step. We'll point out tips and tricks for making the learning process efficient, and try to answer as many FAQs about the repertoire as we can.

Spotlight on: Sara Schabas

Interview

Canadian soprano Sara Schabas has learned, in her still-young career, how much singing can mean to an audience. She knows that it takes more than technique to move listeners, and she knows that her work is valuable on stages of all sizes and shapes. Sara sings to give back, bringing music to patients in hospitals and care facilities through charities like Songs By Heart and Sharing Notes.

Look at all the new operas!

Editorial

I came across this comprehensive list of operas written after World War II, compiled by French writer and critic Thierry Vagne. There are hundreds of operas listed by John Adams, Krzysztof Penderecki, Steve Reich, Harrison Birtwistle, Benjamin Britten, and way, way more that I'd bet you've never heard of.

Opera orchestras: robots, or out of the loop?

Op-ed

I've written before about the emotional rollercoaster caused by the arrival of the orchestra. In short: you, the singer/pianist/director/passionate stage manager, have spent weeks in music and staging rehearsals for a particular show, and you've no doubt grown close to the piece, and all your favourite moments in this particular production. For pianists, the way they play the score is informed by what they see being built up onstage; if it's an interesting rehearsal process, I'll probably play the score differently at the end of it than at the beginning, because I'll know more things about this story now.

Tapestry Opera's Selfie talks online bullying

News

Next week, Tapestry Opera opens its new season with a workshop presentation of Selfie, a new opera with text by Julie Tepperman and music by Chris Thornborrow. Selfie was a part of Tapestry's Opera Briefs in past seasons, where Artistic Director Michael Mori says "it received the most support."

Kyra Millan: Arts Education counts

Interview

Performer, teacher and artist educator Kyra Millan has taught countless students of all ages in school classrooms and in her private studio. She started the GLEESICAL music theatre program at the Classical Music Conservatory, and she leads workshops at the Canadian Opera Company, Opera Atelier, the Royal Conservatory of Music, Workman Arts, and the Centre for Addiction and Mental Health.

10 Years of the Met at the Movies

News

2015/16 marks the 10th anniversary season of The Met: Live in HD, and they're celebrating with a meaty selection to show off the best of opera. Starting with Il trovatore on October 3rd, non-New Yorkers can get their Met fix in Cineplex theatres across North America (including four in Toronto!).

Check out: MYOpera

Interview

MYOpera is the brand new face of Toronto-based indie opera company Metro Youth Opera. Their commitment to providing professional experience to emerging artists remains the same, but MYOpera has a new name, and a new season. At the aptly chosen Opera Bob's Public House, Artistic Director Kate Applin announced MYOpera's upcoming production of Britten's The Rape of Lucretia in spring, 2016.

In review: The Seven Deadly Sins

Review

I'm always excited by Kurt Weill. Ever since my first exposure to Mahagonny and Down in the Valley (one of his American musicals) I've been fascinated by his work with Bertolt Brecht. On Friday, September 25th I got to re-hear one of my favourites presented by The Friends of Gravity.