The Elton John Act IV: Fiddly for the Fingers – The "Smugglers’ Quintet" from Carmen

How-To

Though this excerpt can be frustrating at times due to its technical challenges, I promise it gets easier. Nevertheless, if I can, I always avoid starting with it in an audition, as it works best for me when my fingers are a little warmed up and I'm feeling a little more comfortable with my surroundings.

The Elton John Act III: Violent, sadistic & utterly engaging - the Maid Scene from Elektra

How-To

Whatever the staging, the atmosphere the music creates is oppressive, nasty and yet sometimes tender, and without a feel for the context of the whole piece, you will always struggle to recreate the senseless violence of the maids in this opening scene.

The Elton John Act II: Trampolines & tongue-twisters - the set audition excerpts

How-To

Sometimes the full-fat beginning of Der Rosenkavalier is also requested. The key here is to pace the excitement in the right way, as on stage a lot of love is being made.

Of The Sea: a beautiful, overdue story that lingers

Review

There are some shows that never leave you whether performing in them or experiencing them. Of The Sea is one of those. Not just musically and visually. This piece made an impact.

The Elton John Act

How-To

You won't be bashing out the chords of "Bennie and The Jets" while singing along to your heart's content. Your task will be to play some of the most difficult ensemble moments in the entire opera repertoire, singing every part and every ensemble.

Bluebeard’s music shines, with Alma’s highlights

Review

The last of the four songs is actually quite dark in a way that fits the quizzically gothic ending of Bluebeard's Castle pretty perfectly, so it ended up forming an arc that actually did somehow add to one of opera's most perfect endings.

A Triumph for Tosca at the Adrienne Arsht Center

Review

Toni Marie Palmertree, who portrayed Floria Tosca, delivered a truly remarkable performance. Her voice was powerful, clear, and expressive, capturing the complex emotions of the character with ease. Palmertree's acting was equally impressive, embodying Tosca's fiery temperament and vulnerabilities masterfully.

Il trittico: slices of Puccini

Review

To this reviewer, Il Tabarro most certainly sounds like a Puccini opera – right from the opening chords which become a recurring motif – and there are several stand-alone solos that aren’t as famous as those from his other operas, but in the hands (or throat) of the right performer they can stop the show.

Expect the Spanish Inquisition at Heroic Opera's Don Carlo

Interview

"The characters are flawed, but some take those flaws and make their world better, and others use it to the detriment of others. Power doesn't have to be evil, but the intersection of power, greed, and relentless injustice is terrifying."

A Midsummer’s Night in Mid-winter Vancouver

Review

An absolute show-stealer, and it was obvious the performers were having as much fun with the scene as the audience was.