Androgyny is sexy: Carmen at ROH

Review

In Barrie Kosky's new production for the Royal Opera that had its premiere in 2016 at Oper Frankfurt, there is no time period, nor geographical location. The sultry voice of Claude de Demo narrates the story and sets the scene in between musical numbers, in lieu of spoken dialogue or recitative. All this being said, the entire evening was thrilling and unforgettable for all the right reasons.

Help wanted: Els Comediants bring Barber to Houston

Review

At any rate, the production focuses on the perennial problem of "finding good help these days;" do the servants really care about their employers' tribulations? Is it any wonder that Bartolo's (Peixin Chen) house is falling apart? Indeed, the Houston Grand Opera Chorus were skilled at portraying a motley group of musicians who just need to keep their voices down once in a while, lest they attract the attention of the bayonet-armed, plume-graced Seville gendarmes.

Grime sees debut at Wigmore Hall

Interview

"It is wonderful to me that Helen Grime, such a phenomenal, fearless composer and also a mother, should take these poems from the book and give them a new embodiment in her song cycle," says Benson.

The singing reigns in Chicago's I Puritani

Review

While no tenor on earth welcomes comparisons to the undisputed "King of High C's," Brownlee is a triumph in this role and it's not just the singing — Brownlee is a physically-engaged actor, throwing off coloratura while crawling between set pieces and even dashing through the auditorium during a chase scene. And yes, he does take the high F (the F above tenor high C) in the final act's "Credeasi misera."

Ciekiewicz "triumphant" in Calgary Opera's Onegin

Review

Addis carries himself with poise and swagger that underscore his character's coldness. But in the third act, Addis unleashes a full range of his acting and vocal ability when his character finally recognizes his love for Tatyana. His vibrant voice is pierced with desperation as he pleads with Tatyana, who refuses to act on her feelings for him.

Great music & distracting sexuality: Rigoletto

Review

We find ourselves in the domain of the Duke. He exerts his power over the masses through his manipulation of Rigoletto's remarkable skill for what is now popularly known as "reading" people.

Don't miss Tap:Ex Forbidden: "We are tough and resilient."

Interview

"As a female composer with a Persian background, I have the privilege to be able to see the performance of my opera. It brings tears to my eyes, knowing many Iranian music masters who have written great operas that are forbidden to be performed on stage. Having this privilege, it is my responsibility to create."

A test of endurance: Satyagraha at ENO

Review

Unfortunately, we have come to expect this lack of attention to aesthetics in the big opera houses, and as theatre and film move strides across the artistic plane, opera tends to fall flat on its face on its reliance with tradition, outdated gimmicks, and its clumsy and naive understanding of mass audience appeal.

Opera meets cult film: Hercules vs. Vampires

Review

The evening was a charming departure from what we think is "traditional" opera: ticket holders were encouraged to dress up in costumes to match the spooky theme of the opera, to react organically during the piece, and to generally be a bit less stuffy than normal.

Heggie's Holocaust operas see Canadian premiere

Interview

"What we wanted to explore in these pieces is, what it is to survive when you're not necessarily doing heroic things, you're just surviving," Heggie says of his Holocaust-themed one-acts. "What Krystyna had to do in order to survive was not heroic, it was horrifying."