Christophe Dumaux
Happy birthday to us: Schmopera is four!
EditorialWe're proud to call ourselves an artist-run publication, set on demystifying opera without dumbing it down. In this past year, we've expanded our opera coverage to cities across North America and Europe - our new contributors are an amazing, dedicated group of loquacious artists who keep our mission afloat.
Reflective stories: RCM's The Cunning Little Vixen
ReviewThis is what makes The Cunning Little Vixen such a remarkable opera: in watching its complicated and confused characters, ironically half of whom are animals, we see so much of ourselves. Understanding these intricacies and subtleties, the RCM created a production which explored the contradictions and pretenses that comprise being human.
An "astonishing" Bryan Hymel in the Royal Opera's double bill
ReviewThe singing, in particular, was phenomenal. Elīna Garanča was nothing short of flawless as Santuzza. Her voice was warm, with a steely edge and full of raw emotional power. She made everything she could have out of the character, singing with true beauty and mastery. Opposite her, Bryan Hymel sang a stunning Turiddu.
Opera for all: The Magic Victrola
ReviewThe Magic Victrola features opera's top-shelf tunes: the Lakmé Flower Duet, Carmen's "Habanera", the infamous "O mio babbino caro" from Gianni Schicchi; perhaps less well-known are the picks that stand for larger operatic truths, like the textbook bel canto of "Quanto è bella" (L'elisir d'amore), the delicious coloratura of the "Doll Song" (Les contes d'Hoffmann), and timeless scenes from The Magic Flute.
Enticing teasers: Winter Shorts
ReviewThe night consisted of eleven selections from LIBLAB, touching on subjects ranging from the barista's crush on the handsome regular (as a former barista myself, this one rang very true) to a piece inspired by the world-famous photo of the poor Syrian boy found dead in the sand on the beach. It was a range of topics only Tapestry could tackle and pull off successfully.
Talking with singers: Aigul Akhmetshina
Interview"But I like to spend my free time with my close friends who've become like family to me. I love walking in a park and my favourite place in London at present is Greenwich Park. It is a magical place! The more I get to know London, the deeper I fall in love with it!"
Left wanting more: ENO's Marnie
ReviewI wasn't convinced this particular story was served well by becoming an opera. The sense of suspense and unease which characterises the film didn't transfer onto the stage at all. Particularly, the climactic scene of the novel, a hunt on horseback, seemed somewhat stunted. It was very creative and clever staging, with projected horses running and action on stage from dancers.
Don't miss: SongFest alumni in recital
NewsThe programme is a fantastic mix of top-shelf art song by Poulenc, Schubert, Zemlinsky, Marx, Turina, and Berg, alongside works by SongFest featured composers Tom Cipullo and Jake Heggie. Plus, there are a few tastes of the artists' operatic work, including the delicious final trio from Der Rosenkavalier.
How your voice type determines your on-the-job social life
EditorialIt's something to ponder: have the great composers of history inadvertently laid out a predetermined social life for generations of operatic artists? Have they added to the stereotype of rival divas by keeping them isolated to their own operas? Have they given credulity to the inevitable cross-disciplinary romances between soprano and baritone, between répétiteur and tenor?
A visceral, nightmarish tour-de-force: Der Mieter
ReviewEvery scene change had us on the edge of our seats, hearts pounding, craning our necks to catch a glimpse of what was next. And just when the tension couldn't possibly mount any higher, it kept rising for what seemed like another agonizing half-hour. It was completely draining and very, very good.