Callas lovers, listen up: a giveaway is underway!

News

At the end of November, our Patreon supporters who pledge $15/month or more will be entered into a draw for the 42-disc box set. Tell your friends, and if you've not done it yet, consider becoming a patron of Schmopera's; your contribution will help us continue to offer more smart, ad-free content from around the opera-loving world.

Putting a big gift to great use: Tapestry Opera's Disaster Relief Benefit concert

News

The first of the two concerts starts at 7pm, featuring operatic and musical theatre offerings from the likes of Simone Osborne, Erica Iris Huang, Asitha Tennekoon, Keith Klassen, and Alexander Hajek. Tickets are $30. At 10pm the Bösendorfer gets a workout, with performances by jazz pianist Robi Botos and concert virtuoso Younggun Kim. Tickets are also $30.

"It's his life, it's him." Soundstreams presents Musik für das Ende

Interview

With the daunting score has come an "unbelievable" level of focus from the performers. "That's maybe even more powerful than this music, these people working either in pairs or quartets or quintets," he says of the "fierce" level of listening between the singers. "They're totally wrapped up with this other person."

The TSO pays homage to Maureen Forrester

Review

Forrester became known for her interpretations of Mahler and for her professional relationship with the composer's protegé Bruno Walter, so it's no surprise to find the composer on the program. After the intermission, German-Canadian tenor Michael Schade joined Ms. Platts for Mahler's Das Lied von der Erde (The Song of the Earth), one of the composer's best loved works.

Money & manners: one critic's observations from her really great opera seats

Op-ed

There's a funny catch, though, because when you're sitting in those pricey sections of the opera house, your neighbours are likely of a certain demographic; basically, they're sitting in those seats because they're good, and they can afford them. The important thing to note here is not that there are wealthy people who go to the opera, but that there's likely a stark difference between their tax bracket, and that of someone who writes about opera for a living.

3 tips for being a respectful voice coach

How-to

That mutual respect is at the root of how opera's best voice coaches work, and it's something singers should look for in their work. A coach's ability to demonstrate respect for a singer's work counts for a lot, and we have three ways to achieve it:

For kids & grown-ups alike: The Scorpion's Sting

Review

It must be a difficult task, to write a work specifically for young people that does not come off as overly moralistic or saccharine. Happily, the gist of The Scorpions' Sting - the power of forgiveness and the importance of teamwork - avoids sentimentality by being genuinely funny, (alternating effectively between sarcasm and overt goofiness).

Luxury at arm's length: Arabella

Review

A woman with a spine is somewhat of a rare find in opera, and so it's hard to admit that Arabella is a woman who warrants very little empathy - even from this female reviewer. Arabella's insistence on waiting for the "right man" among her train of suitors is something that's admirable and surprisingly contemporary even for this 1932 opera.

Breathe: the latest recordings from James Rolfe

Interview

"I'm both flattered and sad that I'll be part of their final season. I will miss TMT greatly, as these pieces have marked some of my most artistically satisfying experiences. But I'll also miss the wonderful people who made these collaborations so enjoyable."

An isolated tenor in an operatic masterwork: Les contes d'Hoffmann

Review

This production's prologue opened with a sequence of generic opera tropes that undermined the opera's quality. One cliché followed another: a bad silent-movie love-pantomime, uninspired park and bark narration, a silly "Oliver Twist" money pouch, muggy chorus acting, and way too many people standing on tables. This brand of stale opera is what convinces people the form is dying.