Don't miss: Oshawa Opera's 2017/18 season

News

This month, the Oshawa Opera kicks off its fall season of 2017/18, with Mascagni's verismo favourite, Cavalleria rusticana, for one performance only on October 29, 3pm. Mezzo-soprano (and Oshawa Opera Artistic Director) Kristine Dandavino (Santuzza), tenor Jason Lamont (Turridu), mezzo-soprano Anna Belikova (Lucia), baritone Kyle Lehmann (Alfio), and mezzo-soprano Victoria Borg (Lola) join the Oshawa Opera Chorus and William Shookhoff at the piano.

Duets for lunch: UofT Opera in concert

Review

Hearing pre-professional singers is always fascinating, at least for me. It's a chance to hear new voices, in a context that allows for the in-flux status of their vocal development. Personal opinion: voices that are settling and sorting themselves out are one of the world's most interesting things.

Don Pasquale: a colorful season starter at Minnesota Opera

Review

This production had an entertaining concept, though I wish it had been taken further. The "release" of the technicolor was not gradual enough to stay present in the audience minds in the second and third act. Additionally, Doctor Malatesta's apparel was changed into vibrant colors but the Don's was not. It would have been interesting for his clothes to change when he is at the end of his rope with Norina; then, when there was a happy ending to switch back to black and white.

R.B. Schlather, Susan B. Anthony, & connecting opera with community

Interview

Not only is Schlather's latest project site-specific, but one which is in response to a performance space's unique history. "That's exciting for me, and it's the continuation of explorations that I've been doing for the past couple years," he says. These explorations, he explains, haven't always been clear in direction, but they have always ben led by the question, "what does it mean to do this opera in this location?"

Cleaned-up Callas: the remastered live recordings

Review

What does an opera lover in the 21st century do with something like Warner Classics' recently released Maria Callas Live Remastered Recordings (1949-1964)? The first thing would be to squeal with glee: the box set includes live recordings of 20 full operas, 5 filmed recitals, and a book detailing each of the iconic roles sung by Callas.

A bold debut album: Brian Mulligan sings Dominick Argento

Review

Mulligan has a thrilling quality in his voice, an open-throated sound that's masculine, honest, and completely appealing; his is an exhilarating balance between constant beauty and toeing a risky edge.

Living up to its name: Experiments in Opera

Interview

"Our most successful projects are ones where we invite composers to make work in a community where everyone is being asked to respond to similar restraints of story, instrumentation, performers, etc. This way, we can create an artistic dialogue about the process, invite audiences to note the differences between each composers' styles and approaches, and engage a wider and more diverse range of singers and instrumentalists who are flexible in terms of style, genre and technique."

"How did we do?" Second Movement Presents: rough for opera #16

Review

All of the pieces were presented as works in progress, with the possibility of expansion or revision pending audience feedback. Being in this kind of environment, even as a spectator, was thrilling, with everyone in the room contributing to the creative process that goes into creating a piece of music theatre.

Playing bel canto: 4 tips for pianists

How-to

Singers know well that bel canto opera is demanding stuff. For pianists, a quick glance at the sparse, simple accompaniments in the arias by Bellini, Donizetti, and Rossini can give the false impression that the repertoire is simple. The notes may be straightforward, but there's more to the art of playing bel canto than meets the eye:

Xenophobia, Fake News, & Mental Health: Peter Grimes

Review

Warner's Grimes is far from blameless, mirroring the ambiguity around an attitude that welcomes outsiders when those outsiders pose a perceived threat. For a German audience that is still adjusting to the arrival of a million Syrian refugees in the wake of the 2015 migrant crisis and whose dark history of unfounded scapegoating still looms large, this Peter Grimes struck a resounding chord.