Organic elegance: Orphée et Eurydice in Chicago

Organic elegance: Orphée et Eurydice in Chicago

Tacking happy endings onto tellings of traditionally tragic myths in this way was very much en vogue in the eighteenth-century. But for Neumeier's concept-driven production, while the musical substance remains the same, the story's denouement is rendered far more devastating than even the myth's usual tragic end.

Hannah De Priest - Sep 25, 2017
Memorable nights: the TSO's tribute Glenn Gould

Memorable nights: the TSO's tribute Glenn Gould

Lisiecki had me stunned not over the deftness of his hands, but over his sense of breath, space, and chamber music. He left room for humanity in even the trickiest of passages, and he was constantly conscious of who his current duet partner was. He challenged the orchestra to play unbearably soft, and ferociously attacked the piano to achieve enormous volume, without ever leaving an ugly edge.

Jenna Simeonov - Sep 24, 2017
"Little-known gems": Ariane et Bachus

"Little-known gems": Ariane et Bachus

"I have to admit that I am partial to demons, having portrayed a dancing fury a few times myself. After carefully embodying good taste in the noble characters, the evil characters get to break all the rules. Plus, in hell you get to play with snakes, wands, and torches."

Jenna Simeonov - Sep 21, 2017
"I think it takes a brave artist to do something like an Opera Pub."

"I think it takes a brave artist to do something like an Opera Pub."

"There's nothing that compares to a rowdy, enthusiastic crowd cheering you on when you've nailed that high note. You just don't get that in your usual recital/concert setting, and there really is nothing more gratifying. Of course, the singers involved are the biggest highlight for me. As a coach here in Toronto, I meet new singers on a daily basis, but there's something about meeting a singer on stage (literally) and performing for the first time with absolutely no rehearsal in front of a live audience that is absolutely thrilling."

Jenna Simeonov - Sep 21, 2017
A lopsided & bloody double-bill at Hackney Empire

A lopsided & bloody double-bill at Hackney Empire

The second piece of the programme was Bartók's staggering Bluebeard's Castle. Bluebeard's lush mystery couldn't have provided a stronger contrast to tense grey world of Senza Sangue. This production too began with a bare stage, but through the brilliant lighting design of Philippe Grosperrin, each of Bluebeard's seven forbidden rooms came to light.

Vivian Darkbloom - Sep 20, 2017
Opera myths & all that jazz: an interview with Frank Pesci

Opera myths & all that jazz: an interview with Frank Pesci

In a recent interview with Anthony Garone of Make Weird Music, Pesci talks about the operatic myths that may keep potential audiences at arm's length, the influence of jazz in his music - and its value for classical musicians - and his own "heroes" of contemporary opera.

Jenna Simeonov - Sep 20, 2017
A warm introduction: The Mozartists at Wigmore Hall

A warm introduction: The Mozartists at Wigmore Hall

On the 18th of September a new musical group, The Mozartists, was launched at Wigmore Hall. The creation of Classical Opera conductor and Artistic Director Ian Page, it aims to cultivate the music of Mozart and his contemporaries, as suggested by the name. So with the blessing of the Soul of Music on the cupola above, The Mozartists gave a successful debut.

Thomas Pierce - Sep 19, 2017
An organic integration: The Wake World

An organic integration: The Wake World

The audience literally follows Lola (Maeve Höglund) as she embarks on a wild love story with The Fairy Prince (Rihab Chaieb). Soprano Maeve Höglund sings exquisitely and brings an infectious wonder to the role. Rihab Chaieb has a rapturous voice, full of lush colors.

Erik Flaten - Sep 19, 2017
Dynamic and physical: Rinaldo at Oper Frankfurt

Dynamic and physical: Rinaldo at Oper Frankfurt

Three tiny, nearly-nude dancers painted from head to toe acted as freaky humanoid henchwomen to Armida. These impish women did Armida's bidding, transforming at different points into a three-headed monster, a forest, or mermaids, and stopping time to control various characters. A particularly striking moment was when Rinaldo sang "Abbruggio, avampo, e fremo" while being tormented and yanked around by the imps on three long ropes.

Blanche Israël - Sep 19, 2017
Talking with singers: Carl Tanner

Talking with singers: Carl Tanner

"I was a truck driver just out of university in 1985. I loved it! In a way I had no boss, just me and the truck and my drops. I also loved bounty hunting until I learned it can get you killed! I worked as a bounty hunter for a little over two and half years in which I executed approximately 178 out of 190 warrants. After a few life-changing experiences I realized maybe it wasn't my calling to chase down people."

Jenna Simeonov - Sep 18, 2017

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