“Although this piece isn't directly about the myth," says stage director Amanda Smith, "I imagine that in Pandora we see what happens when the jar, or box, is opened a second time."
You'll also hear soprano/composer Danika Lorèn's curiously titled The Secret Lives of Vegetables, and in a guarantee for laughs, the song cycle by Toronto favourite Peter Tiefenbach, Chansons de mon placard.
If we look too closely with our 21st-century lens, Montezuma could be seen as problematic. Why champion the Spanish, when their colonialism was so vicious?
2019/20 is a season of revivals, perhaps disappointingly so for some of the COC's longtime audience members who won't get treated to much they haven't seen before.
"There's nothing I like better than planning programmes," says Davis, of his enthusiastic stepping in as the TSO's Interim Artistic Director. But, eager to pass the torch officially to Gimeno, "the next season will be Gustavo's."
Composer Chris Thornborrow, librettist Julie Tepperman, and director/dramaturge Richard Greenblatt, dare to tell an uncomfortably familiar story that, today, is full of the themes that permeate every news story and piece of media we consume.
Shot in the salt flats of Utah by visual artist Redd Walitzki, Roxanna has created an original arrangement of Hugo Wolf's "Verborgenheit" ("Concealment").
There's little wrong, though, with heading into a new year with good tunes in one's head, and an acute anticipation of good things to come.
I guess that's my 2018 year-in-review: finding my way back to opera. It certainly helped to have, always bubbling in the background like happy reminders, the insatiable enthusiasm for opera of our writers and readers. So, thanks.
"That time is imprinted in my brain, and I think it will be forever," says Khalil of singing Ayre at Toronto's Ismaili Centre, a cultural symbol of the city's fostering of Islam. She gave three performances between November 10-12, 2016, less than a week after Trump's election win. "This piece felt like it was so needed at that time."