Jonathan Tunick's symphony size orchestration for Sondheim's A Little Night Music
Reviews
Jonathan Tunick's symphony size orchestration for Sondheim's A Little Night Music
ReviewGraham captures Desiree's humor and sass and broaches the melancholy in the ever sigh-worthy Send in the Clowns.
Opera 5 turns up the spooky in Turn of the Screw
ReviewThe orchestra, under Music Director and conductor Evan Mitchell handled the score and the unconventional space magically. The flow of the score ameliorated the pace of the show itself and vice-versa.
Matthew Polenzani in recital: an abundant performance
ReviewPianist, Ken Noda, with whom Polenzani shares a seemingly symbiotic musical relationship, projects an all together different presence. Appearing almost motionless at the keyboard, he nonetheless captures the myriad moods and musical nuances required by the songs. Noda appeared to be holding his breath while Polenzani reveled in the music. Their interplay was mesmerizing.
A must-watch: SWEAT on-screen
ReviewBefore you even realize it, you know who's soft-spoken, who jokes the most, who's an activist, who's most in it for herself; you know what their desires and fantasies are -- to be a star of the fashion industry, of course -- and what they'd do with any sort of livable income they dream of making.
Chiara Isotton's 'chilling' Medea a bloody good season closer
ReviewHer portrayal of the sorceress's tortured descent into madness, culminating in her murdering her own children, was nuanced and gripping. You were regularly torn between fearing her and pitying her -- and that is the key to Medea.
Feisty, frivolous Don Pasquale not quite in the patter pocket
ReviewWhile the amount of syllables that were flying by were impressive and the pace was astounding, I felt no one was really in the pocket of the piece -- neither the pit nor the stage.
Calgary Opera caps 23-24 season with innovative run of Wagner's Das Rheingold
ReviewOn this night, the chemistry and blend were first-rate, setting the tone for the night's performance. Each embodied a mischievous playfulness in their encounter with Alberich that sets the action of Das Rheingold in motion.
Vancouver Opera's smoking Carmen
ReviewNo longer set as a racial stereotype, Carmen and her companions are, simply, smugglers. No need to give them a particular racial background and attribute that to their criminal behaviour, they just happen to be a group of people living outside the law. And not only was none of the racial elements missed, it made it a much more cohesive story, making Don José an outsider not because of his ethnicity, but because he represents the law they're trying to evade.
100 years later, Boulanger's opera gets North American premiere
ReviewThe opera's intended 1914 premiere at the Opéra Comique was cancelled due to the outbreak of World War I during which time the original orchestrations were lost. The origins of the Boulanger-Pugno work are almost as fraught with circumstance as D'Annunzio's libretto.
In transition, Boston Baroque's Don Giovanni shows very few bumps
ReviewBoston Baroque's casting absolutely knocked it out of the park when it came to casting this particular production. It's a very rare time at the opera where I can say I feel everyone was memorable in their own way, but this performance had probably one of the best ensemble casts I've had the pleasure to watch.