Pretty poison: Lucrezia Borgia at New Amsterdam Opera
SongStudio: Lied-ing the wayReview
If opera can be seen as a circle struggling to widen the circumference of its audience, concerts consisting of song alone are a much smaller and much more esoteric circle. Ms. Fleming is trying to change that and is currently devoting her life to ensuring that there will be at least one more generation of song artists.
Justice is served in the COC's SalomeReview
What's always drawn me to Braid on stage is her innate dramaticism. She understands character, nuance, backstory, and everything that an actor's actor loves to see another actor exercise on the stage.
The women rule in COC's Nozze di FigaroReview
Like, I can handle some dramatic symbolism, some commentary on a piece that has enormous wisdom in it; I suppose it's because all the neat little ideas -- Cherubim rides a unicycle! Susanna is obsessed with the Countess' fur coat! Figaro keeps leaping into an open pit in the floor! -- don't ever add up to something that's more profound than what Mozart and Da Ponte gave us.
The Cleveland Orchestra brings radical refinement to Carnegie HallReview
With the first Berg-to-Schubert transition, virtually seamless though that was hardly the primary intent, Welser-Möst made clear that these works, written just over a century apart, were part of a musical continuum.
In Our Daughter's Eyes: musical miscarriageReview
Gunn portrays a man expecting his first child, and he expresses his excitement and his fears as he takes us through all the stages of the pregnancy – the first ultrasound, the second ultrasound, naming the child, etc.
Trade/Mary Motorhead: music in the backgroundReview
Their interaction is so believable that we feel as if we are peering through the keyhole of the motel room where they've met for their illicit encounter. We forget we're watching something on a stage.
note to a friend: MATTERS OF LIFE AND DEATHReview
Suicide has been a frequent topic in opera over the centuries, and usually takes place in the passionate throes of a tragic event. Lang, however, explores the ‘act of taking one’s life’ not as a momentary impulse, but as a personal choice made after a great deal of contemplation.
Angel's Bone: Disturbing the comfortableReview
One audience member commented “If you enjoyed this opera, you weren’t paying attention” and I think that’s bang on. This piece is difficult. From the music, to the staging, to the subject matter, this production is disturbing, unsettling and extremely raw.
There is an unfortunate trend currently in live theater. It’s not clear if the demand is coming from audiences or from theater companies who are either listening to their audiences or to the bottom line of their budgets.
Calgary Opera launches 50th Anniversary Season with gritty take of Bizet’s CarmenReview
Carmen was born in the wrong century,” says Chaieb. “She’s no queen, she doesn’t come from a family with a lot of money. But Carmen has power and decisiveness. And she is the only character from the beginning to the end of the opera who doesn’t change who she is and how she expresses herself.”