Am I allowed to hate Silent Night?

Review

And I'm sorry, but I did hate it. These are words I've almost never uttered about an opera, and it doesn't feel good to be typing them now. The work's overall message - that if we can only see the humanity in our opponents, then we might be able to put an end to the violence of war - rings hollow when the fascism and authoritarianism that rose out of the ashes of the Great War (something the libretto only acknowledges in passing) are looming once again in the 21st century.

"Catharsis" is the wrong word: Britten's War Requiem

Review

There was bile on Tovey's tongue that rang into Roy Thomson Hall, and its effect lingered long enough to dovetail into the first bars of the War Requiem. I have always found something magnetic and charismatic about Tovey, and as silly as it may sound, to hear him indulge in a brief moment of personal feelings about the meaning of war and commemoration felt akin to hearing a friend's firsthand experience with tragedy.

Quartet breathes the divine into Verdi Requiem

Review

performance. Each instance of the "Dies Irae" theme, in which the chorus competes with a bombastic orchestra, was performed with gusto and confidence. The choir also excelled in its polyphony, with the challenging "Sanctus" and "Libera me" fugue performed well on this night.

Wacky & silly Médecin malgré lui an over-the-top delight

Review

But of course, Stephen Salters proved to be the definitive star of the night with the way he played the role of Sganarelle. Salters proved to be an extremely versatile performer whose comedy was absolutely on point throughout the whole, be it from his tasteful vocal colorations in his drinking song to the exasperation towards his near-hanging at the end of the opera.

Resources & visibility for IRCPA's New Singing Stars

Review

Following the concert, IRCPA awarded its annual "Career Blueprint" to soprano Sara Schabas, who had wowed the crowd - both live and those watching and listening live on The New Classical FM - with her crystalline singing of a snippet of Strauss' Der Rosenkavalier.

Inflatable beasts & vocal brilliance: LOC's Siegfried

Review

Pountney's concept for this Siegfried is rooted in his perception of the eponymous character's childlike naiveté and exuberance. Much of this production is experienced through the eyes of the young hero, but with some unabashed anachronisms. Siegfried's scenes were awash with primary colors taken straight out of a Crayola Crayon box.

A definitive hit: West Side Story in Atlanta

Review

West Side Story isn't an easy show and, particularly in current climates, a controversial one to cast. It is dance heavy and, while the Atlanta Opera Chorus shined during their choreographed number during last season's La fille du régiment, West Side Story requires specialized training, perfect timing, and active feats of physical intensity. After spending election night in the audience of the same production I was so nervous about, I can genuinely say that it is a production not to miss.

The follies of modernization: Oedipus Rex & Iolanta

Review

It's a crass move to co-opt sexual assault as a means to artificially raise an opera's stakes. It also causes serious dramaturgical issues. By screwing around with the plot, the director has given herself the irreconcilable task of manufacturing staging that respects the repercussions of Iolanta's assault, while spinning an idyllic, fairytale love story, with a libretto that only supports the latter.

Opera laid bare, for better or for worse in the Met's Fanciulla

Review

It's funny how similar the opera-going experience is, be it at an opera house or the movies. Older audience members still kvetch about the venue - "They should have it at TIFF," et cetera - and there's the usual mixture of apologies and harumphing as latecomers squeeze past their neighbours' knees to find their mid-row seats.

Spectacle & art: Dragus Maximus

Review

The show, a revue of Baroque arias and a world premiere by music director Daniel Schlosberg, incorporated masterful singing, a costumed 6-piece band, gender bending, lip syncing, imaginative costumes and dazzling makeup in the intimate venue of Roulette Theatre in Brooklyn.