The singing reigns in Chicago's I Puritani

Review

While no tenor on earth welcomes comparisons to the undisputed "King of High C's," Brownlee is a triumph in this role and it's not just the singing — Brownlee is a physically-engaged actor, throwing off coloratura while crawling between set pieces and even dashing through the auditorium during a chase scene. And yes, he does take the high F (the F above tenor high C) in the final act's "Credeasi misera."

Ciekiewicz "triumphant" in Calgary Opera's Onegin

Review

Addis carries himself with poise and swagger that underscore his character's coldness. But in the third act, Addis unleashes a full range of his acting and vocal ability when his character finally recognizes his love for Tatyana. His vibrant voice is pierced with desperation as he pleads with Tatyana, who refuses to act on her feelings for him.

Great music & distracting sexuality: Rigoletto

Review

We find ourselves in the domain of the Duke. He exerts his power over the masses through his manipulation of Rigoletto's remarkable skill for what is now popularly known as "reading" people.

A test of endurance: Satyagraha at ENO

Review

Unfortunately, we have come to expect this lack of attention to aesthetics in the big opera houses, and as theatre and film move strides across the artistic plane, opera tends to fall flat on its face on its reliance with tradition, outdated gimmicks, and its clumsy and naive understanding of mass audience appeal.

Opera meets cult film: Hercules vs. Vampires

Review

The evening was a charming departure from what we think is "traditional" opera: ticket holders were encouraged to dress up in costumes to match the spooky theme of the opera, to react organically during the piece, and to generally be a bit less stuffy than normal.

Dead Man Walking makes its Minnesota Opera debut

Review

There were ominous prison guards lurking above the action throughout the whole opera, and a confusing element of the set was the huge American flag, which hung above center stage. What was the message? That Americans are the only ones who deal with capital punishment?

Steps forward for opera's women: Tosca at PBO

Review

In a world where consent is so often coerced – Tosca's world, and ours – it's impossible not to draw comparisons to stories of #MeToo, #TimesUp, and a slew of fallen titans. It's easy to imagine Scarpia as a man who might have a button hidden beneath his desk to lock his office door.

Newly staged: The Diary of One Who Disappeared

Review

The singers gave gripping and intensely theatrical performances. Yet the atmosphere created was meditative, as their judicious movements possessed calm and reserve. The singing was nuanced, if at times a bit uneven. In the tenor Peter Gijsbertsen's highest register, some passages sounded tense and forced, but these were also the moments of most impassioned emotional intensity.

Autobiographical recitals: Joshua Guerrero in the Amphitheatre

Review

It was one of those recitals that really does let you get to know an artist more. He was honest, open, and almost wide-eyed about his art; happily, he has the serious chops to back up the biography.

Clairvoyant art: Enrico at Oper Frankfurt

Review

After suffering trauma to the head while in character as Henry IV, Enrico (Holger Falk) regains consciousness still believing himself to be the 11th century emperor. So as not to rattle him, Enrico's relatives maintain an elaborate lie involving costumes, alternate personas and staff trained to appease him.