A visceral, nightmarish tour-de-force: Der Mieter

Review

Every scene change had us on the edge of our seats, hearts pounding, craning our necks to catch a glimpse of what was next. And just when the tension couldn't possibly mount any higher, it kept rising for what seemed like another agonizing half-hour. It was completely draining and very, very good.

A dreamy indulgence: The Pearl Fishers in Chicago

Review

The plot may be banal, the title confusing, and the libretto outrageous, but the fine singers of the Lyric wrought every possible nuance from the story and embraced The Pearl Fishers for what it is. Sure, it's no Carmen, but why should it be? The Pearl Fishers is something else: an unapologetic bit of hazy escapist fantasy — a rumination on passion and friendship set against an alluring, (if problematically ill-defined), "oriental" backdrop.

The Olympics of Singing: Semiramide at ROH

Review

Remarkably, despite all the difficulties of this work, the cast took it all in stride, making it seem effortless as they thrilled with truly pristine singing. The singers also had the difficult job of filling a massive stage, sparse with sets or props. This was achieved by real presence and unteachable charisma, which the ensemble possessed in spades.

Making the connection: Madama Butterfly in Manitoba

Review

This fabulous production that Manitoba Opera has mounted at the Centennial Concert Hall in Winnipeg, with an absolutely stellar cast, has made me remember why Madama Butterfly is one of the most popular operas of all time.

As One: "they both took risks that paid off."

Review

I was struck most in Hannah's story by how significant seemingly small things became. Her handwriting was the greatest example of this. It had never occurred to me that handwriting could be so gendered and a source of exposure for a trans person. Much of Hannah's childhood is spent trying to be the perfect boy, and even her handwriting has to fit the perception of masculinity.

Calgary Opera delivers comedy gold with well-cast Barber

Review

With Barber, Calgary Opera gets the laughs, thanks to a roster of principals at the top of their craft who are well cast for their respective roles. More importantly, it does justice to one of the most beloved works in the operatic repertoire, by casting singers who can handle the vocal acrobatics of Rossini.

Feminist truths: The Mother of Us All

Review

Martens' Susan B. Anthony grows more and more exhausted by the selfish idiocy of the men in power. She becomes a reluctant yet unstoppable hero, wearied by the immense task in front of her yet brimming with moral certitude.

Moving stories: As One at Chicago Fringe Opera

Review

The libretto by Mark Campbell and Kimberly Reed is linear in structure and sheds light on Hannah's childhood, college years, and her search for identity. Hannah's recollections are personal but also relatable: we discover that she wore a stolen blouse beneath her jacket on her paper route and first found the word "transsexual" in a card catalog in the public library.

Oundjian conducts a favourite: Vaughan Williams at the TSO

Review

Soprano Carla Huhtanen sang with her bright, piercing yet warm tone and was a perfect fit for the composer's score. Her bloom over the apogee of each phrase was thrilling every time. Emily D'Angelo brought a strong dark mezzo to the mix and flashed some incredibly impressive chest voice. Tenor Lawrence Williford demonstrated yet again why this kind of work is definitely in his wheelhouse, I found that his diction was the clearest throughout the piece.

Murky works: Shadwell Opera presents The Lighthouse

Review

The confusion in the space translated into some confusion about the plot. Unfortunately, it wasn’t very clear that the trio of sailors from the opening were sitting before a board of inquiry, which also made the ending quite difficult to follow when it came. The first part of the opera was murky and perhaps could have been more interesting in its staging.