Reflective stories: RCM's The Cunning Little Vixen

Review

This is what makes The Cunning Little Vixen such a remarkable opera: in watching its complicated and confused characters, ironically half of whom are animals, we see so much of ourselves. Understanding these intricacies and subtleties, the RCM created a production which explored the contradictions and pretenses that comprise being human.

An "astonishing" Bryan Hymel in the Royal Opera's double bill

Review

The singing, in particular, was phenomenal. Elīna Garanča was nothing short of flawless as Santuzza. Her voice was warm, with a steely edge and full of raw emotional power. She made everything she could have out of the character, singing with true beauty and mastery. Opposite her, Bryan Hymel sang a stunning Turiddu.

Opera for all: The Magic Victrola

Review

The Magic Victrola features opera's top-shelf tunes: the Lakmé Flower Duet, Carmen's "Habanera", the infamous "O mio babbino caro" from Gianni Schicchi; perhaps less well-known are the picks that stand for larger operatic truths, like the textbook bel canto of "Quanto è bella" (L'elisir d'amore), the delicious coloratura of the "Doll Song" (Les contes d'Hoffmann), and timeless scenes from The Magic Flute.

Enticing teasers: Winter Shorts

Review

The night consisted of eleven selections from LIBLAB, touching on subjects ranging from the barista's crush on the handsome regular (as a former barista myself, this one rang very true) to a piece inspired by the world-famous photo of the poor Syrian boy found dead in the sand on the beach. It was a range of topics only Tapestry could tackle and pull off successfully.

Left wanting more: ENO's Marnie

Review

I wasn't convinced this particular story was served well by becoming an opera. The sense of suspense and unease which characterises the film didn't transfer onto the stage at all. Particularly, the climactic scene of the novel, a hunt on horseback, seemed somewhat stunted. It was very creative and clever staging, with projected horses running and action on stage from dancers.

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.