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.

Chiaroscuro classics: The Marriage of Figaro

Review

Even with the dark elements, the piece did not lose its comic lightness. It was still an evening full of laughs and slapstick, but the more serious aspects were brought forth. Along with this unexpected episode, Mortellaro's characterization of Susanna in the final two acts deviated from the common chipper portrayal of this sassy maid. She was a bride-to-be who truly didn't want to go along with the Countess' plan to trap the Count.

A luminous Lucia at Florida Grand Opera

Review

Soprano Haeran Hong in the title role was superb. Her performance from start to finish was a spellbinding display of virtuosity and musical imagination; her mad scene cadenza felt effortless, almost improvised. She captured a range of emotion and colour to rival the soaring range of notes — flawlessly executed — that comprise Donizetti's challenging score.

Persona and the Sounds of Silence

Review

It's Alma, played by mezzo-soprano Crider who must carry the show on her musical shoulders and she delivers a stunning performance, both as singer and as actress. Crider doesn't miss a beat capturing the emotional complexity of Alma's character while traversing the complexity of Keeril Makan's score.

Emotional nights with the TSO

Review

AFGHANISTAN: Requiem for A Generation was not only a solemn concert to remember those men and women who have served, and just as importantly - continue to serve, in our Armed Forces, but also to remember those whose lives are touched by war. It was equal parts celebratory for our freedoms, respectful that we still have a way to go, and reverent to those who have gone before us.

Thomas Paine in Violence "must be witnessed."

Review

Enthroned eight feet off the ground, she presides like an oracle. Below is bedlam. Four hyperactive, dapper, brown men run her subconscious. The "Manchorus" (played tirelessly by Paul Pinto, Andrew Mayer, Christian Luu, and Eddie Rodriguez Jr.) frenetically shuffles about, sharply turning and gesturing, maneuvering papers, tables, panels, electronics, and punctuating Paine's speeches with tight, high, vocal stabs for dramatic and comedic effect.