A very happy 20th birthday for Classical Opera

Review

As a birthday celebration Classical Opera couldn't have chosen a better program, one which extolled the magic and mystery of music. How else can you explain its ability to inspire and move us, to represent human emotion through pure sound? Ian Page and Classical Opera have shown us that music is a gift to the world. Or as Schiller put it when writing about joy, "beauteous sparks of the gods".

Review: Arabella, or "Poor Little Rich Girl"

Review

Unlike the song-dialogue-song-dialogue-duet-quintet-dialogue-finale formula of operetta - which uses dance forms like polka, czardas, and waltzes - in Arabella, we find characteristic soaring beauty and dramatic pulse in a through-composed score which is what we love about Herr Strauss's music. The appealing play between consonant and dissonant harmonies, lush strings, and emphatic brass were handled masterfully well from the pit under the baton of maestro Patrick Lange.

Duets for lunch: UofT Opera in concert

Review

Hearing pre-professional singers is always fascinating, at least for me. It's a chance to hear new voices, in a context that allows for the in-flux status of their vocal development. Personal opinion: voices that are settling and sorting themselves out are one of the world's most interesting things.

Don Pasquale: a colorful season starter at Minnesota Opera

Review

This production had an entertaining concept, though I wish it had been taken further. The "release" of the technicolor was not gradual enough to stay present in the audience minds in the second and third act. Additionally, Doctor Malatesta's apparel was changed into vibrant colors but the Don's was not. It would have been interesting for his clothes to change when he is at the end of his rope with Norina; then, when there was a happy ending to switch back to black and white.

Cleaned-up Callas: the remastered live recordings

Review

What does an opera lover in the 21st century do with something like Warner Classics' recently released Maria Callas Live Remastered Recordings (1949-1964)? The first thing would be to squeal with glee: the box set includes live recordings of 20 full operas, 5 filmed recitals, and a book detailing each of the iconic roles sung by Callas.

A bold debut album: Brian Mulligan sings Dominick Argento

Review

Mulligan has a thrilling quality in his voice, an open-throated sound that's masculine, honest, and completely appealing; his is an exhilarating balance between constant beauty and toeing a risky edge.

"How did we do?" Second Movement Presents: rough for opera #16

Review

All of the pieces were presented as works in progress, with the possibility of expansion or revision pending audience feedback. Being in this kind of environment, even as a spectator, was thrilling, with everyone in the room contributing to the creative process that goes into creating a piece of music theatre.

Xenophobia, Fake News, & Mental Health: Peter Grimes

Review

Warner's Grimes is far from blameless, mirroring the ambiguity around an attitude that welcomes outsiders when those outsiders pose a perceived threat. For a German audience that is still adjusting to the arrival of a million Syrian refugees in the wake of the 2015 migrant crisis and whose dark history of unfounded scapegoating still looms large, this Peter Grimes struck a resounding chord.

Cosmic grandeur and human frailty: Crossing

Review

But forgetting this ambiguous relationship for a moment: Crossing is an engaging opera, held together over its generous hour and forty-minute run time (no intermission, thank goodness!) by a cohesive score happily swollen with motivic unity. When a recording becomes available, audiophiles can look forward to listening on repeat like a Wagnerite, collecting and linking more motifs each time.

A string of Pearls from Bizet and LA Opera

Review

Dark fabric billows beneath the set, and one is never allowed to forget that the sea is the underpinning of everything that’s happening. When the inevitable storm comes, the fabric is no longer lovely and tranquil but frightening as it inflates to ever bigger and bigger "waves." Another constant device: during much of the drama in Act I, a lone fisherman bobs up and down in his boat beneath the pillars that hold up the village.