In review: Naomi's Road

Review

As Canadians, we pride ourselves on our acceptance of others, our inclusivity, and our concern for the well-being of others - but our record is not unblemished. There have been many missteps and atrocities committed by Canadians from which we can't shy away. Especially now, when we see who's running for the leadership of one of Canada's major political parties. We can not let ourselves go back to a time when stories like the one I saw tonight were happening.

In review: Les contes d'Hoffmann

Review

His Hoffmann was strapping, sexy, and desperate, and his open-throated, silvery sound was utterly thrilling. He sang with an extraordinary range of colour, and he took us through the vocal evolution of Hoffmann, as he accumulates more and more emotional baggage from his failed affairs.

In review: Glory Denied

Review

The work questions the perspective of emotional trauma, and whose is the most devastating? Is it enduring a prison camp for years only to return to an unrecognizable life? Is it enduring a different kind of prison-like solitude, guilt when one's life's work isn't enough? Nashville Opera's production of Glory Denied, fittingly opened on Veterans' Day, is now one of only five or six full productions of the opera.

In review: Ayre

Review

This wasn't just "Miriam sings beautifully," she brought us in and told us stories of life, danger, heartbreak, violence, and love. Miriam is - and always was - a flawless singer, but her acting in this show was unparalleled. Sensitive, candid, visceral, and dedicated to truth - all the things I crave in a theatrical performance.

In review: Lulu at ENO

Review

We have our own exasperations with the idea of a femme fatale, especially when they're two-dimensional, relying on sex and spineless men. Yet Kentridge's Lulu brings us into a specific world, while seeming to simply reveal the story without bias. Like Berg's score, the production is one we're eager to see again, to notice more details in Kentridge's layered work.

In review: the Jette Parker Young Artists present Oreste

Review

The action unfolds in the graffiti-covered, industrial corners of what could be any contemporary city. During the overture, we were treated with a picture of the goings-on under Toante: a ruthless leader, his witless captain of the guard, and a near-mad Ifigenia, who through rogue mascara, bludgeons to death one unlucky visitor with a hammer. Narrative hook, indeed.

Album review: All Who Wander

Review

"Sure, I didn't grow up in a gypsy camp," says Barton of Dvořák's songs, "but I do have fond memories of playing music around a bonfire with family and dancing. I treasure my memories of family members teaching me the songs of where I come from. I identify with trying to find myself, and wanting to walk/dance/boogie down to the beat of my own drum."

In review: Erwartung/Twice Through the Heart

Review

Erwartung and Twice Through the Heart both hurl listeners directly into the action. We are presented with questions: are these women killers? Are they crazy? Are they liars? Are their memories to be trusted? Sitting above the immediate curiosity with these women are larger questions about how women in particular are pushed to violence.

The TSO does Danny Elfman's music from the films of Tim Burton

Review

They played from Pee-Wee, Batman, Batman Returns (the Catwoman theme was excellent), Dark Shadows, Big Fish, Alice in Wonderland, The Nightmare Before Christmas, and of course, Edward Scissorhands. The TSO under the baton of Ted Sperling were in top form.

In review: Simone Piazzola at Wigmore Hall

Review

The pair paid homage to their Italian roots with a programme of Donizetti, Verdi, Mozart, and songs by Paolo Tosti. In fact, the Tosti songs that Piazzola and Vaccaro chose were first performed in London - and did you know: Tosti taught at the Royal Academy of Music, became a British citizen in 1906, and was knighted by King Edward VII in 1908?