Konstantin Krimmel: a commanding presence
Reviews
In review: The Telephone & The Medium
ReviewThe University of Toronto Opera opened a double bill last night, pairing together two of Menotti's most well-loved works, The Telephone (1946) and The Medium (1945). I saw the first of two casts in what I thought was a beautifully detailed production by director Michael Albano.
She said/He said: Centre Stage 2015
ReviewLast night, I went with Greg Finney to Centre Stage, the Canadian Opera Company's Ensemble Studio Competition. The competition is the culmination of nationwide auditions, narrowing the 120 applicants down to eight young Canadian singers. Dressed in gorgeous gowns and suits (gifted to them from The Hudson's Bay Company's Queen Street store), finalists sing on the Four Seasons Centre stage, with the COC Orchestra led by Music Director Johannes Debus. It's a pretty big deal for these aspiring young singers.
In review: Opera Atelier's Armide
ReviewEarlier this month I spoke with OA Artistic Director Marshall Pynkoski, who said, "love can be something that saves people or destroys people. Love is amoral. Love cuts through like a knife – anyone in love is cut open. Love is more powerful than hate, but that doesn’t mean it’s a happy ending."
In review: David Warrack's Abraham
ReviewWednesday, October 28, 2015 at the Metropolitan United Church on the corner of Queen Street East and Church Street in the heart of Downtown Toronto was the the premiere of a new Canadian work by composer David Warrack.
Weird & wonderful: Toronto Darknet Market
ReviewLast night I went to Mây on Dundas West for one of the most compact, strange evenings of music theatre I've ever seen. Canadian tenor Jonathan MacArthur, Loose TEA Music Theatre Artistic Director Alaina Viau, and Fawn Chamber Creative Artistic Director Amanda Smith have collaborated on Toronto Darknet Market, a fundraising event for Medée Toronto's 2016 production of Medée by Charpentier.
In review: Quinn Kelsey's Songs from the Heart
ReviewHawaiian baritone Quinn Kelsey strode into the Richard Bradshaw Amphitheatre, wearing black cowboy boots with his three-piece suit, and said to the audience, "I apologize in advance for cheat sheets."
Fannibals in New York: One World Symphony premieres Hannibal
ReviewThematically, the darkness of Hannibal is not an unfamiliar subject to opera. Psychopathic heroes and murderers have long taken the stage through works like Wozzeck and Salome, characters like Bluebeard and Scarpia. A lot of operas are bloody. Yet, I’m not sure the question is whether Hong is doing something new. Rather, the point is what he’s doing to make opera contextually relevant to those who otherwise might not go to the opera at all.
In review: La traviata at the COC
ReviewLast night the Canadian Opera Company opened its new production of La traviata, and I was officially excited. La traviata is done often, but it's another thing to hear it done really well. I got my fix at the Four Seasons Centre with the first of two casts singing the 11 shows between now and November 6th.
In review: The Seven Deadly Sins
ReviewI'm always excited by Kurt Weill. Ever since my first exposure to Mahagonny and Down in the Valley (one of his American musicals) I've been fascinated by his work with Bertolt Brecht. On Friday, September 25th I got to re-hear one of my favourites presented by The Friends of Gravity.
#COC1516: the new Ensemble Studio
ReviewThe Canadian Opera Company Ensemble Studio have kicked off the 2015/16 Free Concert Series in the Richard Bradshaw Amphitheatre with their annual introductory concert, Meet the Young Artists. Eight singers and two pianists performed in what's called the "death by aria" style, each singer showing off an aria that shows what they do best.