Cosmic Cowboy a strong premiere, despite a cursed opening night

Review

The score's harmonic language is relatively simple, but it is also quite full of little treasures like this, and I found myself enamoured by it by the end.

Michael Spyres at the Park Avenue Armory: big voice in an intimate room

Review

Spyres was at home, in his element and began the downsizing process to serenade us with exquisite high notes that seemed to come out of nowhere only to blossom as the poet found his with love and the universe.

A queer-friendly Figaro out of Manitoba Underground Opera

Review

As a singer transitioning out of a performing role and into the role of an audience member, board member, and now reviewer, it is surreal to watch this company grow as a spectator on the outside.

High expectations and opera + rock climbing in Gould's Wall

Review

Our artist, Louise, invokes Canadian classical music icon Glenn Gould to guide her as she climbs to the apex. Interspersed with her journey we are offered a glimpse inside Gould's mind through a series of memories.

Michael Spyres the BariTenor, difficult to compartmentalize — but a spectacular 85-minute listen

Review

The recording, a luxurious and record-setting 85 minutes of burnished virtuosity, is spread over 18 arias spanning three centuries and 15 composers. Spyres straddles the tenor and baritone repertoires so stylishly as to approach a state of operatic titillation, if there was was such a thing.

The Accommodating "Cool" of Spielberg’s West Side Story

Review

It would be unreasonable to expect these star-crossed lovers to create a more charmingly romantic balcony scene and "Tonight." They are literally heaven-sent when singing their vows in "One Hand, One Heart" amidst sunlight streaming through stained glass at the MET Museum’s Cloisters.

Fresh avant-garde: The Happenstancers film Pierrot Lunaire

Review

Pierrot Lunaire translates eerily well to film, especially in the hands of this team. Shot in black and white and with moments of harsh chiarioscuro in Adam Harris' lighting design, we're brought into the delicate world of a chamber group set-up.

The MET Orchestra reigns and Goerke sings Sieglinde

Review

The blazing orchestra doesn't so much compensate for the lack of the sword and tree but more accurately supplants the need for such paraphernalia.

A Torrent of Light: the future of opera

Review

Every part of the playing space could function as a projection screen. It was some of the most exciting tech I've ever seen in a show.

The Queen in Me: yaassss kweeeeeeen

Review

The Queen in Me at the Canadian Opera Company is the culmination of years of work by Kasahara and their creative team to create this monolith of a one-person show. A true one-person show -- not a recital, not a cabaret or salon, but a dramatically driven show that would need to be seen to be believed.