In review: M'dea Undone

Review

I went with Greg last night to see M'dea Undone, Tapestry Opera's much-anticipated world premiere by composer John Harris and librettist Marjorie Chan. The short version of this review is that I loved, loved it, and it was one of the most integrated nights out at the opera I'd experienced.

The Bicycle Opera Project at 21C

Review

Last night, as part of the Royal Conservatory of Music's ongoing contemporary music festival, 21C, the Bicycle Opera Project presented a teaser of their upcoming season. The BOP team will first take up an artist residency in Baddeck, Nova Scotia, to premiere Dean Burry's new opera, The Bells of Baddeck.

In review: Owen McCausland's recital stunner

Review

At yesterday's noon-hour concert in the Richard Bradshaw Amphitheatre, COC Ensemble Studio member Owen McCausland had the stage (mostly) to himself. Owen sang a full recital, including 6 of the Janáček songs, plus selections from Ralph Vaughan Williams' The House of Life and Benjamin Britten's Les illuminations.

In review: Ekaterina Gubanova & Rachel Andrist in recital

Review

Since Ekaterina was completely stunning in Bluebeard, I was eager to hear her up close, in the well-lit Amphitheatre. The women treated us to two sets of Russian songs; Three Songs by Tchaikovsky preceded Modest Mussorgsky's amazing Songs and Dances of Death.

(not quite) In review: The COC Ensemble Studio's Barber of Seville

Review

After much hype and much rehearsal, the young artists of the Canadian Opera Company Ensemble Studio had their go at The Barber of Seville on the Four Seasons Centre Stage. This is a yearly offering for the Ensemble Studio; for one performance a year, they step into the roles of a mainstage production, which they've also been following as understudies.

In review: Toronto Masque Theatre's Les Indes Mécaniques

Review

I braved the land of construction last night, heading to the Fleck Dance Theatre at Harbourfront Centre to catch the final instalment of Toronto Masque Theatre's 2014/15 season. TMT presents Rameau's Les Indes Mécaniques (ou Les Automates de Topkapi), a delightfully bizarre opera about girls and boys, and how they end up with each other.

He said/she said: Talisker Players, with Carla Huhtanen & Andrea Ludwig

Review

Tuesday night, Greg & I went to hear the Talisker Players at Trinity-St. Paul's on Bloor. The Players' chamber series is always a guarantee for great performances and interesting programming, and this concert was no exception. Entitled Heroes, Gods & Mortals, the programme included two of my favourite singers to watch: Carla Huhtanen and Andrea Ludwig.

In review: Bluebeard's Castle/ Erwartung

Review

Last night I was able to check off one of my must-sees. For a while I felt like the only opera fan in Toronto who hadn't seen Robert Lepage's double bill of Bluebeard's Castle/Erwartung, but I fixed that. The production couldn't have brought more hype along with it, and I usually try and ignore hype so that it doesn't skew my otherwise fine enjoyment of a production. The rumours turned out to be true, and I was amazed.

In review: Earnest, the Importance of Being

Review

Last night I went to opening night of Earnest, the Importance of Being at Toronto Operetta Theatre. The piece, by Victor Davies and Eugene Benson, had its premiere in 2008. It's a rare thing to find an original Canadian operetta, and this one is a hilarious and charming take on Oscar Wilde's *The Importance of Being Earnest*.

In review: Béatrice & Bénédict at MYO

Review

Yesterday I went to hear Metro Youth Opera's production of Berlioz' Béatrice & Bénédict at Daniels Spectrum. I hadn't seen the opera before, and whenever I plan to see a piece for the first time, I rarely look up details like a plot synopsis. I'm one of those people that thinks that opera fans should have the option of enjoying a piece without needing to do homework, and I was pleased that MYO's B&B was clear and entertaining, language barriers (and Shakespeare) aside.