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.

In review: The Barber of Seville at the COC

Review

I went yesterday afternoon to see The Barber of Seville at the Four Seasons Centre. The anticipation was serious, especially since I was able to see the director's concept discussion, and I interviewed three singers from the cast, Joshua Hopkins, Alek Shrader, and Serena Malfi.

In review: Die Walküre at the COC

Review

Last night I finally got the chance to satisfy my curiosity, by seeing the Canadian Opera Company’s current production of Die Walküre, directed by Atom Egoyan (and running until Feb. 22). Since the 2014/15 season was announced, I had been eager to see Egoyan’s take on Wagner, and to hear Christine Goerke as Brünnhilde.

The 2015 Quilico Awards

Review

Last night the members of the COC Ensemble Studio competed in the Christine and Louis Quilico Awards, in the Richard Bradshaw Amphitheatre at the Four Seasons Centre. From my own experience with the 2013 Quilico Awards, I know that this intra-Ensemble competition can be tough on the singers.

In review: Jane Archibald and Liz Upchurch

Review

Out of this season’s Free Concert Series in the Richard Bradshaw Amphitheatre, Jane Archibald‘s recital with Liz Upchurch was one I was really looking forward to. I was by no means disappointed. Jane’s is a voice I’ve admired since I heard her as Zerbinetta in her COC debut in 2011.

Toronto City Opera: Don Giovanni

Review

Wednesday night, I went to see Don Giovanni at Toronto City Opera; I don’t know much about the company, and I was most surprised to learn that they’re in their 48th season. Forty eighth! TCO’s mission is to “grow the art of opera. It will facilitate this by training young and/or inexperienced singers through an intense regimen of coaching in musicianship, stagecraft and performance.” I’m a big fan of companies who create performance opportunities for young singers.

In review: The Whisper Opera

Review

On Saturday I had the chance to see David Lang‘s The Whisper Opera, presented by Soundstreams at The Theatre Centre; with a sold-out run, I was lucky to catch this in Toronto. It was one of the coolest things I’ve seen in a long time, made better by the few expectations I had beforehand. The Pulitzer Prize winning composer (the little matchgirl passion) asks, “what if a piece were so quiet, and intimate, and so personal to the performers, that you needed to be right next to them or you would hear almost nothing?” The Whisper Opera is aptly named; it’s certainly a piece that achieves Lang’s aim to write “pieces that try to highlight things that can only happen live.”