Josephine and The Artizans' HipHopera: Act II

Review

Above it all, Josephine's voice soars. Hardcore opera fans may have a tough time with JATA's almost instrumental use of the voice - its function melodic, a unique ingredient in their music's texture - yet it's a testament to Josephine's savvy straddling of classically-inspired songwriting and producing work that has commercial appeal.

In review: Miss Hope Springs at Wigmore Hall

Review

It's difficult to come up with any artists who have recently graced Wigmore Hall who have that same power - whose mere entrance can rile up a crowd, who doesn't even have to play a note to have us on the edge of our seats. This is the kind of magical ability that classical performers should be trying to discover.

The practice tip you don't want to hear

Editorial

That's where slowness comes in. It's the great magnifying glass, the exposer of weak spots. It's in slow practice that you find the crux of the problem, the ignored detail, the missing piece that makes the difference between a section of music that's hit-and-miss, and one that's consistent like a Swiss watch.

In review: The Seven Deadly Sins at TSO

Review

Ivany seems to take a different tack with their relationship. It almost seems this time around as though Anna I (the singer) is actually part of Anna II's (the dancer) demise. She seems to be the one encouraging her sister to indulge in the seven sins in order to make their money. #CouPIMPgh.

Don't miss: Everybody's Got a Story

News

Katie Edwards has conceived of this tribute to Canada's proud legacy of women singers and songwriters, and with the musical direction and arrangements by Jeannie Wyse, Everybody's Got a Story nods to greats like Joni Mitchell, Anne Murray, Celine Dion, Alanis Morissette, Shania Twain, Buffy Sainte-Marie, Jann Arden and Sarah McLachlan.

Talking with composers: Omar Daniel

Interview

"Writing music is like building a house. Some decisions are based on inspiration (what material is the floor? Oak, maple? What colour is the stain going to be?). Others are based on using simple tools to build: a hammer and nails. When I am uninspired, there is always hammer-and-nail work to do."

Spotlight on: Iain MacNeil

Interview

"I've learned that audiences and even audition panels will forgive vocal imperfection for a committed, sincere interpretation of a role or a piece. That said, I've learned that establishing a healthy singing technique that you can rely on day in and day out is priceless. Perhaps most importantly I've learned that a positive attitude helps to foster an effective and enjoyable work environment."

Don't miss: the RCM's Wide Open House

News

Wide Open House includes free concerts by RCM students and faculty, 15-minute trial lessons, instrument "petting zoos" (adorable), and music appreciation lectures. There are events geared towards kids, including Smart Start™ classes for babies and toddlers, and from 10am-2pm, the KidZone offers crafts, songs, and games for kids aged 5-10.

Life-like theatre at Luminato: the story of Charlotte Salomon

Interview

"Charlotte has a sense of time running out for her, both from learning about the history of suicides in her family, and sensing the destiny that we all know lay ahead. The uniqueness of her work is that it survives, though she did not, in its complete form, and is a testament to the power of art to triumph over adversity."

Talking with composers: Chris Thornborrow

Interview

"My instrumental music has been described as complex, clear, powerfully virtuosic, and playful. The operas I've written have ranged from side-splittingly funny to chilling, although one critic felt 'it did not work.' Some of the work I've done in film has been called elegiac, rumbly, and brashly percussive."