Essay: Tuning In to Looking After Yourself

How-To

From "The Things They Didn't Teach You At Conservatoire"

Essay: Tuning In to What Makes You Unique

How-To

From: The Things They Didn't Teach You At Conservatoire

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.

EDEN stuns and the astonishing Joyce DiDonato is out to save the world

Review

Joyce DiDonato has made a stunning recording. Since we've become accustomed to her perfect technique, rich characterizations and commitment to the message as well as the music, this is not unusual. But with Eden, her new recording on Erato, this masterful mezzo-soprano quite simply astonishes.

Vaness directs electric Tosca in Kansas City

Review

I could see Ms. Vaness' artistry in every move of the performers. While there was no groundbreaking staging, I felt a special electricity from the cast, like there was a connection to the greats, which of course Ms. Vaness provides.

Review: the COC's "prima la musica" La traviata

Review

Legato in spades and a magnetic presence on the stage that was at times hypnotizing, her "Sempre libera" (an aria that holds a particularly special place in the hearts of Queers in my generation) brought the house down.

Les Délices streams opera pastiche The White Cat

Review

Julie Andrijeski and Shelby Yamin (violins), Kathryn Montoya and Nagy (oboes and recorders), Rebecca Reed (viola da gamba) and Mark Edwards (harpsichord) all wear cat masks, a simple and delightfully conspiratorial gesture. These cats know how to work it.

Talking with drag queens: Rosé

Interview

“When you think of the voice as having, like, the sound of an emotion instead of just sounding pretty, that's a really exciting thing to do. It makes it more like a mime performance than just lip syncing.”