4 English language habits that make a singer's life harder

How-to

There are some words that aren't actually helped by being overly literal with the pronunciation. The T's in words like "better" and "getting" have a natural tendency to sound more like D's; depending on how they're set, the sung versions of these words come out more clearly by keeping these "lazy" D sounds. An airy T sound can actually obscure the sound of the word, since it's unfamiliar to the ear.

Good first impressions: CASP's latest commission by Ana Sokolović

Review

Sokolović's work brims over with imagination of sound. In setting the human voice, she never seems to run out of ideas, and with this new cycle, she brought out audible reactions of delight from the audience.

Arts education teaches better manners, & more preaching to the choir

Editorial

What I'm saying is that confirmation bias is an issue, particularly in a corner of the internet like Schmopera. The people who don't know they're being rude with their phones likely aren't reading this. The people who think arts education is a waste of money certainly aren't seeking out opera-centric blogs. That asshole at the concert today will never read this and feel shame.

Bold recitals & etiquette done right: Fabiano & Drake at Wigmore Hall

Review

Many in the audience knew Fabiano from the 2015 production of Onegin and were thrilled to hear the piece - there was much discussion in the ladies washroom after the show. The ladies also concluded that they couldn't wait to hear him on stage again!

A comprimario amid a "huge, sweeping, romantic love story"

Interview

"I also love seeing how Joel [Ivany] and Toph [Mokrzewski] have evolved with the score and libretto, and with their directing styles. One of my favourite things about this business is watching my friends and colleagues grow and learn and develop and continue to astound me. I never cease to learn from everyone in the room, and you learn the most from people with a bona fide passion for what they do."

Celebrating 10 years of Opera By Request

News

Shookhoff, whose own operatic career spans four decades and includes opera companies on both sides of the Atlantic as well as university, festival, and music theatre engagements, sees OBR as a way to give back to the operatic community and to provide opportunities for emerging talent, just as established mentors (including Canadian icons Herman Geiger-Torel, Ernesto Barbini, and Mario Bernardi) provided those opportunities for artists of his generation.

Hibla Gerzmava & Danielle Akta with The Moscow Virtuosi

News

Featuring works by Mozart, Shostakovich, Grieg, Poulenc, Verdi and more, the Moscow Virtuosi bring its characteristic "precision and sharply defined phrases" (New York Times) to dazzle Toronto audiences. Tickets are on sale now and can be purchased here. The show is June 8, 2017 at 8PM at Roy Thomson Hall. This promises to be a beauty of a concert. Get your tickets now and don't miss out.

An "imaginative multi-room transformation" with Music in the Barns

News

The event is created for CART/ACRT 2017 Conference Performing the Anthropocene: Setting the Stage for the End of the World, and centres on a performance of John Cage's performance piece, Lecture on the Weather (1976). The piece was commissioned by the CBC, in recognition of the American bicentennial; the text, delivered by 12 performers, features an introduction by Cage himself, expressing dismay at the actions (or inaction) of the American government.

Oksana G.: "It's so out of this world, and yet so realistic."

Interview

"This is very common, and I have heard lots of stories like this," she says. Economic desperation, and a certain level of naïveté can make it quite simple for recruiters to entice young women with the promise of decently paying work. Gennadi grew up in the Ukraine, and she is of a similar age to Oksana herself. "I understand this desperate desire to improve your life."

Talking with singers: Craig Colclough

Interview

Immaturity may not seem like it goes hand-in-hand with an artist who is serious about his work, but Colclough makes a great point. "If you get too serious or too full of yourself or too jaded," he says, "you start cutting off emotional parts of yourself that you need to use onstage." It's part of what's scary about singing or acting, to be an open, vulnerable person, in life as well as at work.