Talking with singers: Gregory Kunde

Interview

"I try to make a connection with EVERY role I do. But, I will say there have been a few that have made an impact and left an impression on me. The first is Otello. One can't help but sympathize with this character. He is so amazing to play. There is every emotion in this role. I have been extremely fortunate to have played him in both the Rossini and Verdi versions and musically, they couldn't be more different. But Otello is always Otello."

Spotlight on: Sydney Mancasola

Interview

"It's probably a bit of dangerous advice, but selfishly, I'd like to see young singers push the limits a little more. Sing the aria you love that no one thinks you should sing, tell your director that you don't buy the staging they are giving you, give up the big YAP to sing the role of your dreams at a small company. Make the choice that will fulfill you spiritually."

Spotlight on: Beth Hagerman

Interview

"I think that young singers need to know from a very early stage in their development that they have the authority to be an artist. It's hard when you’re in school and you’re focusing so hard on technique. You have teachers telling you which aspects of your singing are good or bad. You start to think in terms of absolutes and you forget about things like interpretation, artistry and connecting with the text because that feels so wishy-washy in a world where you need to find that seemingly mythical perfect 'ah' vowel."

In review: Tristan and Isolde at ENO

Review

Tristan's ship was full of looming angles and barriers, allowing for beautiful symmetry of the two would-be lovers and their respective servants. Act II seemed an otherworldly spot for Tristan and Isolde's nocturnal tryst; it looked like its own planet, or perhaps the very center of the earth, in either case clearly underlining the singular, primordial ur-love that this couple embodies. Act III was bleak, harsh white against thick black, evolving only to blood red and a charred vista of dead rock, where Isolde and Tristan reunite in life for the last time.

Die Fledermaus? Die Fleder-fabulous!

Review

Guys, this is a great kickoff to summer. It's campy, it's fun, there's free beer and snacks. It's exactly the way I think that Strauss II would want to see it performed in this day and age. Seriously, get a group of you together, buy some tickets and go literally have a ball. And even though we all hate audience participation (usually), trust me when I say the more you throw yourself into the scene, the more fun the show will become.

Recitals that stick: Matthias Goerne at Wigmore Hall

Review

The character of the poet became more completely fleshed out with the Wolf, Shostakovich, and Brahms. It was almost like fan fiction, a satisfying sequel to Schumann's cycle that ends ambiguously and seemingly without resolve. Goerne's singing of the Brahms Ernste Gesänge' left us heavy in our seats, the most stunning of which was his "O Tod," half lullaby and half prayer.

Rosemarie Umetsu: singing in style

Interview

Based out of her Atelier in Toronto, designer Rosemarie Umetsu has an unique relationship with fashion and the performing arts. Her clients include artists like Joyce Di Donato, Jake Heggie, Gidon Saks, Angela Meade, and Pinchas Zukerman, and Umetsu often hosts salon evenings in her Yorkville studio. With a long history of dressing opera singers, Umetsu was kind enough to offer some wisdom and advice about choosing flattering and comfortable gowns for stages of all sizes.

5 ways to make watching an opera at home even more fun

Humour

We won't come right out and say this is an opera drinking game, but we have devised a little way to make watching opera (in the comfort of your home, without distracting other ticket buyers, please!) a more social, even competitive, activity. Our points system can be worth whatever currency you so desire; but we're not opposed to a point equalling hearty gulps of your preferred beverage...

Aria guides: Il mio tesoro

How-To

"Il mio tesoro", from Mozart's Don Giovanni, marks the first time we see Don Ottavio go from fawning, sensitive support system, to a real man with a plan. It's no easy task for a tenor; Mozart writes long phrases, big leaps, coloratura, and those trademark delicate phrase endings that can make any singer sweat. Tenors, while you consult your best teachers and coaches, we can offer you a few quick tips to help make some music out of this tough aria.

Aria guides: "Come Paride vezzoso"

How-To

Belcore's aria from L'elisir d'amore is all about laying it on thick. He's after Adina, just like the opera's underdog/hero, Nemorino; he pulls out all the stops, like referencing literature, giving her flowers, and generally bragging about how awesome he is at life. It's a relatively rare moment of comedy for a baritone, although the aria doesn't come without its challenges.