In review: ENO's The Magic Flute

Review

Of course, the use of foley artists is novel in opera, yet it wasn't just the novelty that drew us in to McBurney's world. It was completely delightful to use the "guts" of the theatre to unashamedly tell this story; *Flute* is a piece that resists against specific places and times, and its impact is weakened when a director attempts to focus on the libretto's life lessons, at the expense of the silliness. With set designer Michael Levine, McBurney struck a beautiful balance of respect for Mozart, and comfortable inclusivity.

So, about that Stephen Hawking opera...

News

In 2010, it was announced that the Metropolitan Opera would commission an operatic adaptation of Stephen Hawking's A Brief History of Time. Sounds cool, right? Osvaldo Golijov was set to write music for black holes and Big Bangs, and Argentine-Canadian author Alberto Manguel would write the libretto. The premiere production would be directed by Robert Lepage.

Talking with singers: Meghan Lindsay

Interview

"To me, the most rewarding thing about a singing career is the relationships you form. I love the fact that music is another language that we can explore and play with. I really enjoy practicing and find that part of the process very gratifying. There's something very meditative in doing something every day and knowing that each day, there are going to be different challenges and changes to my situation, in my voice, in my interactions."

Vibrato: all the reasons why

How-to

There are a few instances where singers can really use this vibrato-as-litmus-test phenomenon. The examples are likely endless, but we've narrowed down a few sections from beloved arias, where attention to vibrato can keep the singing easy, and the singer honest.

Opera haters: they exist, & that's alright

Humour

Sure, it's disheartening, a bit maddening, and confusing, to stumble across someone who just really doesn't like opera. We want to challenge their opposition, ask them if they've ever been to an opera, heard anyone sing it besides Katherine Jenkins or Andrea Bocelli. The truth is, they may have heard the best of the best singing Verdi, Wagner, and Mozart, and they still hate opera.

Worthy campaigns: A Silent Night

News

Brancy and Dugan premiered A Silent Night at the Kennedy Center, and their subsequent recital tour has included their debut with Carnegie Hall Presents. The duo now wish to record A Silent Night, and they have launched an Indiegogo campaign to help the project. Tax-deductible donations will fund album production and post-production, artwork design, marketing, and other costs.

New teams, new operas: Bicycle Opera + Toy Piano Composers

Interview

Bicycle Opera and Toy Piano Composers will premiere Travelogue, a new collection of operas by composers Monica Pearce, Elisha Denburg, August Murphy-King, Tobin Stokes, and librettist Colleen Murphy. Travelogue is exciting in itself, and it's part of Toy Piano Composer's inaugural new music festival, Curiosity Festival, happening April 1-9th (find out all about it right here).

In review: The Devil Inside

Review

Oh yeah, and like all good wish-based fairy tales, there's a caveat. If you die in possession of this bottle, your soul is damned to hell for all time; if you sell it, you must sell it for less than you paid for it. Two hours and a bunch of bad decisions later, we find the characters in a very interesting predicament. I won't spoil the show for you, but trust me, it's gooooooooood!

This weekend: Chelsea Moor Castle

News

Toronto-area fans of Gilbert and/or Sullivan are in luck this weekend. The North Toronto Players present Chelsea Moor Castle (or the Contract to Marry), a mash-up of music from HMS Pinafore, Pirates of Penzance, Iolanthe, The Mikado, The Gondoliers, Ruddigore and more, by Michael Harms and Barb Scheffler.

Talking with singers: Luca Pisaroni

Interview

Pisaroni is quick to note that, "all operas are difficult to cast." Still, the coloratura bass-baritone Maometto is a notable departure from Rossini's fast-moving mezzos and tenors. "I could lie to you and say 'oh yeah, I love it, it's easy'," he laughs. "It's very difficult because it requires everything from you. There are low notes, high notes, coloratura, long phrases, legato, it's really challenging, all of it."