He said/she said: Songbook VI

Review

This past weekend marked the sixth in Tapestry Opera's Songbook series, which present new Canadian opera, performed by emerging Canadian artists. It sounds like a simple concept, but these workshop-showcase concerts are consistently an intense and memorable event.

AGO Friday Nights: nostalgia and newchoir

Editorial

They offered up hits by CCR, The Guess Who (who share their Winnipeg hometown with newchoir pianist Donovan LeNabat), Elvis, and Pink Floyd. The choir is full of enthusiastic amateurs, the kind of ensemble that makes for excellent people watching; I always love looking at the individuals that make up a choir, and how you can see all the different reasons that they're there.

Spotlight on: Christopher Allen

Interview

Allen recently made his UK debut with English National Opera's production of The Barber of Seville, and in March, he conducts Donizetti's L'elisir d'amore at Lyric Opera of Kansas City. We had the chance to ask him about his work, about communication skills, and the role opera plays in his time on the podium.

At the podium: Jordan de Souza

Interview

Conductor and keyboardist Jordan de Souza is currently assisting maestro Johannes Debus on the Canadian Opera Company's production of The Marriage of Figaro, and he'll be taking the podium for two performances, February 23 and 25. He talks with us about high pressure gigs, uncovering Mozart's meaning, and leading the fantastic Canadian Opera Company Orchestra.

Spotlight on: Rolando Sanz

Interview

"I became a singer because it was the way I found best to express myself. Some people express themselves best with a paintbrush, or on the soccer field, or by going into politics. Since I was young, I always found my sense of self-expression was connected to music. What began as a hobby as a child has turned into a career as a professional opera singer."

Spotlight on: Amanda Majeski

Interview

"There is truly something special that happens when all that work comes together for moments on a stage in front of an openhearted audience. For that evening, everyone in the room is held together by and shares that same music; there is something so beautifully uplifting about that. It’s truly infectious!"

Dion Mazerolle: the quick study

Interview

Mazerolle's Falstaff has been a lesson in quick study, having had less than a month to learn the notoriously verbose role; it's a position in which many opera singers find themselves, and it's no small feat to learn and find comfort in a leading role when the countdown is on.

Don't miss: The Cocktail Époque

News

Off Centre Music Salon is all about presenting classical music "in an innovative atmosphere that evokes the spirit of a 19th century European salon." The beautiful Trinity-St. Paul's Centre is a great space to hear these fantastic artists, and tickets for The Cocktail Époque start at just $5.

Don't miss: Viva Verdi!

Interview

On February 28 at 3pm, Oshawa Opera continues its 2015/16 season with Viva Verdi!, an afternoon of arias and ensembles from one of opera's most beloved composers. Kristine Dandavino, mezzo-soprano and Artistic Director of Oshawa Opera, is joined by sopranos Stacie Carmona and Renée Salewski, baritone Michael York, tenor Jason Lamont, and pianist Sabatino Vacca for this opera-sized concert event.

4 traits of a great cadenza

Editorial

If you're an opera singer, cadenzas are your real "listen to ME" moment. The orchestra cuts out, and all ears are focused on your voice. Cadenzas come with lots of tradition, lots of hype, and they can be covert competitions among opera's inner circles. So, what makes a cadenza great? More notes? Extreme ranges? Surprise tricks up a singer's sleeve?