Things I want to see: La Zombiata

Humour

"Our story begins in a Parisian penthouse infested by an undead hoard lead by Xenobia, huntress of humans. As the minions mingle at a bloody soiree, romantically inclined Christolpho meets the ravenous-yet-rapturous Philonia. Suddenly, all-too-human emotions come into play, leading to chaos, comedy, and a splash-zone worthy chainsaw massacre."

Grease Live: a rant

Op-ed

We've been talking a lot lately about opera on the big screen; how stage acting looks weird on camera, and how the acoustic experience from a film or TV broadcast is basically non-existent when compared to actual live opera. My own little nit-picks aside, I'll grant one big thing to opera made for broadcast: it's actually live.

In review: Siegfried

Review

Even since last season's Die Walküre at the Canadian Opera Company, I've been experiencing acute anticipation for Wagner's Ring Cycle to continue. In Canada, we have to be more patient than most about our Wagner consumption, yet last night I was sated by François Girard's production of Siegfried.

Shower thoughts: Billy Budd in space

Humour

Is it just me, or would *Billy Budd* not amazing as sci-fi concept production, set on a spaceship? Picture it: a crew of colourful, possibly alien characters fill *The Indomitable*, coming from all walks of the universe; the imposing, intimidating John Claggart (possibly hooded in some sci-fi villain way), wields his head of security powers with vengeful abandon.

Dillon Parmer & Mozart's Masonic Journey

Interview

Once again, contributor Greg Finney finds himself involved with another 'outside-the-box' concert presentation. This time it's the perennial favourite, Mozart's Die Zauberflöte. This concert's a little different, so Greg asked tenor Dillon Parmer, who organized the concert and the whole event, to give us a little more insight on what's happening with this concert, and what's coming up for him.

Talking with singers: Russell Braun

Interview

Star baritone Russell Braun is one of Canada's favoured artists, and next month, he'll sing one of his signature roles at what he calls his home company. He has been singing Count Almaviva in Mozart's Le nozze di Figaro for twenty years, and he joins bass-baritone Josef Wagner and Canadian sopranos Jane Archibald and Erin Wall in Claus Guth's production, at the Canadian Opera Company from February 4 to 27.

Coming up: Norma by request

News

Next month, Opera by Request is bringing some winter warmth in the form of Bellini's bel canto stunner, Norma. Soprano Naomi Eberhard will sing the title role, alongside fellow soprano Jessica Lane as Adalgisa; and tenor Jason Lamont sings Pollione, the man caught in one of opera's most beautiful love triangles. Norma is one night only, February 6, 7:30pm,

Gems: the GoPro orchestra

Humour

Is it just us, or should GoPro footage become a staple of any opera or concert broadcast? Here at Schmopera, we're big fans of strapping a camera onto conductor, singers, really anyone willing to wear one. GoPro planted 24 cameras among the Czech Philharmonic, including on the ends of trombones, the bottoms of cellos, and on the owner of the best seat in the house, the timpanist.

He said/she said: Mozart's Requiem at TSO

Review

Greg Finney and I went to see one of Toronto's most anticipated concert events, presented by the Toronto Symphony Orchestra. Maestro Bernard Labadie returns to the TSO to conduct Mozart's Requiem, in an unique presentation led by director Joel Ivany, of Against the Grain Theatre.

Don't miss: La voix humaine

News

Campsall is an emerging singer to watch, and we were lucky to catch her and pianist Brahm Goldhamer in their dress rehearsal performance. She worked with "phenomenal director" Oliver Klöter to create a dense, claustrophobic telling of the one-sided phone conversation between a suicidal woman and her silent, invisible lover. "He was very patient with me," says Campsall, who admits that Poulenc's music is challenging, and achieving her level of comfort with it is a long process.