Beyond romantic love: La bohème at ROH

Review

I was very much taken with Stuart Laing's production design. It felt quintessentially Parisian and conjured up all of the sights, smells, and senses one comes to expect but did so in a very understated way.

The Gypsy Baron: great singing leads TOT's holiday offering

Review

This year it's Johann Strauss II's The Gypsy Baron (Ziegeunerbaron). Directed by Silva-Marin with Music Direction by Derek Bate, The Gypsy Baron tells a classic operetta-style tale of a prodigal son, mistaken and hidden identities, prophecies, treasure, and of course, wine.

Roundup 2019, or why I'd prefer to just look ahead

Editorial

This year has certainly been different, though - and maybe you’ve noticed the change in tone since I’ve gone from being Schmopera’s primary voice, to its behind-the-scenes editor and sometimes-guest author.

A chilling Iago & a devoted Otello at Covent Garden

Review

Though Otello may be the title character and tragic hero of the story, in truth it is Iago who is the most alluring character on stage. For four hundred odd years, Shakespeare’s infamous villain has captured the imaginations of audiences everywhere. Spanish baritone Carlos Alvarez played him with chilling ease.

The singularity of Fauré in Oper Frankfurt's Pénélope

Review

The men indiscriminately abuse Pénélope and the women of her kingdom, theatrically throwing them around like amateur wrestlers. Yet their violence succeeds as seduction and they are rewarded with sexual favors. The men are thinly drawn, each portraying a single affect – incredulity, apathy, viciousness and predation. The women are sexualized totems who have little effect on the larger story.

Sondra's Three Queens earn "thunderous ovation" in Chicago

Review

Billed as selected excerpts from three operas, the event comes across on paper as a kind of combination Donizetti-teaser and superstar feature concert. Yet, the experience was remarkably gratifying artistically thanks not only to the operas’ shared backstories, but also to director Matthew Ozawa’s unity of concept through the scenes and, of course, Radvanovsky’s riveting portrayal of Anne Boleyn, Mary Stuart, and Elizabeth I.

Jones reflects Glass in ENO's Orphée

Review

Much like past productions I've seen at ENO, the singing was a bit of a mixed bag. Many of the characters were played by young singers at the beginning of their careers. Naturally, some flourished while others struggled to keep up.

Ciekiewicz shines in the title role of Manitoba Opera's Susannah

Review

I hope that Ciekiewicz gets many more opportunities to sing this role. You won't hear it sung better anywhere, and her outstanding dramatic ability helped us feel the heartbreak of Susannah's anguish and confusion.

Death in Venice: a near-perfect production

Review

At first glance, this opera based on the Thomas Mann novella of the same name doesn't lend itself to the stage which could, in part, be the reason Britten sat with the piece for so many years.

A perfect-fit Figaro in UofT Opera's Nozze

Review

Incredible music, a beautiful set, and even stunning costumes too. Lisa Magill perfectly rounds out the production with her classic designs. She successfully fits the designs to the 18th century, and manages to have everyone looking their absolute best.