Vancouver Opera's Mod cats Don Pasquale

Review

Vocally, Polese was triumphant, breezing through incredibly difficult coloratura with such skill that it looked effortless.

Simplicity strikes a chord in BLO Anonymous Lover

Review

This opera is a rather simple affair, where the entire storyline is 'Valcour loves Leontine and absolutely cannot spit it out until their mutual friends and a young peasant couple in love inspire him to do so', and… that's it.

Archibald shines in COC's whimsical, physical Vixen

Review

While the direction was creative and clear for the most part, I felt the show was trying to tackle too many struggles in a way that I think somewhat detracted from what I assume the primary allegory is: the need for feminism.

Thrilling debuts and stellar alumni in the COC's Don Giovanni

Review

The set and design were a technical marvel. The massive stage was filled with a giant cube, with morphing walls and configurations set on a revolve. There seemed to be an endless amount of staircases.

High notes and deep emotion: don't miss FGO's I pagliacci

Review

Together, Pulliam and Brown form a powerhouse duo, breathing life into the timeless narrative of I pagliacci.

López sings a nuanced Violetta in FGO's Traviata

Review

Cecilia Violetta López's portrayal of Violetta Valéry was a _tour de force_. Her nuanced performance effortlessly traversed the character's emotional complexity, delivering a portrayal that was both vulnerable and powerful.

Vancouver Opera's glittery Magic Flute

Review

Vocally breathtaking, with phenomenal control, [MacKinnon] would effortlessly float high notes above the orchestra, and then tackle larger passages with incredible vocal strength and size. An absolute force of nature who brought the house down.

Latonia Moore: 'It's our job to keep pushing things forward.'

Interview

'When [you ask me why] I sing, I get a wonderful release, a release of stress, an emotional release. I also I like the giving to people and I like making them feel goosebumps. I like making them feel emotional, want to cry or want to throw something. I like eliciting an emotional response from them.'

A clarifying and revelatory evening with Schubert and Jonas Kaufmann

Review

The tenor's wrenching interpretations of the cycle's 14 songs while performing strenuous physical movement left no doubt that he was as wholly committed to the rigors of Doppelgänger as he was to the rueful Schwanengesang.

Julia Bullock: A miraculous evening from Schubert to Nina Simone

Review

Eschewing any trace of strained posturing or winking high-art condescension she embellished each group of songs with a musical aura; a subtle shift in posture, a theatrical gaze reflecting her oneness with the music and a spot-on sense of purpose.