5 classical voice podcasts to try

How-to

I'll fess up: I'm a podcast addict. They're the morphine drip that gets me through the day. But I've only dabbled in shows that focus on classical voice, and that's a problem. As an antidote, I've found five series, with different focuses, that are worth checking out.

New season offerings from Esprit Orchestra

News

The four mainstage concerts of Esprit Orchestra's 2018/19 season happen at Toronto's Koerner Hall at 8pm. Pre-concert chats happen at 7:15pm, moderated by Alexina Louie. and New Wave Reprise goes up at Trinity St. Paul's Centre, with John Rea as keynote speaker.

Strong ensemble lifts Edmonton Opera production of La traviata

Review

The night, however, belonged to baritone James Westman and his standout performance of Giorgio Germont, Alfredo's father. Westman has considerable longevity with this role; he will play Germont for the 200th time in the spring of 2019 in a celebrated career that has spanned two decades.

The Flying Dutchman a stellar homecoming for HGO

Review

HGO's triumphant return to this venue was replete with sheer authenticity of spirit, dedication, and craftsmanship from all quarters. Throughout this marathon performance, I was pleasantly touched by this production that treated the central narrative of redemption through love as something to be regarded passively, and not inhabited fully, to be believed, yet inviting scrutiny from all angles.

VO's Merry Widow a comedic tour-de-force

Review

The setup for the Widow's entrance was hilarious, with all the men in the cast fussing over themselves and falling over each other to get to the door. The whole scene is an awkward, funny, madcap buildup to the heroine's entrance.

A frighteningly timeless story of abuse: Pagliacci

Review

In the second act, it felt like Burton and Partridge were no longer holding back dramatically, and in their final confrontation during the play within a play, both singers delivered the most heart wrenching vocals of the opera. Their struggle was rife with emotional and physical violence, and predictably, it did not end well for Nedda or her lover, Silvio.

Glamour & fury: Idomeneo in Chicago

Review

Matthew Polenzani, in his fifteenth(!) role at the Lyric, is the dramatic anchor of the cast. His dependably excellent and grounded singing is ideal for the role of this grand, eloquent king. Even in the most bravura moments, Polenzani's singing was refined and elegant.

Talking with conductors: Carlo Rizzi

Interview

"When I start to work with a new orchestra, the first thing that I do is to play through the piece or through large chunks of it. This allows me to get to know the way of playing of the orchestra and, likewise, the orchestra gets to know my way of conducting and if I have a deep knowledge of the piece. This is something, by the way, that experienced musicians know immediately, and you earn or lose their respect in these first moments."

Hadrian: a true grand opera

Review

Antinous, Hadrian's lover, has possibly the dopest (and gayest) entrance of any opera, ever. Surrounded by a bevy of mostly-nude, highly-sculpted, male dancers, I can only imagine tenor (and friend of Schmopera's) Isaiah Bell was living his absolute best life - and it showed in his singing. From his first "Antinous" when the cacophany in the pit mirrors the chaotic joy Hadrian feels, to his final moment onstage, Bell is a vision.

Talking with singers: Levente Molnár

Interview

"I have learnt a lot but there is still a lot to learn. The most important thing I've learned is that the calling is not only about professionalism and talent. Many other factors also play a role in the career of a professional singer, some of which might be harmful to the art itself."