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."

Talking with singers: Evan Hughes

Interview

"Opera is so difficult to get right. There are a lot of valiant efforts but even in the master works of previous centuries, so many things have to come together for an opera to actually work for the audience. The story telling has to be clear, all the actors have to be on the same page, and the chorus has to be invested."

A daring & desirous double-bill at Opera Atelier

Editorial

Such longevity puts it among the upper echelon of Canadian opera companies in Canada - a feat more impressive when we consider that Atelier performs exclusively 17th- and 18th-century baroque opera. It's almost impossible to resist saying it: "If it ain't baroque, don't fix it."

Fidelio as a mirror of human rights

Review

In fact, this whole production makes reference to human rights abuses across the world; projected background images include those of Colombian mothers protesting the army-sponsored murder of their sons, to Goya's painting "The Third of May", a depiction of the execution of unarmed soldiers. This production misses no opportunity to shine a light on the corruption of power, and the resultant loss of human rights.

A world premiere: Anna Christie

Review

Director Nancy Rhodes describes it as "crossover" but it might be more appropriate to call it "criss-cross over"; the music never stops and the singers mostly sing, but sometimes halt to utter a comment, exclamation, or quick exchange of dialogue. The combination always feels just right, as the emotions and/or whimsy of the characters rise and fall.

BLO Barber brings delightful laughter amid overdesign

Review

So was this production of Barbiere overdesigned? For sure. But unlike most overdesigned productions, the director remembered that, at the end of the day, opera is a storytelling medium, and she carried that knowledge into the performances just as much as the production design. The result was thus a delight to watch, and even with the occasional misstep it proved to be perhaps the best demonstration of Italian opera I have seen in a long time.

Check it out: The Linden Project

Editorial

Art song - a broad classical music term to describe a piece written for solo singer and accompaniment, usually by a piano - can feel equal parts vague and exclusive. A song by Schubert and a song by Bernstein are both considered art songs, despite enormous differences in style; conversely, art song carries with it some special qualities, like the conversational relationship between the voice and piano.

A shining Violetta in Washington

Review

With a voice that's all crystal clear, ringing resonance, yet absolutely weightless, she danced through the fioratura of "Sempre libera" without breaking a sweat, and finishing with a perfect high E-flat, then sang with a breathtakingly tender sotto voce in her scene with Germont at "Dite alla giovine," before opening up later in the act with the broad, sweeping "Amami Alfredo!" while never over-singing. In the final act she offered a gloriously floated high A at the end of simply and beautifully sung "Addio del passato."