The singing reigns in Chicago's I Puritani

Review

While no tenor on earth welcomes comparisons to the undisputed "King of High C's," Brownlee is a triumph in this role and it's not just the singing — Brownlee is a physically-engaged actor, throwing off coloratura while crawling between set pieces and even dashing through the auditorium during a chase scene. And yes, he does take the high F (the F above tenor high C) in the final act's "Credeasi misera."

Ciekiewicz "triumphant" in Calgary Opera's Onegin

Review

Addis carries himself with poise and swagger that underscore his character's coldness. But in the third act, Addis unleashes a full range of his acting and vocal ability when his character finally recognizes his love for Tatyana. His vibrant voice is pierced with desperation as he pleads with Tatyana, who refuses to act on her feelings for him.

Great music & distracting sexuality: Rigoletto

Review

We find ourselves in the domain of the Duke. He exerts his power over the masses through his manipulation of Rigoletto's remarkable skill for what is now popularly known as "reading" people.

Don't miss Tap:Ex Forbidden: "We are tough and resilient."

Interview

"As a female composer with a Persian background, I have the privilege to be able to see the performance of my opera. It brings tears to my eyes, knowing many Iranian music masters who have written great operas that are forbidden to be performed on stage. Having this privilege, it is my responsibility to create."

A test of endurance: Satyagraha at ENO

Review

Unfortunately, we have come to expect this lack of attention to aesthetics in the big opera houses, and as theatre and film move strides across the artistic plane, opera tends to fall flat on its face on its reliance with tradition, outdated gimmicks, and its clumsy and naive understanding of mass audience appeal.

Opera meets cult film: Hercules vs. Vampires

Review

The evening was a charming departure from what we think is "traditional" opera: ticket holders were encouraged to dress up in costumes to match the spooky theme of the opera, to react organically during the piece, and to generally be a bit less stuffy than normal.

Heggie's Holocaust operas see Canadian premiere

Interview

"What we wanted to explore in these pieces is, what it is to survive when you're not necessarily doing heroic things, you're just surviving," Heggie says of his Holocaust-themed one-acts. "What Krystyna had to do in order to survive was not heroic, it was horrifying."

Like our merch? Find out how to win it!

News

It's a way of giving back to the kind folks who support our Patreon campaign; and if you want to win some of our merchandise, or even a ticket to a show with the folks of Schmopera, head over to our Patreon page to find out how to make yourself eligible.

Talking with singers: Andrea Carè

Interview

"I sincerely believe there’s not only one reason. I myself never decided or planned to sing professionally; I never thought I would manage my developing in a way that I could make this form of art my job."

Dead Man Walking makes its Minnesota Opera debut

Review

There were ominous prison guards lurking above the action throughout the whole opera, and a confusing element of the set was the huge American flag, which hung above center stage. What was the message? That Americans are the only ones who deal with capital punishment?