Winning combos: Coote, Drake, & Schubert

Review

They finished the first half with a stirring rendition of Erlkönig, a song which Coote navigated with a wonderful array of vocal colours and a beautiful sense of drama. Drake created a gorgeous picture of the dramatic song through the energy of his playing, the pair bringing to life the scene in an intense and visceral way.

Seasonal opera done right at HGO

Review

Rarely have I ever been able to use the word "effervescent" to describe performances of newly-composed operas, but that is exactly the word I used to describe this one upon its conclusion. This work came as a breath of fresh air. It did not try overly hard to be anything other than a setting of a good story which happened to be set at Christmastime, and that is precisely why I perceive this work as having longevity.

'Tis the season for Schwag!

Editorial

We've got tees, hoodies, and our adorable little Schmug, all designed with care by the folks here at Schmopera. Get a laugh and help support our ad-free, opera-savvy content this holiday season. Happy shopping!

Talking with singers: Ah Young Hong

Interview

"Honestly, I still don't think I know anything about this career. My focus is purely on the music. I'm afraid I'm terrible at giving advice about the career. Just do what you love - never mind your bills aren't paid!"

#AtGBound: "A shocking, immediate connection."

Review

A certain type of demographic goes to the opera, and perhaps there's only a small amount of overlap between that demographic and those who may understand more clearly what it feels like to be detained, mistreated, or bound by others' rules.

Happy birthday to us: Schmopera is four!

Editorial

We're proud to call ourselves an artist-run publication, set on demystifying opera without dumbing it down. In this past year, we've expanded our opera coverage to cities across North America and Europe - our new contributors are an amazing, dedicated group of loquacious artists who keep our mission afloat.

Reflective stories: RCM's The Cunning Little Vixen

Review

This is what makes The Cunning Little Vixen such a remarkable opera: in watching its complicated and confused characters, ironically half of whom are animals, we see so much of ourselves. Understanding these intricacies and subtleties, the RCM created a production which explored the contradictions and pretenses that comprise being human.

An "astonishing" Bryan Hymel in the Royal Opera's double bill

Review

The singing, in particular, was phenomenal. Elīna Garanča was nothing short of flawless as Santuzza. Her voice was warm, with a steely edge and full of raw emotional power. She made everything she could have out of the character, singing with true beauty and mastery. Opposite her, Bryan Hymel sang a stunning Turiddu.

Opera for all: The Magic Victrola

Review

The Magic Victrola features opera's top-shelf tunes: the Lakmé Flower Duet, Carmen's "Habanera", the infamous "O mio babbino caro" from Gianni Schicchi; perhaps less well-known are the picks that stand for larger operatic truths, like the textbook bel canto of "Quanto è bella" (L'elisir d'amore), the delicious coloratura of the "Doll Song" (Les contes d'Hoffmann), and timeless scenes from The Magic Flute.

Enticing teasers: Winter Shorts

Review

The night consisted of eleven selections from LIBLAB, touching on subjects ranging from the barista's crush on the handsome regular (as a former barista myself, this one rang very true) to a piece inspired by the world-famous photo of the poor Syrian boy found dead in the sand on the beach. It was a range of topics only Tapestry could tackle and pull off successfully.