M’dea Undone (Tapestry Opera) This world premiere one-act opera from Tapestry is smart and character-driven with a cleverly modern libretto by Marjorie Chan and superb performances from its 7-person cast, including Jacqueline Woodley as a refreshingly savvy and complex Dahlia and the brilliant Lauren Segal in the title role of the scorned wife of aspirational […]
There are a few operatic conventions that really get me down. The first is a wackadoo story that let’s say isn’t exactly grounded in human truth. The second is overdramatic Tragedy with a capital t. Though the two productions that make up the Canadian Opera Company’s spring season embody, respectively, these qualities to a tee, […]
Time after time, I seem to land on the opposing point of view when it comes to the latest COC production. I never could wrap my head around the critical apathy towards my favourite show to date- Verdi’s Masked Ball– nor could I see the reported genius of so many pieces I found deathly boring. […]
Warning: Extreme negativity ahead. Why don’t you read Rachael’s piece about all the Friends Thanksgiving episodes instead? Tapestry Briefs: Booster Shots (Tapestry) Conceptually, this evening of short opera scenes tied together with corresponding shots of curated liquors was a brilliant idea. How do you battle every simplistic but not altogether unfounded accusation of “long, boring, old, […]
The Global Cabaret Festival came to an end with a rousing late-night performance from the great Jackie Richardson. I celebrated the first seven shows on my agenda in Part 1. Now that the festival is over (hopefully not forever- Global, tell us you’ll bring the festival back for year 8!), here are the rest of […]
I’m halfway through the 7th (and final?) Global Cabaret Festival weekend down at the Young Centre for the Performing Arts. Here are the highlights so far: UPDATE: Read Part 2 HERE. Best Show (so far) The American Pie Songbook I know, I’m the most predictable person in the world, but the songbook show music directed […]
Boston Opera Collaborative expands its repertoire by performing Benjamin Britten’s rarely-performed three-act opera Albert Herring at Dorchester’s Strand Theatre as a part of the Free for All Concert Fund. Directed and orchestrated by 2013 My Theatre (Boston) Award-winning Stage Director Katherine Carter, and Music Director and Conductor Andrew Altenbach, the accessible production is a treat […]
Two strong but ultimately uninspiring productions are currently playing at the Four Seasons Centre as the kick off to the Canadian Opera Company’s 2014/15 season. Though they’re of comparable overall quality, Falstaff and Madama Butterfly have little in common. The former is visually grand with lots of awkwardly long breaks to change the elaborate sets […]