COC Ensemble Studio member Adrian Kramer sang his farewell concert at the Richard Bradshaw Amphitheatre with accompanist Christopher Mokrzewski last May.
The most significant concert presenter in this city outside the Toronto Symphony Orchestra is Nina Draganic, the unheralded doyenne of the Canadian Opera Company’s annual 10-months of free concerts at the Richard Bradshaw Amphitheatre.
The new season kicks off at lunchtime on Sept. 18, with a concert by the COC’s Ensemble Studio and will run its combination of classical, jazz, world and new music, dance and lecture concerts through to the end of June. Continue reading →
Emily Atkinson as Teresa in Volcano Theatre and Classical Music Consort production of A Synonym for Love at the Gladstone Hotel (John Lauener photo).
Take something like an opera, give it something like a staging across four floors of a Victorian hotel, and you either have a treat or a disaster on your hands.
Fortunately for the clever troupe of singers, actors and orchestra musicians having the dramatic time of their lives at the Gladstone Hotel until Aug. 31, their modern English adaptation of George Frideric Handel’s 1707 cantata Clori, Trisi e Fileno, renamed A Synonym for Love, is an unqualified success. Continue reading →
Scott Belluz and Tracy Smith Bessette in Ross Manson and Ashiq Aziz’s A Synonym for Love, adapted from an opera by George Frideric Handel, at the Gladstone Hotel (John Terauds iPhone photo).
The performing arts are an ecosystem where birth and death are forever locked in a passionate tango. The year’s most fascinating operatic gambit — coming to life at the Gladstone Hotel Sunday through Aug. 31 — is a case in point. Continue reading →
Cineplex has released the dates of Canadian screenings of performances from the Metropolitan Opera’s 2012-13 season. The tickets go on sale Sept. 4 to the general public. Met Opera members and Cineplex Scene club members get the first picks, on Aug. 22. Continue reading →
Camille Saint-Saëns in his element — on a steamship.
Repeat something enough times with conviction, and people start to believe it, whether it has to do with politics, economics or art.
French composer Camille Saint-Saëns, who bridged the Romantic and Modern eras thanks to an 86-year lifespan, was treated as a relic of a bygone age by his obituarists and university lecturers.
It’s a status that does not square with a legacy of rich craft he left behind, and which deserves a fresh look and listen now that we can have some perspective on the aesthetic steamroller of Modernism. Continue reading →
Susan Graham starred in the Canadian Opera Company’s production of Iphigénie en Tauride, desolately staged by expat Torontonian Robert Carsen.
Grabbing the heart with text and music takes many forms. This weekend, we have a chance to sample opera reduced to its essence, and two very operatic ways of crafting oratorio and cantata.
The first comes via CBC Radio 2’s Saturday Afternoon at the Opera, which broadcasts the Canadian Opera Company’s critically praised production of Christoph Willibald Gluck’s 1779 masterpiece, Iphigénie en Tauride, featuring American mezzo Susan Graham in the title role. Continue reading →