Opera Atelier’s production of Gluck’s Orpheus and Eurydice is a delight precisely because it brings back a pristine, classical approach to opera in k...
The Unplugging, written by Algonquin playwright Yvette Nolan, is not a play driven by action. It’s about dialogue. Most importantly, it’s theatre that...
The Canadian Opera Company's magnificent remounting of their 2006 production of Wagner's Die Walküreis a striking example of Toronto's steady coming-...
Dmitri Tcherniakov's mesmerizing co-production of Mozart's Don Giovanni opened at the Canadian Opera Company's Four Seasons Theater after resounding s...
Tom Stoppard's Arcadia is arguably about the nature of genius (among other things), but sadly the genius in tonight's production, with a few exception...
Opera Atelier's Canadian Premiere of Handel's Alcina meets every expectation that we have of the company – it is sexy, smart, visually delightful, and...
As I sit down to write this review, I remember the gut wrenching howl rising from the depths of a human soul as an old man staggers forward carrying h...
When Peter Sellars was commissioned to reprise his 2011 production of Handel's Hercules for the Canadian Opera Company, I expected the effect to be po...
There is a reason why Così Fan Tutte is an opera lover's orphan child. Its plot has repelled and fascinated audiences for over two hundred years, and ...
