Canada

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Orpheus

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...
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The Unplugging

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...
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Die Walküre

The Canadian Opera Company's magnificent remounting of their 2006 production of Wagner's Die  Walküreis a striking example of Toronto's steady coming-...
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Arcadia

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...
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Alcina

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...
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King Lear

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...
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Hercules

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...
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A Masked Ball

“Are you enjoying the performance?” “The singing!” This snippet of conversation, overheard in the foyer of the Four Seasons Centre during the fi...