Nina Stemme onstage at Carnegie Hall

Review

Perhaps it was a collectively held breath at the sounds of the distant and desolate notes of the Liszt-transcribed Liebestod. Such is the magic of a soprano who can conjure Isolde's hallucinatory and surreal musing with emotional conviction. It is perhaps the most complicated and woeful moment in song. Yet Stemme and Pöntinen found clarity in the fog and guided us to its stunning conclusion.

Konstantin Krimmel: a commanding presence

Review

Then we discover that Krimmel has perfect diction. It's a gift to the high born German texts of the Schubert and Loewe songs. They come through with a clarity that at key moments virtually eliminate the need for translation.

A collaborative artist: Kristin Hoff and the Mécénat Musica Prix Goyer

Interview

When I ask Hoff what it means to her to be lauded as a collaborative artist, she admits that the inclusion of the word 'collaborative' in the Prix Goyer is the only way she feels comfortable receiving such an honour.

COC's evocative La Reine-garçon an enticing piece of homegrown opera

Review

The queen then decides to abdicate the throne and consign herself to a virginal Catholic life -- thus dying a virgin queen. There are suitors, and surgeries, and soaring chants; it was a pretty cool night at the opera.

Barbara Hannigan and Bertrand Chamayou at the Armory: the only place to be

Review

Hannigan, as the musical world knows, divides her time between singing and conducting, a second and impressive discipline that it seems is never far away from her singing.

San Diego Opera's 60th Anniversary La bohème sees Mimì as a ghost

Review

I do not have enough superlatives to describe Moore's rich, clear, precise and beautifully rounded voice but suffice it to say she is for me one of the best sopranos singing currently.

Immersive and imaginative: Manitoba Underground Opera's Tales of Hoffmann

Review

There's something elemental about the raw power of the human voice that can move the soul. When a singer is right behind you or a few feet in front of you, there's something magical that happens that can be hard to put into words. I felt like I was part of the show, part of the story, even in the show.

Jonathan Tunick's symphony size orchestration for Sondheim's A Little Night Music

Review

Graham captures Desiree's humor and sass and broaches the melancholy in the ever sigh-worthy Send in the Clowns.

Opera 5 turns up the spooky in Turn of the Screw

Review

The orchestra, under Music Director and conductor Evan Mitchell handled the score and the unconventional space magically. The flow of the score ameliorated the pace of the show itself and vice-versa.

Matthew Polenzani in recital: an abundant performance

Review

Pianist, Ken Noda, with whom Polenzani shares a seemingly symbiotic musical relationship, projects an all together different presence. Appearing almost motionless at the keyboard, he nonetheless captures the myriad moods and musical nuances required by the songs. Noda appeared to be holding his breath while Polenzani reveled in the music. Their interplay was mesmerizing.