Brilliant: a compassionate Bluebeard and a comforting Castle

Review

Finley's Bluebeard is caring, soft-spoken, and deliberately gentle. The scene opens in silence with him preparing to bring Judith home. He's so excited to see her, he kisses her photo and practically skips out the door.

Of The Sea: a beautiful, overdue story that lingers

Review

There are some shows that never leave you whether performing in them or experiencing them. Of The Sea is one of those. Not just musically and visually. This piece made an impact.

Bluebeard’s music shines, with Alma’s highlights

Review

The last of the four songs is actually quite dark in a way that fits the quizzically gothic ending of Bluebeard's Castle pretty perfectly, so it ended up forming an arc that actually did somehow add to one of opera's most perfect endings.

A Triumph for Tosca at the Adrienne Arsht Center

Review

Toni Marie Palmertree, who portrayed Floria Tosca, delivered a truly remarkable performance. Her voice was powerful, clear, and expressive, capturing the complex emotions of the character with ease. Palmertree's acting was equally impressive, embodying Tosca's fiery temperament and vulnerabilities masterfully.

Il trittico: slices of Puccini

Review

To this reviewer, Il Tabarro most certainly sounds like a Puccini opera – right from the opening chords which become a recurring motif – and there are several stand-alone solos that aren’t as famous as those from his other operas, but in the hands (or throat) of the right performer they can stop the show.

A Midsummer’s Night in Mid-winter Vancouver

Review

An absolute show-stealer, and it was obvious the performers were having as much fun with the scene as the audience was.

Fantasy is for The Birds

Review

De Sévigné’s performance was ethereal and lovely. With a fuller, more mature sound that has maintained all of its agility and height, she soared effortlessly in lengthy, dazzling coloratura over ensembles, duets, and choruses with incredible skill.

SongStudio: Lied-ing the way

Review

If opera can be seen as a circle struggling to widen the circumference of its audience, concerts consisting of song alone are a much smaller and much more esoteric circle. Ms. Fleming is trying to change that and is currently devoting her life to ensuring that there will be at least one more generation of song artists.

Justice is served in the COC's Salome

Review

What's always drawn me to Braid on stage is her innate dramaticism. She understands character, nuance, backstory, and everything that an actor's actor loves to see another actor exercise on the stage.

The women rule in COC's Nozze di Figaro

Review

Like, I can handle some dramatic symbolism, some commentary on a piece that has enormous wisdom in it; I suppose it's because all the neat little ideas -- Cherubim rides a unicycle! Susanna is obsessed with the Countess' fur coat! Figaro keeps leaping into an open pit in the floor! -- don't ever add up to something that's more profound than what Mozart and Da Ponte gave us.