Don't miss: In Conversation with MYOpera

News

I'm really excited to be chatting with MYOpera's Artistic Director Kate Applin, Music Director Natasha Fransblow, Stage Director Anna Theodosakis and tenor Daevyd Pepper, all of whom are involved with their exciting upcoming production of Britten's The Rape of Lucretia.

Gems: is your gender in sonata form?

Humour

Tumblr user socialjusticeweg posted some fun ways of being the most unique-est, quirktastic-est, gender-mysterious-est person at school, with a bunch of new gender identification labels, all falling under the umbrella of "Musigender" (defined as "A gender that is closely related to musicianship or music theory").

Singable text: when composers make it tricky

Humour

One of the biggest signs of that a composer has written well for the voice is when he or she sets the text in an organic way. In a broad sense, this means finding a rhythm and melody that works with the text, allowing it to be expressed the way the composer wants. In the same way that Verdi seemed to naturally fuse his music with the librettos he set, there are just as many examples of text setting that seems unnatural.

Arianna Zukerman: "You've got to live your truth."

Interview

"Not having balance is destructive and at the end of the day, as much as I love singing and constantly working to hone my craft and improve and present excellence, I'm not getting a hug from a perfectly turned phrase at the end of the day. If I can't be present as a mom, wife, friend, then I'm not going to be the singer I want to be either. Also, I have learned truly not to sweat the small stuff."

Hilarious: Darth Vader's theme in a major key

Humour

When we were still in university, my classmates and I would nerd out on playing things like "Deh vieni, non tardar" in F minor, or "Mein Herr, Marquis" in G minor, and it was hilarious to us for reasons I can't quite articulate. This reminds me of those times.

Quasi review: The Ensemble Studio's Figaro

Review

These annual performances are often a cornerstone for the members of the Ensemble Studio. It's a unique experience, both as a performance and as a learning process; rarely in their lives will these young artists have so much rehearsal time, coachings with multiple members of music staff, or compounded staging rehearsals (both as understudies and as principal roles).

In review: Dmitri Hvorostovsky at Koerner Hall

Review

He sang with that delicious, velvety focus in his sound, and it struck me how rare it is to hear a baritone sing as consistently lyrically as he does. At 53, Hvorostovsky still has that enormous breath control, and the unfailing legato we all love; there was youth and fitness in his sound, and it was thrilling to watch.

A call for new music: FAWN Chamber Creative

News

Composers interested in submitting must do so by March 18, 2016, and FAWN is accepting a 1-5 minute recording of their work, plus the corresponding score, a bio, résumé, and a short summary of their compositional interests. The instrumentation is specific, and works must be include some or all of: tenor (voice), cello, electronics, percussion, and acoustic guitar.

What's on at the Met: 2016/17

Editorial

There are a few exciting surprises, though. First and foremost, Kaija Saariaho's L'amour de loin will hit the stage in December 2016, marking the Met's first opera by a woman since 1903. Delightfully, maestra Susanna Mälkki makes her Met debut on the podium for this new production by Robert Lepage. The casting is interesting to me; Eric Owens is Jaufé Rudel, Susanna Phillips is Clémence, and Tamara Mumford is Pélérin (The Pilgrim).

The COC Ensemble's Marriage of Figaro

Interview

On Monday, February 22nd at Toronto's Four Seasons Centre, the Canadian Opera Company Ensemble Studio takes the main stage for their performance of Mozart's The Marriage of Figaro. This is an annual highlight for the young artists, who take on the task of understudying the main cast, on top of countless hours of preparation for their very special night.