Best of 2022

nosferatu2022 was the year when live performance in Toronto rose from the dead.  It almost didn’t happen though.  It’s a bit weird to remember just how strangely 2022 started.  The theatres and concert halls had reopened in late 2021 and it looked like “normality” was returning.  Some venues had masking policies or vaccine mandates and there were some “50%” performances but my calendar was starting to look something like pre plague.  Then the government lost its marbles.  Two weeks after a spike in COVID cases and at a point where all the indicators were actually heading south at the speed of a Messerschmidt in a power dive they closed everything down again.  And although the shutdown was brief it was extremely disruptive causing all manner of cancellation and rescheduling.  But get going again we did eventually and here’s a summary of the best things that came my way in 2022. Continue reading

Best of 2021

1.boulotte sm2021 was another year of parts.  Pretty much no live indoor performances before September then a few chances to get to the theatre and now, well who knows?  So what stood out for me in 2021?  Here’s a round up by category.

Live Shows

Not much of course but there were some good shows, though opera didn’t really figure.  The Home Project from Native Earth and Soulpepper was a thought provoking look at the the idea of “home”.  MixTape at Crow’s Theatre explored the variegated nature of relationships through the medium of the once ubiquitous mix tape.  And on a more conventional note there was a rearranged at short notice recital at Koerner hall that showcased the extremely talented Davóne Tines. Continue reading

2020 in review

Sesterce_temple_janusWhat a truly strange year!  Going back over my writing looking for highlights just made it seem stranger!  I see now that it fell into three chunks.  The first started perfectly normally with the usual run of operas and concerts and that all ended abruptly on March 13th.  UoT Opera’s Mansfield Park was the last live show I saw in 2020.  Leaving the theatre that night we knew there was going to be a hiatus but I don’t think at that point anybody thought we would be going into 2021 with no end in sight.

Continue reading

Best of 2019

Last night marked the last performance I plan on seeing before the holidays so it’s time for the annual “best of” posting.  So what did your scribe enjoy or admire the most in 2019?  Let’s look at it by categories.

Fully staged opera with orchestra

19-20-02-MC-D-855The COC had a decent year but two of their shows stood out for me.  David McVicar’s production of Rusalka in October was perhaps all round the best thing the COC have done in years.  The production was clever in that interrogated the material enough to ask lots of questions for those willing to think about them without doing anything to upset those not so interested.  Musically one really can’t imagine hearing Rusalka sung or played better anywhere in the world.  The other winner was Elektra in January.  The orchestra and the singing was the winner here, especially Christine Goerke, but the production was better than average and we don’t see enough of the great modern classics in the Four Seasons stage.

Continue reading

2018 in review

It’s that time of year when one goes back over one’s writing in search of the standouts.  Somewhat segmented, here are my thoughts on the year.

Major opera productions

ORPHEE_497_previewAt the COC nothing really blew me away in 2018.  Rufus Wainwright’s Hadrian was better than I had feared and, I think, with revisions could be rather good.  In the form we saw it, it felt somewhat overblown and didactic.  It was also great to see Robert Carsen’s Eugene Onegin finally get an airing in Toronto; especially with a very good, young, largely Canadian cast.  Nothing from Opera Atelier really floated my boat this year though.  Are Against the Grain or Tapestry major companies now?  One could argue that they are sailing under false colours in describing themselves as “Indy”.  In any event they each provided one of the year’s highlights with the spectacular Orphée from the former and the best new work of the year; The Overcoat, from the latter. Continue reading

Best of 2016

anthraxIt’s that time of year when it’s traditional to do best of the year lists.  Fortunately this is all about music because in most other respects 2016 was a bit of a horror show.  So here goes.  As far as opera proper was concerned it was a pretty good year.  There were no real howlers in the COC’s season.  It was solid and, at its best, better than that,  For me, Ariodante was the standout; an intelligent, thought provoking production backed up by extremely good acting and singing.  I was really expecting to like the Claus Guth Marriage of Figaro more than I did.  I enjoyed it but I was a bit perplexed by the lightening up that had taken place since Salzburg in 2006.  Opera Atelier had their best show in quite a while with Lucio Silla but even Wallis Giunta couldn’t save a misconceived Dido and Aeneas.

Continue reading

2015 in review

It’s that time of year when one looks back at the previous twelve months and reflects. It’s also customary to produce “best of” lists and the like. So here goes.

In terms of fully staged, large-scale opera productions it wasn’t an especially eventful year. The COC staged six solid, enjoyable productions but nothing that would hit my list of all time favourites. There was open criticism of Tcherniakov’s Don Giovanni from the usual suspects and more behind the scenes muttering about Pyramus and Thisbe but I thought both shows were examples of things that needed to happen. We need more contemporary opera and we need bolder takes on established classics. I wrote at length on why I thought the Don Giovanni received such a high degree of scrutiny, often from people who had reviewed Opera Atelier’s Alcina the year before, apparently oblivious to the liberties that were taken there! If I had to pick a favourite from the COC’s line up it would likely be Robert Lepage’s production of Schoenberg’s Erwartung featuring a stellar one woman performance by Krisztina Szabó. Opera Atelier’s offerings were, frankly, so much like virtually every other Opera Atelier production since the Flood as to leave anyone trying to write about them pretty desperate. OA watching has become a bit like Kremlinology. The most minute things are blown up into issues for want of anything else to write about!


Continue reading

Best of 2014

Well not so much “best of” as the good stuff that really made my year.  It was a pretty good year overall.  On the opera front there was much to like from the COC as well as notable contributions from the many smaller ensembles and opera programs.  The one that will stick longest with me was Peter Sellars’ searing staging of Handel’s Hercules at the COC.  It wasn’t a popular favourite and (predictably) upset the traditionalists but it was real theatre and proof that 250 year old works can seem frighteningly modern and relevant.  Two other COC productions featured notable bass-baritone COC debuts and really rather good looking casts.  Atom Egoyan’s slightly disturbing Cosí fan tutte not only brought Tom Allen to town but featured a gorgeous set of lovers, with Wallis Giunta and Layla Claire almost identical twins, as well as a welcome return for Tracy Dahl.  Later in the year Gerry Finley made his company debut in the title role of Verdi’s Falstaff in an incredibly detailed Robert Carsen production.  I saw it three times and I’m still pretty sure I missed stuff.

Hercules2a Continue reading

Best of 2013

So what was I most impressed with on the opera and related scene in in 2013?

Big house opera

frau1The COC had a pretty good twelve months.  I enjoyed everything I saw except, maybe, Lucia di Lammermoor.  Making a choice between Christopher Alden’s probing La Clemenza di Tito, the searing opening night of Peter Sellars’ Tristan und Isolde; the night when I really “got” why people fly across oceans to see this piece, Robert Carsen’s spare and intensely moving Dialogues des Carmélites or Tony Dean Griffey’s intense and lyrical portrayal of the title character in Peter Grimes is beyond me.  So, I shall be intensely disloyal to my home company and name as my pick in this category the Metropolitan Opera’s production of Die Frau ohne Schatten.  Wernicke’s production is pure magic and Anna Schwanewilms was a revelation.

Continue reading

Best of 2012

It’s been a busy year.  Besides recitals and cinema broadcasts and other bits and pieces I managed to see 23 live opera performances of 19 different works.  I also watched a ton of DVDs and Blu-rays.  What most impressed me?

Live Performances

6807331341_efdaa1cd59_zFully staged performances with orchestra basically meant the COC and Opera Atelier.  The highlights for me came early and late in the year.  I loved the brilliant and spectaular production of Kaija Saariaho’s L’Amour de Loin.  It’s a great score and was beautifully sung by Russell Braun, Erin Wall and Kristina Szabo.  The fall season brought Die Fledermaus to the Four Season’s Centre in Christopher Alden’s disturbing “Freudian” production.  Great theatre with particularly fine performances from David Pomeroy and Ambur Braid.

Continue reading