2022 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 2022
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It’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.
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