COC announces 2025/26 season

Without notice or fanfare the COC season announcement landed in my email inbox at 11.30 this morning.  I kind of miss the old 10am press conference which at least offered an opportunity to ask about the rationale of some of the decisions.  I guess though that the number of people writing about opera in Toronto these days would fit in a phone box so maybe it’s too much to hope for.  There are some mildly surprising aspects to the announcement.  There’s no Mozart or Puccini nor, more consequential, any sign of the various new opera projects that COC has/had under development which do have a bit of a habit of disappearing without trace.  There’s also no “second stage” production.  I guess that experiment is done.  So it’s six main stage productions in the traditional three pairs. Continue reading

Identität/個性

Wednesday’s lunchtime concert in the RBA was given by Ensemble Studio graduates Samuel Chan and Rachael Kerr, reuniting for the first time since ES days.  Nowadays Sam is Fest at Theater Kiel and the recital was built around his attempt to probe his identity as a Chinese-Canadian performing Western opera for (mostly) Germans.  Sam is a pretty deep, thoughtful kind of guy so it wasn’t surprising that this was an unusual and carefully curated recital.  It was also quite wonderfully performed.

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Traditional Butterfly at the COC

The Canadian Opera Company opened it’s “new to Toronto” production of Puccini’s Madama Butterfly on Friday night.  It’s a production that’s been around for a while having premiered in Houston in 2010.  It’s almost entirely traditional.  The one concession to critics of Puccini’s rather sordid tale is that Butterfly’s age is raised from fifteen to eighteen. The original concept was Michael Grandage’s but it’s revival directed here by Jordan Lee Braun. Continue reading

February 2025

Before looking forward to next month I want to mention a couple of things this weekend that I haven’t previously noticed.  Saturday (Jan 25th) at 12.30pm there is a Met HD broadcast of new production of Aida with a pretty interesting looking cast.  Later, at 6pm there’s a rather special concert at the Arts and letters Club to celebrate the 100th birthday of Morry Kernerman (former assistant concertmaster of both the TSO and OSM).  The concert is presented by Canzona Chamber Players and wiull feature Trio Uchida-Crozman-Chiu. Continue reading

October 2024

oct24Opera’s back with the start of a new COC season and more.  Here’s a look at what I think looks interesting in October.

First up there are two theatre festivals with multiple shows.  Aluna Theatre’s RUTAS International Performing Arts Festival runs from September 26th to October 9th (various venues).  There’s a distinct Latinx twist to this one.  Then from the 16th to the 27th at Buddies in Bad Times there’s the Next Stage Theatre Festival run by the same folks as the Fringe.  Both are pretty varied with something for pretty much everyone.

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September 2024

sept2024Well late August has been a bit thin in terms of live performances but September. sees things back with a bang.

    • Opera Revue has a Verdi and Weill show at the Redwood Theatre.
    • Coal Mine Theatre is opening with Annie Baker’s Infinite Life which played to rave reviews in London and New York.  Previews are on the 6th to 8th with opening on the 10th.  The play runs until the 29th.
    • Crow’s opens their season with Ibsen’s Rosmersholm.  Previews run from the 3rd to the 10th with opening night on the 11th.  The run continues to October 6th.

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What’s on in June?

junebugHere’s an events listing for June as it currently stands:

  • Canadian Children’s Opera Company are doing Dean Burry’s The Hobbit at Harbourfront Centre on May 31st through June 2nd.
  • June 6th at 7.30pm at Arrayspace there’s Echoes of Bi-Sotoon; short operatic works by seven composers inspired by the ancient site of Bi-Sotoon (which) means the place of the gods).

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Excellent Don Pasquale from the Ensemble Studio

Tuesday night at the Four Seasons Centre it was the turn of the Ensemble Studio cast to give us Donizetti’s Don Pasquale.  It’s the same Barbe et Doucet production of course but director Marilyn Gronsdal, conductor Simone Luti and an excellent cast definitely gave it their own twist.  Everybody seemed to have their own bit of business that we didn’t see on opening night and they all worked.

COCDonPasq-ES-photobyDahliaKatz-0724

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