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By Stephan Bonfield on November 9, 2018
Under the baton of Bramwell Tovey, the TSO reminded us why Britten's War Requiem commands respect at their annual Remembrance Day concert Thursday night.
(Continue reading)By Stephan Bonfield on October 26, 2018
Opera Atelier's mixed bill delivers lovely evening's dance and singing amid tribute to choreographer Jeanette Lajeunesse Zingg.
(Continue reading)By Stephan Bonfield on April 20, 2018
Instead of being called The Return of Ulysses, the opera ought to have been called The Virtue of Penelope.
(Continue reading)By Stephan Bonfield on November 12, 2017
Gergiev and the finely-toned, muscular Mariinsky Orchestra buzzed into town for a program of Russian music backed by powerhouse Russian pianist Denis Matsuev.
(Continue reading)By Stephan Bonfield on November 1, 2017
Here we have the perfect Figaro — supremely sung, breathtakingly danced and with spot-on acting.
(Continue reading)By Stephan Bonfield on June 8, 2017
Each of us has known trauma in our many relationships with others. But it takes a John Neumeier to show exactly what that looks like and the brilliance of the National Ballet to perform it.
(Continue reading)By Stephan Bonfield on April 25, 2017
Opera Atelier's Media is the product of astonishing creative imagination and nothing less than a masterful artistic synthesis.
(Continue reading)By Stephan Bonfield on April 1, 2017
National Ballet of Canada presents a balanced evening of varied dance styles to complement the most eclectic palette.
(Continue reading)By Stephan Bonfield on March 13, 2016
The National Ballet of Canada unveiled its springtime ballet grab-bag Wednesday night, consisting of two well-known Balanchine neo-classical works, The Four Temperaments and Rubies, followed by a third, substantially more prickly piece by the prolific Alexander Ekman, titled Cacti.
(Continue reading)By Stephan Bonfield on March 11, 2016
The National Ballet of Canada closed its run of choreographer Johan Kobborg's La Sylphide last week in what proved to be a sensational series of seven beautifully new, re-enlivened performances. It was my decided good fortune to attend three of them in order to take in this earliest repertoire piece of pointe ballet, but especially to take advantage of a supreme learning opportunity.
(Continue reading)
