The opera, which is barely longer than an hour, is as much about the music as the story itself — a doomed love affair between Salud, a Gypsy woman, and the wealthy Paco, a two-timing jerk who hangs her out to die on their supposed wedding day. The score bursts with the sounds of Andalusia, and includes parts for a Flamenco dancer, cantaor and guitarist on top of the seven-person cast and a chorus (which is being sung by the Toronto Mendelssohn Choir).

Canadian Opera Company's down-to-earth Götterdämmerung consigns the conclusion of Canada's first and only Ring Cycle.

• New Music 101 at the Elizabeth Beeton Auditorium, Toronto Reference Library, 7 p.m. Free admission.

This year’s fourth and final concert-chat exploring new music in Toronto features two of the city’s younger groups: the Toy Piano Composers and JunctQín Keyboard Collective, both of which have been putting together some very interesting concerts and collaborations. It’s a great opportunity to put a face to a sound — and vice versa. Details here.

In the interview, she complains about life on the road and how it has made her miss family milestones. She also decries the use of drugs to help singers add more performances to their calendar.

I could wave the Canadian flag proudly to say that Toronto boy Robert Carsen made the list. But the feature is completely devoid of content, so much so that we are given no justification on why these people made the list, what makes each production cited noteworthy, and what separates a Bravo from a Boo.

With strong leads and a fresh, young Chorus, Santa Fe Opera does the bard justice with Gounod's Romeo et Juliette.

The closer Luminato gets, the more I begin to wonder if two of this year’s big events are about transformative artistic experiences or about giving Toronto and visitors the opportunity to boast that they were able to experience the experience.

French composer Camille Saint-Saëns, who bridged the Romantic and Modern eras thanks to an 86-year lifespan, was treated as a relic of a bygone age by his obituarists and university lecturers.

It is the music that makes a Béatrice et Bénédict revival worthwhile and in this Glyndebourne production.