Christina Loewen, Executive Director of Opera.ca, has a front row seat to the changes in the performing arts industry. As a member of Canada’s Performing Arts Alliance, she is a part of a conversation at a national level and across disciplinary boundaries about the realities of dwindling audience numbers, and the sustainability of the performing arts sector.

History is so grand in the opera world, that it was a particular pleasure to discover something small and intimate – but with a big backstory – on the shores of Lake George in New York State during a Sunday drive last weekend.

Questionable repertoire aside, University of Toronto Opera's George Gershwin 'Of Thee I Sing' showcases great singing, and even makes a nod to Trump.

The production starred two of the great Canadian sopranos of our time — Adrianne Pieczonka in the title role and Jane Archibald as Zerbinetta — and was beautifully conducted by Sir Andrew Davis.

Most believe that applause spoils the mood and flow of a piece or set of pieces, especially in the case of “serious” music.

Those who have met and/or worked with the American dramatic soprano, Christine Goerke describe her as "fun to be with", "unassuming", "down to earth", "hard working", "a real charmer" - the furthest one can get from your stereotypical, card-carrying Valkyrie...

Toronto’s Against the Grain Theatre has announced the long-awaited details on their 2017–18 season this afternoon, including two surprises that we didn't see coming. 

Opera 5, a group of young professionals with interesting ideas, close their first, three-production season with rare (for Toronto) Spanish-language one-act operas — El retablo de maese Pedro by Manuel de Falla and Goyescas by Enrique Granados — at Parkdale’s intimate Gallery 345.

The history of opera is an ongoing pendulum swing that began with the dramatic simplicity of the text at the start of the 17th century in Italy, and gradually became more vocally and instrumentally embellished, then was confronted with a back-to-basics movement in the mid-18th century.

Roger Kaiser, the Dallas man responsible for scattering the ashes of his deceased "mentor" over top of a working orchestra pit at the MET last weekend, issues a formal apology.