The tag line of this year’s Ross Petty show is “The Family Musical that Targets Your Funny Bone”, and Lil’ Red Robin Hood certainly does that.

Norman Lebrecht reviews three new recordings of the work of Polish-born Soviet composer Mieczyslaw Weinberg.

One of the autumn highlights of the COC’s Free Concert Series is the Wirth Vocal Prize Recital, with this year's winner tenor Marcel d’Entremont and fellow Wirth winner pianist Dakota Scott-Digout.

The Purcell Singers latest release is a compelling spiritual journey through British and American choral works.

The National Ballet of Canada’s intriguing mixed program highlights the company’s technical and artistic strengths — and Karen Kain’s programming genius.

Nightwood, Canada’s premiere feminist theatre company, challenges as it entertains in this look at BLM and race through a story about a friendship.

With a splendid lead performance and believable, yet simple staging, Artistic Fraud of Newfoundland and Factory Theatre’s co-production of Between Breaths has its issues while telling a worthwhile story.

Every composer suppressed by Stalin deserves to be remembered. Just how much musical attention they warrant is another matter; Alexander Veprik is a case in point.

Jonathan Crow and the TSO charmed the audience with refined interpretations of Braden, Copland and Vivaldi’s beloved Four Seasons.

A new spin on the Orpheus myth, Missy Mazzoli's Orpheus Alive at the National Ballet of Canada is ambitious and challenging, but it also has problems.