SCRUTINY | Rape of Lucretia A Worthwhile Return To Opera At Toronto Summer Music
Claustrophobic staging and minimalist design play to the strength of Rape of Lucretia.
Daily album review 38: Stephen Hough fuses lyricism and muscle in Brahms piano concertos
British pianist Stephen Hough makes the most of his lyrical bent while showcasing his technical chops in a new Hyperion recording of both piano concertos by Johannes Brahms with conductor Mark Wigglesworth and the Mozarteum Orchestra in Salzburg, Austria.
Review: Tafelmusik's House of Dreams wakes up beautiful Baroque intersections
Its latest creation, House of Dreams, currently on at the orchestra’s home base at Trinity-St. Paul’s Centre, is much more than a concert. It is an experience that transcends its many components to create a special, all-encompassing experience that makes one forget time and place for two bliss-filled hours.
Concert review: A vivid night of Mahler contrasts from Toronto Symphony Orchestra
The contrasts worked as intended at the first performance at Roy Thomson Hall on Wednesday night, thanks to fine playing and excellent leadership from visiting conductor Thomas Dausgaard.
SCRUTINY | TSO And Jan Lisiecki Impress With Pre-tour Teaser At Roy Thomson Hall
"Small imperfections came nowhere near damaging either Oundjian’s magical interpretation or the orchestra’s magisterial sound," says Anthony Kershaw.
SCRUTINY | Badke A Provocative Window Into Another World
To know dabke, a joyous, celebratory dance of richly traditional Levantine Middle Eastern origins is to know a wonderfully vibrant living culture but to know the show Badke, is to truly get to know its heart and soul.
Daily album review 17: Takács Quartet distils darkest essence of Benjamin Britten's music
From the ghostly opening section of the String Quartet No. 1 to the plodding Passacaglia at the end of String Quartet No. 3, violinists Edward Dusinberre and Károly Schrantz, violist Geraldine Walther and cellist Adrás Fejér slice right to the essence of this music, which is a pointed need to convey an unsettled psyche in sound.
Album reviews: Opera sopranos Renée Fleming and Karina Gauvin in delectable prime
By John Terauds on September 26, 2012
Baroque-era operatic leading ladies, with their claques, fights, schemes, competitions and multiple recumbencies on the casting couch make for great anecdotes. But when someone like Karina Gauvin opens her mouth, the antics are quickly forgotten in the dramatic sweep of the gorgeous music written for these women.
SCHMOPERA | #UncleJohn: the Toronto Story
Joel Ivany is all about the audience’s experience, which translates into unconventional venues, like outdoor spaces subject to rain, mosquitoes, and sulphur, and extraordinary demands on the mechanics of opera, like the AtG Messiah
chorus performing from memory, or managing Mozart recitative
without any singer-conductor sight lines. The AtG creative team tends to work with a wild idea, and enough open minds around to try it out; the award-winning company has been full of successes from the beginning. All these unknown elements hover in the air throughout the rehearsal process, including the first performance, and no one really knows how they’ll all settle. In my own experience working with their team, there’s always a bit of alchemy that happens in AtG shows. In Banff, #UncleJohn
was an incredible mix of good energy amongst the team, green and responsive audiences, and an unforgettable venue. The reward for all that creative work was enormous.