-
Recent Posts
Archives
- May 2013
- April 2013
- March 2013
- February 2013
- January 2013
- December 2012
- November 2012
- October 2012
- September 2012
- August 2012
- July 2012
- June 2012
- May 2012
- April 2012
- March 2012
- February 2012
- January 2012
- December 2011
- November 2011
- October 2011
- September 2011
- August 2011
- July 2011
- June 2011
- May 2011
- April 2011
- March 2011
- February 2011
- January 2011
- December 2010
- November 2010
Categories
Meta
Tags
Allyson McHardy Ambur Braid Beethoven Ben Heppner Berlioz Canadian Opera Company Christopher Alden Christopher Mokrzewski Claude Debussy COC Das Rheingold David Fallis Debussy Der Freischütz Franz Liszt Glenn Gould Gluck Handel James Levine Jane Archibald John Adams La Clemenza di Tito Les Troyens Magic Flute Marshall Pynkoski Metropolitan Opera Mozart Opera Atelier Peter Sellars Philip Glass Puccini Richard Strauss Richard Wagner Rigoletto Robert Carsen Robert Lepage Russell Braun Satyagraha Schubert Stewart Goodyear Tafelmusik Toronto Tristan und Isolde Verdi Wagner
Tag Archives: Deborah Voigt
Met Walküre
Before I begin this review, I want to give a quick shout out to my pal Robert. “Salut Robert. Oui je sais que je suis “easy”, ou, comme on dit “You had me at “Wes Herd dies auch sei/ hier … Continue reading
Closing the Ring
I love it. When you’re writing about a great massive project it’s easy to be verbose, a lot harder to say something meaningful that’s brief, so let me get the most important part out of the way. As I said: … Continue reading
Lepage and The End
As I listen to the Metropolitan Opera premiere the last of the four operas in Wagner’s Ring Cycle –streamed for free to an eager audience worldwide—I have to say, the natives are restless. While Canadians are just fine with Robert … Continue reading
Posted in Reviews
Tagged Deborah Voigt, Jay Hunter Morris, Lepage, Metropolitan Opera, Ring Cycle, Wagner
5 Comments
What price virtuosity, or the (body) image problem.
I used to see opera and ballet as two sides of the same coin. I understood them in terms of an obsession with power & fluidity, accomplished by ballet’s bodies, and by opera’s voices. The dancer’s movements were what … Continue reading