A Bach Celebration with Tafelmusik Chamber Choir & Ivars Taurins

Posted on March 13, 2026 by barczablog

Thursday night was the first performance by Tafelmusik of A Bach Celebration at Jeanne Lamon Hall. The explanation was that this is an attempt to present a curated series of works that less well-known, instead of the usual canonical pieces, venturing off the beaten track of the popular works we might think of as the greatest hits of Johann Sebastian Bach.

Our curator was Ivars Taurins, the Chamber Choir’s Director & conductor, whose program note framed the experience for me even before he gave the first downbeat to the choir & orchestra.

Ivars Taurins (photo: Dahlia Katz)

Bach wrote over 200 cantatas in a 40 year period. Ivars proposes that we approach Bach the way we might look at an artist’s lifetime of work assembled in a gallery, that shows us not just their two best pieces, but several to help us see the artist’s development & their variety of compositional styles.

Serendipity is always a factor, if you are open to noticing. In the morning I was at the opening of an exhibit of the works of Nathan Sawaya, contemplating the meaning of that word “art” in a gallery, confronted with original works and popular images redone in LEGO. And as usual, I was intrigued by the psychology of reception experience, the variety of ways people are excited, the pieces that drew the most attention vs the ones that were not as popular. I go to concerts all the time but it was especially fortunate that I went to a concert curated by a conductor thinking of it as a gallery experience, when that’s what I saw earlier the same day.

Having asked us before the concert to hold applause until the end of each half of the concert, Ivars assembled a program that flowed smoothly. Before I get analytical, I don’t want to miss a simple fact, that Bach wrote a huge volume of really good music. As I sat listening to the first piece on the program, a boisterous chorus from Cantata #11, I was overwhelmed by the beauty of the sounds from this remarkable orchestra and chorus filling the air around us in the Trinity -St Paul’s Centre space. Their goal is always to aim for authenticity and to embrace history in their performance practice.

Tafelmusik, led by Ivars Taurins (photo: Dahlia Katz)

As Jean-Sébastien Vallée reminded us in his choral workshop last week, Bach had disappeared until Felix Mendelssohn revived him in the 19th century.

But the music went from being part of a church service to inhabiting the concert hall, having become art music. (ah there’s that word again) I wonder if we can possibly process Bach in the way that his congregations experienced him? his enormous output in his practical role in a church as part of a Lutheran community of worship, not merely a creator of art.

When we listen to Bach played in a church space, the organ pipes and the hymn books reminding us of another possible function for the concert hall, we are at least reminded of another way of experiencing & understanding the composer. His enormous output cannot be separated from Christianity even if we listen without belief. Perhaps I’m showing a bias, but I think that embracing the religion that is front & centre in the music opens your heart to the beauty of this music.

Myriam Leblanc

We had the benefit of a brilliant pair of soloists, soprano Myriam Leblanc and tenor James Reese.

James Reese

Yes the playing and the singing were exquisite. But I was noticing how different and new this sample of JS Bach was to my ear, partly because of the way Ivars assembled the works, partly because, as promised, he was hoping to show us the variety of compositional styles.

I mentioned the powerful opening “Lobet Gott in seinen Reichen” from Cantata 11, big boisterous energy with brass flourishes. I was immediately disoriented by something I had never encountered before from Cantata 94, seemingly flipping the usual expectation upside down, bringing us a couple of lines of aria then nine lines of quick recitative, a bit like a sermon. The back and forth continued, a little ornate singing of poetry then a more pointed message. Do we even understand what recitative is, when it can be shown in a “new” function, that likely links to something old, possibly connected to a purpose connected to ministry? I was reminded of the uses of rap, to quickly tell us a story or hit us with political slogans. The flexibility of Reese’s delivery had me wondering too if we need to think of soloists as ministers given their role.

The following chorus seemed to preach as well, language I recognize from one of the Gospels telling us love the Lord thy God & to love thy neighbour as thyself. In the preachier moments the music pulls back, less overpowering as though hmm maybe we need to hear the words and ensure they are clearly stated, the choir charged with persuasion & intelligibility rather than virtuosity & musical expression.

And then it was soprano Leblanc’s turn, her intonation and tone taking my breath away, OMG what a beautiful voice, in a kind of duet with the oboe, in an aria from Cantata #127. Lovely as the music was, again we were being pushed to contemplate darker matters, the soprano’s text proclaiming
“Ah call me soon, you death knell
I am unafraid of death,
because my Jesus will awaken me again”.

I wonder how it was in the 18th century, when child mortality was so much higher, when life expectancy was so much shorter, when attendance in church was almost universal in Bach’s community. We sometimes think of death as a comfort, but it must have been especially so for those living shorter lives, looking inward or upward, to ask why some of us are taken sooner than others. Our understanding of the soprano’s text is surely different than those in a community of faith, regularly confronted with their mortality.

JS Bach

There are so many more examples one could point to, fabulous playing especially the solos from the oboe and the flute, and this amazing choir comprised of virtuoso singers. But the main thing I have to observe is how stunning every piece was, Ivars giving us brief glimpses at different aspects of Bach’s superb output. Bach wrote so much, and as far as I can tell it’s all excellent. Next week we will come to the day usually given to celebrating his 341st birthday (even if haha it’s not really his birthday), on the cusp of the year, March 21st.

The second half of the concert after intermission was especially introspective, thoughtful, truly Lenten in its contemplation. We then came to a celebratory finale to remind us that we were in a realm of art not a church, as we are supposed to refrain in church from extroverted celebration in Lent. The Glorias, including a duet between soprano & tenor, lifted us up for a powerful conclusion.

A Bach Celebration will be repeated Friday and Saturday at 8:00 pm, and also Sunday at 3:00 pm.

For tickets & further information click here.

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Nathan Sawaya’s ART OF THE BRICK

Posted on March 13, 2026 by barczablog

The Art of the Brick show has now come to Toronto as of today March 12th.

Nathan Sawaya is the artist. Yes I want to call his creations “art” and yes he is an artist, working with LEGO blocks and sometimes collaboratively with photographers such as Dean West.

Because the art is made from LEGO there’s a playful element, partly because I’m reminded of childhood, partly because my imagination has been stimulated by what I saw.

Some of his work is completely original, such as “Yellow” the piece shown above with the artist, that seems like a bit of a self-portrait. Here’s a view of the piece from the show, but without the artist.

I find the original pieces to be his most interesting. Here are some more examples.

“Disintegration”
“Doorway”

Many of his pieces can be understood as adaptations, paraphrasing or imitating something you know via LEGO blocks. The pleasure in these is in parsing the differences, the gap between the piece we recognize and its new version in blocks. Sometimes it’s a perfect likeness, sometimes there’s a big gap, and that’s where a lot of the fun is to be found.

As Nathan said awhile ago about his work: “Look, it’s made of LEGO so it’s a fun exhibition.”

Here are a few examples.

I believe that if one doesn’t know the original, the magic isn’t there.

The recognition and the divergence between the original and its new version are where we experience the pleasures of adaptation, for better or worse.

In fairness, these are close-ups. From afar the likeness to the original is much stronger.

My picture is such a closeup that you see the blocks. From further away the picture blends better.

In some of these pieces there’s a wonderful synthesis of media, collaborative work between Nathan and photographers such as Dean West. In the show we’re given opportunities to see the LEGO creation alongside the photos, that sometimes are an astonishing juxtaposition, making you look again and again.

The red dress up close done in LEGO
The red dress put into the photo
LEGO Killer whale
Killer whale seems to be swimming (in the picture)

If nothing else we are in a realm of contemplation, looking at creations that make you think and challenge the way you process images. Sometimes the imitation is close enough to seem like a duplicate, other times there’s enough of a gap to immediate call attention to the use of LEGO, making the image playfully artificial, reminding us right away that it’s not the original. It’s an opportunity to stylize, to put distance between you and the object. Sometimes that’s welcome.

There’s a large range of images, some more like art, some pure fun. And afterwards, visit the gift shop, for some terrific merchandise.

Art of the Brick is presented at YZD 30 Hanover Rd, in Downsview, over 130 artworks constructed from more than one million LEGO pieces, along with a brand-new artwork created specifically for the Toronto engagement.

For further information or tickets visit their website.

Instagram: @artofthebrickexpo
Facebook: @artofthebrickexpo
Hashtags: #ArtOfTheBrick and #ArtOfTheBrickTO

Nathan’s life is inspiring, his art is stimulating & lots of fun. Making art out of LEGO means it’s relatable. If you can I recommend you check out his work at the show.

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BELTing Over the Rainbow

Posted on March 11, 2026 by barczablog

BELT Monday night March 9th invited us to “another unforgettable night of communal singing at Crow’s Theatre” to “learn and perform the beloved classic “Somewhere Over the Rainbow” from The Wizard of Oz.”

After spending Saturday morning March 7th studying & singing some of JS Bach’s Passions, I figured it would be a big contrast Belt-ing Arlen’s song Monday, with the option to have a few belts from the Crow’s Theatre bar: or so I thought.

Yes the informality was lovely. We were encouraged to feel free to walk in or out as we pleased, bringing food & drink. There is so much still to be fixed & repaired in audience dynamics & behaviour, and wow this is a great start. But in the end singing is singing, whether you’re making soft baroque music or belting out the composition voted most popular song of the 20th century, at least according to Walter Frisch’s 2017 superb book Arlen and Harburg’s Over the Rainbow.

Did Arlen model his song on the famous aria “Song to the moon” near the beginning of the opera Rusalka? I can’t decide, there’s a phrase in the aria that has always put me in mind of Judy Garland’s big moment. Maybe it doesn’t matter, but since I’m having fun comparing singing JS Bach & Harold Arlen why not compare Dvorak & Arlen…? Sondra first, with the key phrase roughly a minute & a half into the aria.

No it’s not exactly like Arlen’s song.

And now (as we speak of belting) listen to the young Judy Garland.

Placing those two videos side by side is perhaps a reminder of how different media compete, that opera is expensive, that movies are popular. We may think we’re having fun, but media sometimes have Darwinesque overtones, eager & ready to prey upon one another: as we observe the comments from Timothee Chalamet and the resulting furor.

Timothee said he wouldn’t want to work in ballet or opera because “no one cares about this anymore,” implying they are dying art forms. During a conversation with Matthew McConaughey, he stated, “I don’t want to be working in ballet or opera, or things where it’s like, ‘Hey, keep this thing alive.'”

There have been some fascinating responses. My favourite comes from Whoopi Goldberg on The View who said “When you crap on somebody else’s art form, it doesn’t feel good.”

Whoopi Goldberg on ‘The View’ on March 9; Timothee Chalamet. Credit : ABC; Neil Mockford/FilmMagic

Full disclosure: I am a fan of the dissenting voices we hear from ABC, on The View, & on Jimmy Kimmel.

The discourse is natural, that there has to be a discussion as we make sense out of it all. And outrage is helpful of course, Timothee giving terrific publicity for opera & ballet companies, as this image from Los Angeles Opera might illustrate.

They say there’s no such thing as bad publicity.

At some level surely Timothee had a point, at least in recognizing that some media are more precarious than others, that when we spend our entertainment dollars we’re helping to sustain artists.

My excursions into these two realms underline Timothee’s point. The Bach workshop helps promote the upcoming St Matthew Passion later this month from Toronto Mendelssohn Choir.

BELT is like a fun jam session for the pure enjoyment of the singing, without the usual impediments. We were encouraged to come & go as we needed, whether to grab a drink or food or to take a leak. Three of us were costumed in roles from Wizard of Oz, without including the fourth, the dog dressed up as a dog whether or not he was trying to impersonate Toto.

And Toto too?

The usual business model of opera–that it’s expensive & precarious– is being finessed all over town. In April Opera Atelier offer their version of Debussy’s Pelléas et Mélisande with their original re-orchestration by Christopher Bagan for 14 players instead of the usual full orchestra. Edmonton Opera continue with their Ring Cycle done with a smaller ensemble (Siegfried, 3rd in the cycle premieres in May). Against the Grain, Tapestry Opera, Opera Revue, are all exploring production on a smaller scale not just to avoid expense but as a way to connect more closely to the audience, given that a huge orchestra pit creates a gulf between the singers & the audience. The old business model is of course a challenge, implicit in the published scores for grand operas composed in the 19th Century. The Metropolitan Opera work in Lincoln Centre’s huge venue of over 3000 seats, so beautiful to see in films like Moonstruck, but alas difficult to fill at the best of times.

I felt BELT represented an intelligent response to this competitive culture. As a regular attendee and former practitioner in the endangered media, the only difference I see between the Bach and the Arlen is in the sense of being from a different subculture as BELT, from a different silo: or maybe it’s just that I am much older than everyone in this audience. While I enjoyed the BELT experience I was concerned because even doing my usual googling, I couldn’t figure out who the pianist & leader were, and wanted to give them credit. At one point one of them joked that they were like stand-up comedians, which was very true. Whether we sang correctly or not, they were supportive & forgiving, full of positive energy.

Dinosaur that I am, I had wanted to know who they were, and as we were not given printed programs nor pointed at anything online that would tell me who these talented young people were, I was flummoxed. Usually I get a press release for shows, concerts or events to promote them but I simply stumbled on this eagerly because I was already going to sing Saturday, and immediately bought an inexpensive ticket. It never crossed my mind that I’d wonder who the leader & pianist were, possibly because nobody expected a blogger to show up. Of course the place was full, so they don’t need publicity, clearly they know what they’re doing.

Hm….Jake on the piano, and the woman whose name is not Erika. Notice the woman who is dressed like Dorothy second row from the top, far left. I didn’t get a picture of the other person dressed like Dorothy or the Scarecrow, to my right on the same side of the Guloien Theatre space.

When I bought my BELT t-shirt (yes I am a sucker for merchandise) I gave them my email address.

Great high-quality cotton T-shirt.

Later when I tried to find out more about the event from the organizers, such as the names, I was directed to Instagram. While I am sort of on Instagram(?), I never really embraced the medium. I guess I’m too verbose. Later when I looked at my email receipt for my t-shirt aha! there was the Instagram logo.

When I clicked it I found the image I captured below via screen-shot, where you see the Instagram handles of the pianist & leader. Aha it gave me the names of our performers: Jake Schindler on piano, and AnikaroseJ who may be Anika Johnson. I say this, certain of the former (the pianist) but still unsure of the latter. I thought I heard “Erika” but no that was surely Anika.

And hopefully I have found the right AnikaroseJ. I sent her a message on Facebook but didn’t hear back yet (but of course as I’m regularly told, there’s nobody young left on Facebook). If I’m wrong as usual I would ask: set me straight, please & thank you.

Okay, let me just say that while I expected the two events to be totally different, they were more similar than expected. In the end singing is singing, whether it’s Passions by JS Bach or a song by Harold Arlen.

Our goals may have been different, though. The Bach workshop was an opportunity to learn about Bach and for the Toronto Mendelssohn Choir to promote their upcoming St Matthew Passion to a crowd of Bach nerds. But BELT was not much more than a bunch of people singing, and enjoying the outcome. We spent two hours learning a piece in three (occasionally four) part harmony, in a charming arrangement. It was celebratory, joyful, and fun.

It’s really funny that I felt I was the only senior there, given that singing like this is really good for you. Yes it’s healthy at any age, but those of us who are past retirement need this. There’s lots of research data to back up my assertion, although I sing because I love it, not because Bach or Arlen supply me with my “Vitamin S.”

There was a bit of a contrast between the two singing events. For one of them we were sight-reading Bach and singing in parts, as we explored the ways in which JS Bach told the passion narrative.

The funny thing, while Monday’s Somewhere over the rainbow event aimed to be inclusive, there was a nerdy quality to this as well, lots of singers who were competent and skilled. In both instances we walked away with sheet music (Saturday, copies of Passion according to the St Mark, Monday the 3 part arrangement of Arlen’s song).

Please note, this isn’t a review, I never do the usual sort of review. My role is to observe. I’m sharing my experience. I was intrigued to go to the two contrasting events, loving the chance to sing. The arrangement was really gorgeous, including a key-change modulating up.

It was no surprise to observe the usual demographics, that are the same whether it’s church choir, community theatre, or karaoke. I’m guessing there were maybe 50 or fewer men, in the lower vocal category (with some women choosing to sit in our section, either because they wanted to sing that part or sit with their date), with 150 or more soprano & alto singers. Yes I sometimes sang alto (via falsetto) from my own section, and I think others did so too in those big sections where it was just the sopranos & altos singing their music, while the men were waiting our turn.

As you can see their Instagram is @wearebelt, where you can find out their next event.

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Singsational Bach workshop with Jean-Sébastien Vallée

Posted on March 7, 2026 by barczablog

I know Jean-Sébastien Vallée as the artistic director of Toronto Mendelssohn Choir, which sometimes means he’s preparing the TMC for their work with another conductor, sometimes he’s the one leading the big ensemble, as he did for the Brahms German Requiem last November and will again for the Bach St Matthew Passion in about three weeks time.

Jean-Sébastien Vallée conducting Musicians of the Kitchener – Waterloo Symphony

Today’s Singsation workshop at Yorkminster Park Baptist Church gave me and a couple of hundred others a different perspective on JS Bach and JS Vallée. I already respected him for his work as an excellent choral conductor & interpreter. Today we all got a closer look.

Jean-Sébastien would speak about another JS

This is from the Toronto Mendelssohn Choir website:


“Join Artistic Director Jean-Sébastien Vallée for a Singsation workshop. It’s a community singing workshop, and a wonderful way to spend a Saturday morning – with people who love to sing!
The Theme: Bach’s Passions: Drama, Devotion, and Music

Experience an inspiring Singsation with our own Artistic Director, Jean-Sébastien Vallée, as we explore Bach’s extraordinary settings of the Passion story — from St. John and St. Matthew Passions to the intriguing reconstructions of the lost St. Mark Passion. Together, we’ll compare these masterpieces, uncovering how Bach wove drama, devotion, and musical brilliance into each work. Experience the emotional depth, rich choral textures, and timeless beauty that have captivated audiences for centuries — and enjoy the thrill of singing this unforgettable music in community. Discover the enduring power of Bach’s Passions and leave with a deeper connection to some of the most moving works ever written.”

We heard a remarkable presentation today, accompanied by Dr. Irene Gregorio on the piano. Watching JS today I have a better perspective on his work with the TMC and we learned a lot about the Passions of that other JS, meaning the baroque composer.

I was impressed at how quickly JS works. We looked at the two well-known passions (St Matthew & St John) plus the third reverse-engineered one, created by taking the known texts of the Passion according to St Mark, with Bach compositions fitted to it.

We were all given scores. Afterwards we returned the two published ones but were permitted to keep the third that’s xeroxed.

I’m still high from the experience, singing the tenor part of the excerpts we did over the two hours plus we were gathered together at Yorkminster Park Baptist Church. The workshop went far beyond mere marketing. Yes ocourse this is a smart way to promote the upcoming concert. But JS Vallée has a genuine interest in his namesake, and a great deal of insight to offer.

I was tempted to photograph every slide in the presentation, that included a great deal of historical insight, that helps one listen to the Passions. There’s also the passion of JS Vallée, his commitment to sharing with those of us at the workshop, evident in these photos. Each of these slides led to lots of detailed explanation. I was impressed by his energy, seemingly as driven at the end as at the beginning.

I noticed, too, that the Toronto Symphony have programmed Mahler’s 8th Symphony for June of 2027. I can’t be the only person thinking it might be fun to join the Toronto Mendelssohn Choir to be able to sing that. I wonder if that thrilling work will help their recruitment.

But first: I’m looking forward to seeing JS Vallée lead the St Matthew Passion later this month.

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Interviewing soprano Sarah Dufresne

Posted on March 5, 2026 by barczablog

Reviewers work after the fact, which means that sometimes we only notice stars when the show is over, especially when we are seeing the artist for the first time. So here I am belatedly interviewing Sarah Dufresne, long after her remarkable portrayal of Gilda in the Canadian Opera Company’s recent production of Rigoletto.

While I gushed about her youthful interpretation, glibly acting as though she was brand-new in the role, I see that in fact Pacific Opera Victoria had the honour of her role debut back in April 2025.

Better late than never I suppose.

*******

Barczablog: What is the best or worst thing about what you do?

Sarah Dufresne: The best thing about what I do is that I get to sing everyday! Singing is something I have loved my whole life. The worst thing about what I do is that I am away from my fiance and family more often than I would like. But I always feel like it’s extra special when they are able to come visit me wherever I am in the world and then we get to explore together and make great memories! 

BB: Wow, I see images of the engagement via Facebook/Instagram..!

Sarah Dufresne and Ian Sabourin

The caption says
“Yesterday in the Singers Room at Neuschwanstein Castle we didn’t sing, we got engaged,”
Sarah Dufresne and Ian Sabourin.

BB: Who do you like to listen to or watch?

Sarah Dufresne: When I’m not singing opera, I listen to mostly pop music and watch a lot of shows on Netflix. I like documentaries/docuseries or movies based on a true story the most. When it comes to music, I try to keep up on the pop superstars like Sabrina Carpenter and Tate McRae. I’ve also been listening to Madison Beer’s new album and Addison Rae lately! I also keep up on figure skating- so when there are competitions on I love to watch those! 

BB: What ability or skill do you wish you had, that you don’t have?

Sarah Dufresne: I wish I could dance, I have always felt like I wanted to know how to do ballet and contemporary dance. I did a bit of tap dancing as a child, but sadly I can say quite confidently that I am not a good dancer! I have so much respect for dancers and even attended an adult beginner ballet class to give it a try. I think if my life had a bit more of a regular routine I would probably take regular classes!

BB: When you’re just relaxing and not working, what is your favourite thing to do?

Sarah Dufresne: I love spas! Which includes going to formal spas of course, but also I love to take baths and go to saunas. Anything to try and help my nervous system reset and relax. I also love taking long walks around whatever city I’m in and exploring (including trying their local foods). 

BB: What was the first song you sang as a public performance?

Sarah Dufresne: I sang a song in my first grade talent show, I must have been no more than 7 years old. It was called “Sailing the seven seas” which I think was from a children’s musical? Not 100% sure on that, it was a long time ago. But I wore a sailor dress and went up and sang my song a capella for the whole school!

BB:  If someone wanted to be an opera singer, how would you suggest they begin?

Sarah Dufresne: I think going to University for singing is sort of the obvious answer, but it is the best way to not only learn singing but to learn theory/history etc… the things that I think are all sort of necessary to being a well rounded musician. You can also do it on your own I suppose, having a great singing teacher is the most important thing no matter which path you choose. 

BB: Do you have a favourite singer?

Sarah Dufresne: I have a few, I really like Erin Morley, Lisette Oropesa and Sabine Devieilhe!  My goal is to confidently work towards making the most beautiful and efficient sounds that I can with my own instrument. I think the best opera singers have their own signature sound and that’s what I am going for; like these ladies! I really admire these women for how they have developed their own signature sounds and are such brilliant and inspiring artists. 

BB: Who is your favourite actor?

Sarah Dufresne: I love Florence Pugh; her highly expressive face and commitment to her roles is always incredible to watch. I particularly loved her performance in Midsommar… it’s so fascinating to watch and I see new things everytime I watch it! 

BB: Thank you for that, (omg!) And now I will have to find it, apparently a remarkable performance.

Do you ever feel stage-fright?

Sarah Dufresne: Absolutely!  I have always struggled with stage fright, which of course is better or worse depending on what you’re working on and how much external pressure you feel. A big part of my journey right now is learning how to manage and control it, because it exists for everyone and nerves just mean you care!

BB: Good point. I try to tell myself that when I am nervous. How do you avoid being overwhelmed by the emotions brought up in situations you are portraying onstage? 

Sarah Dufresne: I practice a sort of separation from the characters. Keeping myself completely separate from the characters is super important for me. You can learn how to channel what someone is feeling without making it feel like its happening to you- for example, when I am singing Gilda I try to think of her as a totally different person that I can go into her world to sing the part and then when I leave the stage I’ve stepped out of it. 

Giovanna (Simona Genga) observes Gilda (Sarah Dufresne) among the falling flower petals (photo: Michael Cooper).

BB: If we could forget all about vocal types or gender, is there any role you wish you could sing?

Sarah Dufresne: I would love to sing Carmen, she has so many great arias! 

BB: Have you ever gone on when you were sick?

Sarah Dufresne: Yes! I have so many times. The craziest one was when I sang Ophélie in Montreal last season. I was getting sick through all of the tech week and when opening night was approaching I woke up the day before feeling absolutely awful. It’s not a very commonly performed opera, so I knew I had to go on. I spent the whole day resting and steaming until it was time for the show. I’m not totally sure how I did it, but my adrenaline kicked in and I actually ended up singing one of the best shows of my life! It was so scary though, it’s a super challenging role and singing it sick is really no joke. Somehow I feel like I used my whole body that night even more than I usually do and was totally exhausted the next day! But I am so proud of that performance. 

Sarah Dufresne as Ophélie (photo: © Vivian Gaumand)

BB: Thank you that’s a powerful story, especially when we remember how things turn out for Ophélie. No wonder you received such great reviews: for instance the one with the headline
“Sarah Dufresne’s Ophélie steals the show in Opéra de Montréal’s Hamlet.”

Gilda is a young innocent who becomes an adult very quickly. Gilda has many parts (something they say about Violetta, from another of Verdi’s middle operas), some more adult than others, and a variety of singing styles too. When you’re playing Gilda, what parts do you identify with the most, and what parts are more of a stretch to portray? 

Sarah Dufresne: Honestly, Gilda is not an easy character to play as a modern, adult woman. I think I can identify with the parts that have a high amount of innocence and naivety; like when she first falls in love with the Duke, because I was a teenage girl not too long ago. I think the second half of the show is harder to play, because the decision she makes at the end of the night (sacrificing herself) is more difficult to understand. The key to portraying her is that you really can’t approach it from a stance of “well I would never make this choice” but you just accept that Gilda is making the choice and you as the actor have to go all in on it.

Foreground: Rigoletto (Quinn Kelsey) embraces his daughter Gilda (Sarah Dufresne), as behind them the Duke (Ben Bliss) kneels before Maddalena (Zoie Reams), observed by Sparafucile (Peixin Chen, photo: Michael Cooper)

BB: I think you’re also explaining one of the reasons this production is so interesting, notwithstanding how dark Christopher Alden makes it, because we’re really watching a very modern take on Gilda, the Duke and his court of enablers.

Every year I worry, wondering if opera will survive. Some opera companies are having financial difficulties.  If we let you become general director, do you have any ideas that might help?

Sarah Dufresne: I would be lying if I said that I have a great understanding of how opera companies are run. I know there is a lot of philanthropy involved and that operas are incredibly expensive to put on. I’m not sure anyone really knows the answer to this question… however I am very early in my career and could definitely see myself moving into a General Director position one day. 

I think that finding the way to spend less and make more money is key. We also really need to push to get younger people involved and interested. From what I’ve seen, opera is more appealing to people who have studied it or been involved in some way (and a lot of the young people who I know who go to operas, are people who have tried it and either stuck with it or decided to go into another career path). Not to say that the efforts of opera companies to get influencers involved and social media attention doesn’t help, because I think it can. But I think we need to go a bit deeper in investing in giving children more knowledge about what it is, having them learn the basics of singing and have them put on little operettas and things like that to encourage them to feel what it means to commit to a project and feel passionate about the art form. I strongly believe the education needs to go deeper than your school coming to 1 matinee performance. 

Watching a sport you don’t understand is less interesting than watching a sport you know the basic rules to… you know what I mean?

BB: Very true! thanks… Since the pandemic a great many artists are working virtually, both as teachers and as performers. Do you have a preference between live or recorded performance and when you record how do you make it seem live?

Sarah Dufresne: Live performance will always be my preference, for both watching and performing. Opera is a live art form and I think that’s part of the thrill! Recordings are basically always edited and the overtones of the voice will never translate on a recording the way they do in real life. 

BB: If you could tell the institutions how to train future artists, what would you change?

Sarah Dufresne: I feel really fortunate that the institutions I trained at gave me everything that I needed and I really feel like the things I’ve learnt since are the things you can only learn from being in shows and doing the job. 

I would say that I had to study a lot of advanced theory and things in my undergrad degree that I don’t need to know and it would’ve been helpful for me to opt out of. I think allowing people to focus on the subjects that are most applicable to them would be best! If someone wants to perform, let them have extra lessons and coachings, so they don’t have to spend all their time studying with books. 

BB: What’s coming up for you? 

Sarah Dufresne: This March I am back in Covent Garden as the Waldvogel in Siegfried as part of the new Ring Cycle.

Image from Covent Garden site for Siegfried conducted by Antonio Pappano & directed by Barrie Kosky March 17-April 6

And this spring I am off to make my debut at Teatro alla Scala in Milan as Frasquita in Carmen. I have some exciting things coming up next season… but I can’t share them quite yet! 

Sarah Dufresne

I will let you, dear reader, know when I hear more.

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Diapente Presents Time’s Eldest Son Celebrating 400 Years of John Dowland

Posted on March 1, 2026 by barczablog

Yes it’s a humongous headline but it’s a perfect description of the concert I witnessed Saturday night at the Heliconian Hall, and the first time I’ve seen a performance by Diapente Renaissance Vocal Quintet.

L-R Peter Koniers–Countertenor, Jonathan Stuchbery–Tenor & Lute, Jane Fingler–Soprano, Alexander Cappellazzo-Tenor, Martin Gomes-Bass

Felix Deak joined Diapente for the event on Viola da Gamba.

Baroque cellist and gambist Felix Deak

It was truly a celebration of life right down to a beautiful program printed on a thicker card stock, that feels like a souvenir (and one I will keep for awhile).

The space was packed with an enthusiastic crowd. It felt like a happening, complete with buttons for the occasion.

This group knows how to have fun. We heard lots of beautiful music, one of the best concerts so far in 2026 as we were taught about John Dowland, a composer who died exactly 400 years ago.

Jonathan Stuchbery was our teacher & master of ceremonies, sometimes offering us background historical details about Dowland, his travels, the court of Elizabeth before seguing into performance as vocalist or in the occasional instrumentals.

Jonathan Stuchbery (photo: Erik Visser)

Jonathan took us through Dowland’s life. We heard music that influenced him from abroad such as Claude le Jeune and Guillaume Tessier (the 3rd & 4th items) and then Italians Alessandro Orologio & Luca Marenzio (6th & 7th).

We were treated to a demonstration of a table book whereby four voices could all look on as they sang from the same page. Afterwards I asked to take a picture so that I could illustrate what they performed for us, around the table.

Notice that the alto is upside down and the bass sideways. In other words, the tenor and soprano would be on one side, opposite the alto and beside the bass.

In modern English, the piece is “Unquiet thoughts” rather than the “Nquiet thoughts” we see printed in this reproduction of the First Book of Songs or Ayres (1597).

Each of the members of the quintet had their moment to sing a solo. I was especially pleased by the ensemble singing of the quintet who blend wonderfully, staying in tune whether accompanied or not.

Towards the end we heard examples of Dowland’s influence, in pieces by Charles Tessier and Thomas Tomkins, before “Now O now I needs must part” as finale, with the well known “Come again” as their encore.

I was excited to hear that in November there is to be a further festival celebration of Dowland’s life to include other artists and a repeat of this concert “Time’s Eldest Son”. When I hear more I will share the details.

Diapente Renaissance Vocal Quintet
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Norman Lebrecht vs Yuja Wang using Lebrecht’s own quote against him

Posted on February 27, 2026 by barczablog

Here I am posting something that at first glance will look like gossip. Norman Lebrecht thrives on gossip in Slipped Disc but karma seems to be slapping him right in his lumbar region.

Speaking of which I have a bone to pick (if you can excuse the choice of words) with Lebrecht & those of his ilk, but I need a bit of a preamble first.

Katherine Needleman today said that
“The Guardian reports that BBC Radio 3 will no longer be working with “writer, critic, and Radio 3 presenter” Norman Lebrecht after Yuja Wang published an email he sent her.”

The accusation of “misogynistic bullying” appears to be the concern. I wonder if a white male pianist would face the same treatment. But I don’t want to be a gossip. You can find more if you need to easily enough.

I have gushed about my admiration for Yuja often in this space. Here’s a cartoon I posted a few years ago accompanying one of her performances.

Cartoon by Jessica Mariko @caffeinatedkeyboardist

By a funny coincidence I recently quoted Lebrecht’s book The Maestro Myth.

It’s funny that I am about to use his words as a segue, to talk about my own beliefs. In my recent interview with Mandle Cheung, I quoted from Lebrecht’s book about conductors, when he quotes Carl Flesch, who says
“There is no profession which an imposter could enter more easily.”

I disagree. Never mind conductors.

You want a profession full of imposters? Criticism, and critics. I recall my outrage for example at the recent COC production of Fidelio where the tenor sang his entire first aria a semitone sharp, yet was treated by critics as the second coming of Jon Vickers. Excuse me that’s just one example, there are others I could mention. The funny thing is, nobody really cares. Critics may or may not know what they are talking about. But we are in a vicarious position, hardly a profession at all, observing from the sidelines trying not to be ignored. Ha!

But pardon me I want to change the subject slightly. George Bernard Shaw famously said that he never laid an egg but was a better judge of omelette than any chicken, a clever little axiom to illustrate his critical brilliance. You see the logic? While Shaw may not have known how to sing the role of Siegfried or Brunnhilde (the equivalents to the chicken in the analogy) Shaw wrote a great deal about opera, singers & musician. Yes I have long admired his essay The Perfect Wagnerite.

But I have a problem with criticism that aims to put the critic on a higher level than those engaging in the art-form. Shaw was a brilliant man of the theatre, to be sure, but he trucks out that analogy because he also used to complain about musicians and singers, aka artists with skill-sets he lacked.

No I will never play the Rachmaninoff 3rd piano concerto properly, although I have tried, but recognize that Yuja is far beyond me. I’m not saying a critic needs to be able to play the thing or do the thing they critique. Far from it,

But my idea of criticism comes from mentors such as Ron Bryden or Lise Marker (and excuse me if my name-dropping seems lame). This book by AM Nagler, that I recall from the Theatre History course, was a great starting point.

Theatre history is written by witnesses. Judgment is less important than careful observation, testimony. A performance is a process. To describe how something works is a challenge especially when you’re watching and/or hearing something new. Judgment gets in the way, the language of dismissal is particularly unhelpful.

As you will have noticed long ago, I do not like to dismiss or judge, I prefer to be positive, to testify. That can be challenging, for instance when listening to an artist everyone admires such as Yuja Wang, trying to identify what she does that is different.

Mean words, class distinctions, judgment, dismissal? they can all work the same as clickbait, valorizing a harsh tongue & cruelty.

We can do better. We must do better.

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A closer look at the COC’s zany Barber of Seville

Posted on February 22, 2026 by barczablog

Your tickets to the opera really are a case of “location location location”.

When I saw the Canadian Opera Company’s Barber of Seville two weeks ago seated in the middle of the downstairs at the Four Seasons Centre, yes I liked the music, writing a review fit for a grumpy-puss, not fully surrendering to the comedy until the second act.

Today I laughed my ass off from the first note, as I watched the closing performance from my subscription seat in the second row. That’s why I want to talk location. The reason I have this ticket is because when seen from up close opera is completely different, especially a comedy.

There are trade offs, to be sure. As the person sitting beside me observed, the singers are harder to hear because the orchestra is so loud from up close. I loved the pace and the tightness of the ensemble led by Daniela Candillari. And yes I love the immersive experience of the orchestra even if it’s true that the singers fare better if you sit further back.

Conductor Daniela Candillari

I felt I should properly admit how much I laughed at a production that I was seeing for the seventh time (three times in 2015, twice in 2020 and two weeks ago with a different tenor in the lead role). So in other words even though I know the jokes and the sight-gags by heart at this point, yet I laughed harder this time than any time since the first time I saw it.

Credit where credit’s due. Mezzo-soprano Deepa Johnny is very sympathetic, totally relatable as Rosina. Up close the subtleties of her facial expressions were hysterical to watch, even as she again sang a superb performance.

She matched up well with tenor Pietro Adaini, the Count Almaviva in today’s show, a slight difference from Dave Monaco who I saw the first time. They were both excellent, although I found Pietro funnier: perhaps because I was sitting closer this time. I can’t be objective. His voice had a lot of squillo even if I’m not sure that’s what we expect in bel canto. Pietro sang a lot of beautiful high notes, perhaps three high Cs in the first act alone: although that’s probably not as important as the way he played comedy. His eye contact with Deepa and his servants Fiorello & Figaro, set up wonderful comic bits.

Pietro Adaini accepting applause afterwards

Or maybe it’s just that sitting close I was able to see subtleties that are lost when you sit further back.

Speaking of the servants, that means Nathan Keoughan as Fiorello and Luke Sutliff as Figaro. I’ve wondered about Fiorello, a character who makes an impression in the first scene, and then is more or less shoved aside when a pushier, more charismatic servant arrives: namely Figaro. Sorry Nathan, you were great but unfortunately Rossini erases you with the arrival of the title role.

Figaro (Luke Sutliff; photo: Michael Cooper)

I was again taken by the work of Luke, impressive in his big aria at the beginning of the show, and very much a take charge comedian, unlike the three previous Figaros I’ve seen in this production. In some respects Luke is more of a conventional Figaro who doesn’t need the extra theatricality of this production to make us love him & his shenanigans, as he’s doing it with his voice and his acting ability, aka the usual toolkit of an opera singer.

Joan Font’s direction is very vivid, putting actors on stage to unpack key moments in case you’re not able to figure things out for yourself. Don’t get me wrong, I love directors’ theatre when it illuminates, and that is certainly the case with this interpretation. For that opening aria I spoke of, Figaro’s Largo al factotum, not only does the baritone tell us of the many things he does, we get them enacted for us. Similarly when Berta sings an aria (gorgeous singing by Ariana Maubach) that in effect speaks of the opera’s core story-line, of the older man competing with the younger for a beautiful young woman, we see that acted out upstage. When Don Basilio sings of slander, we see a man effectively trapped in a kind of web, that leaves him half-naked at the end, as though he were slandered. While I may have complained previously about directors who seem unready to challenge their audience’s intelligence, I don’t want that charge directed at Font, whose imaginative theatre games invite us to engage with the illusion, thinking harder. Font gets a lot of mileage out of the flamboyant set & costume designs from Joan Guillen.

The Barber cast (photo : Michael Cooper)

Up close I was especially taken with Luca Pisaroni as Don Basilio, and by that I am less concerned with his singing –which was good–than his comic chops, which were remarkable. At least three times I guffawed like a drunk, surprised by a physical move or a bit of mugging from Luca. This is the same guy I saw two weeks ago, who I didn’t mention because from afar it may have gone over my head, not so easy to see. And up close I was again fascinated by Renato Girolami as Dr Bartolo, a portrayal that felt a bit two-dimensional from the second row. But of course when I sat far away his character played really well, the big effects visible from a distance. Luca and Deepa and Pietro were acting in ways that seem almost cinematic, ready for their close-ups, while Luke & Renato played in a more conventionally operatic style that can fill a big space and works well from a distance. I feel fortunate that I got to see it multiple times, to observe the different approaches, which each have their advantages.

We are at the end of the COC’s winter season, just days after they announced the operas for next season. While I may have felt a bit perturbed that the choices for this season included four revivals for the six programs, I still renewed. But whatever misgiving I had, at least those careful & conservatives choices kept the COC in business in a year that has seen the Metropolitan Opera (for an obvious comparison) laying off staff. And so, in addition to the new Romeo et Juliette last fall and the upcoming Werther, we were to be content with productions seen multiple times, namely Rigoletto & the Barber, Orfeo revived last autumn and the Erwartung-BlueBeard double bill coming back in April (although the latter from Robert Lepage is a perennial favourite).

Erwartung COC 1992
Robert Lepage’s design & direction of Erwartung.

When I look at the upcoming season it’s easy to be enthusiastic, with no hesitation about renewing for next year. There are three revivals, namely La Traviata, Cosi fan tutte, and Elixir of Love, with three exciting new productions, namely a new production of Ariadne auf Naxos last seen in 2011, Britten’s Turn of the Screw, which has never been staged by the COC plus the world premiere of Empire of Wild by the team of composer Ian Cusson & librettist Cherie Dimaline.

Composer Ian Cusson

As I mentioned in what I wrote last week, COC General Director David Ferguson has been interim General Director since 2024, after the abrupt departure of Perryn Leech, and continues in his role until July, when the new General Director Ian Derrer takes over.

Incoming COC General Director – Ian Derrer (photo: Gaetz Photography)
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TSO are back for Gimeno’s Mahler 9 proposition

Posted on February 20, 2026 by barczablog

I’ve had a wonderful experience tonight at Roy Thomson Hall watching and listening to Gustavo Gimeno leading the Toronto Symphony in Mahler’s 9th Symphony.

Gustavo Gimeno leading the Toronto Symphony on tour in Europe (photos: Allan Cabral)

The orchestra has just returned from their European tour. You can read more about the tour here.

Ten years ago I had the privilege of accompanying the TSO on a tour of Florida, watching them play while observing the magical way tours pull an ensemble together, teaching them to trust one another. No wonder that tonight Gustavo had such remarkable control over the orchestra in this special piece.

I want to mention Gustavo’s introductory talk. While he still has a bit of an accent wow we heard a short dissertation tonight before the concert. I’m reminded that i heard it said that all art is a proposition (and if you think of the word as what we use in romance, a romantic proposition? then yes, that works too). When I present you with a poem, when I sing a song or draw a picture, I am inviting you to respond to what I present to you, to join me in sharing my imaginings. We are romanced, presented with a way of seeing or understanding, that we accept or refuse, depending on how much we open ourselves and how persuasive the proposition. Tonight the TSO were well nigh irresistible, advocating on behalf of Gustavo and his ideas about his namesake.

(it’s Gustav Mahler after all).

I hope the TSO will publish Gustavo’s ideas about Mahler’s 9th, a fascinating way of understanding a piece written near the end of the composer’s life. The orchestra made a strong case in their performance, and no wonder. They’ve spent the last little while becoming closer during their travels.

Like Beethoven, Schubert and a few others, Mahler’s 9th would be his last completed symphony. I wonder to what degree Mahler was composing while thinking of dying. Or, as Gustavo asks: maybe the symphony is more about living than dying. However you understand the relationship between the symphony & the composer’s life, it makes for an amazing performance, especially when the players are so ready to follow their maestro, while exploring this hypothesis.

There are four movements, each one featuring some big climaxes for the whole orchestra as well as delightful solo passages for a number of soloists, particularly Concertmaster Jonathan Crow, who had a stunning solo in every movement. In places, thinking especially of the first movement, there are passages that remind me of an old-style symphony concertante, the big orchestra sometimes there, sometimes dropping back to let a few soloists take over. Mahler’s mastery of colour is as usual evident, although –as Gustavo explained– this symphony is unique, because the composer did not get a chance to fine tune, after hearing it in performance: because he died. I found myself wondering what if anything he might have changed, especially in the first movement, which I am accustomed to thinking of as perfect.

Would Mahler have changed it? But he couldn’t be reached for comment…

The second movement was perhaps the most blatant display of a conductor’s interpretive input, as the tempo had two contrasting speeds. For the opening theme it was slow and so mechanical as to seem like an exaggeration, calling attention to the simplicity of the tune. When we went off into the second theme suddenly Gustavo put the pedal to the metal as it were. It felt as though we were to see that first theme as a costume or a role-play, and then when we came to the second theme it was as explosive as a new role or a new persona. The contrast was wild.

The third movement burlesque was much more of a full-out display of bravura playing especially from the winds, powerful at times, but sometimes like quicksilver in their fast delivery of softer phrases. We came to the latter part of the movement, suggesting something more reflective or sentimental, but every bit as committed.

The last movement was again as deep and thoughtful as the first, a careful study. The mocking ironic themes we’ve heard earlier are now done so slowly as to acquire a new gravitas, a weight requiring our attention. Gustavo in the final moments took the TSO gradually to a place of pathos, delicacy at the conclusion, very quiet and transparent.

The TSO and Gustavo Gimeno will be back with Gustav Mahler’s 9th Symphony Saturday night & Sunday afternoon at Roy Thomson Hall.

Gustav Mahler
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A last Rigoletto on the cusp of a regime change

Posted on February 15, 2026 by barczablog

For Valentine’s Day 2026 this subscriber attended the Canadian Opera Company’s last performance of Rigoletto in their winter season at the Four Seasons Centre, in Christopher Alden’s rather un-romantic production. The rose petals fall from above as the young girl is seduced by a duke in disguise.

Giovanna (Simona Genga) observes Gilda (Sarah Dufresne) among the falling flower petals (photo: Michael Cooper).

I may be a tad compulsive about dates, observing how Monday’s Family Day holiday falls alongside this celebration of romance, just as we hit the Lunar New Year on Tuesday. The end of the Year of the Snake can also be understood as rebirth & transformation, a time of new beginnings.

The outgoing management of the COC can say “mission accomplished” as they look in the mirror, David Ferguson & his team having avoided the kind of backstage drama seen at the Metropolitan Opera, who were forced to lay off staff and cut some salaries. Speaking as a subscriber, I understood, accepted the revivals of Rigoletto & Barber as prudent measures, and as far as I can tell they made the right choice.

David Ferguson

In spring we get the new Canadian co-production of Werther (comparable to last year’s Canadian co-pro of La Reine-Garçon) alongside the much loved pair from Robert Lepage of Bluebeard’s Castle & Erwartung. That balance of new & old got us through. Ferguson has been interim General Director since 2024, after the abrupt departure of Perryn Leech, and continues in his role until July.

And there’s a new General Director on the horizon, namely Ian Derrer, who takes over in July.

Incoming COC General Director – Ian Derrer (photo: Gaetz Photography)

I wonder how much input he will have for his first season at the helm (2026-27), that will have largely been planned already I would think. Ian’s first real season will be 2027-28. And excuse me maybe it’s my age talking: as I’ve barely managed to adjust to a year called “2026”. Those numbers feel remote.

My subscription seat in the second row is a treat for the way it surrounds me with orchestral sounds & closeup views of the action.

Andriana Chuchman was our Gilda for the closing performances.

Soprano Andriana Chuchman

Andriana was at times reflective, as in her approach to “Caro nome”, looking less like the teenager and more like a thoughtful young woman, which made the opera less triggering for me than what I experienced watching Sarah Dufresne earlier in the run (who looked so young & vulnerable).

It was fascinating to watch Ben Bliss up close, as he manoeuvres one of his conquests from off his lap even while singing “questa o quella”: and still made it sound like easy singing. That’s two full performances I saw without a note sung flat. To pull that off in February surrounded by a cast likely running the gauntlet of colds & flu is doubly impressive.

As always I’m torn, conflicted by the two sides of Verdi during this period. Gilda & the Duke are still largely bel canto creations, the voices seducing us with their coloratura & their high notes. And then there are the newer subtler creations, dramatic hybrids such as Rigoletto or Sparafucile. Peixin Chen as Sparafucile gave us a grotesquely comical killer, complete with one of the best sustained low Fs I have ever heard, the role underplayed for maximum effect.

For the last performance Quinn Kelsey as Rigoletto held nothing back, and it was perfection. I was again stunned by how effortless Quinn’s voice is sounding, in a role we heard from him before. But he’s not forcing, he’s letting the sound out and at climactic moments making clear glorious sounds. The Alden production in some ways thwarts some of the usual things one sees from a Rigoletto. Instead of the prancing jester implicit in the music Verdi wrote for the scene with Monterone, Alden sits his baritone on a couch to imitate the Duke himself: an alteration that’s especially fascinating seen up close. Similarly the usual drama of the scene where Rigoletto comes looking for Gilda, the jester teasing his tormenters, is especially dark when Gilda is concealed onstage behind the implacable courtiers.

Rigoletto (Quinn Kelsey) stonewalled by the Duke’s courtiers (photo: Michael Cooper)

The great thing about this location is the chance to watch Johannes Debus conducting, while we’re immersed in the full COC Orchestra sound. I was delighted to notice the differences in interpretation, the more thoughtful reading with Andriana than with Sarah, as I wondered at the mysteries of Johannes’ process, pleased with the results either way.

Next week the Saturday 4:30 subscribers get Barber of Seville, in another closing performance to end the COC’s winter season.

And come July, incoming COC General Director Ian Derrer takes over.

Incoming COC General Director – Ian Derrer (photo: Gaetz Photography)
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