Tag Archives: Richard Wagner

Holst’s Neptune and Wagner’s Lohengrin Prelude

Posted on November 5, 2022 by barczablog

I’ve just noticed something concerning Gustav Holst’s Planets suite. You’ve probably heard that Holst did not mean planets in the sense of astronomy but rather to be more of a meditation on the astrological significance of each planet. His seven … Continue reading →

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Another look at Alden’s Dutchman, a first look at Harold Wilson

Posted on October 24, 2022 by barczablog

Today’s matinee was the Canadian Opera Company’s closing performance of The Flying Dutchman, complete with a singer making his debut. The American bass Harold Wilson stepped in for an indisposed Franz-Josef Selig in the role of Daland. When I looked … Continue reading →

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Gimeno prepares the taste-buds for Bronfman’s Beethoven

Posted on October 13, 2022 by barczablog

It was a unique Toronto Symphony concert. Conductor Gustavo Gimeno said he had never conducted six items on a program before. It was pretty radical for me too, although I was fortunate. I noticed the unorthodox program and wrote about … Continue reading →

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COC Flying Dutchman Opens

Posted on October 8, 2022 by barczablog

I saw and heard opening night of the Canadian Opera Company’s Flying Dutchman tonight at the Four Seasons Centre, a revival of a Christopher Alden production directed for this revival by Marilyn Gronsdal. I liked it a lot. The COC … Continue reading →

Posted in Opera, Reviews | Tagged , , , , , , , , | 3 Comments

Provocative TSO program: a glimpse of Gimeno

Posted on October 5, 2022 by barczablog

It’s fun getting to know the new music director of the Toronto Symphony, Gustavo Gimeno. I’m excited both by the programming and the performances. Assembling concerts involves a curating process, picking & choosing pieces for performance. Forgive me for repeating … Continue reading →

Posted in Books & Literature, Cinema, video & DVDs, Music and musicology, Opera | Tagged , , , , , , , , , , , , , , , , , , | 2 Comments

Sarah Polley & Terry Gilliam, The Torturer’s Apprentice

Posted on August 31, 2022 by barczablog

Violence is everywhere these days. Excuse me for stating the obvious. I’ve recently seen an adaptation of Shakespeare’s Titus Andronicus that plays with our imaginations, encouraging us to feel for the people getting hurt in the play. Sometimes it’s much … Continue reading →

Posted in Books & Literature, Cinema, video & DVDs, Dance, theatre & musicals, Opera, Psychology and perception | Tagged , , , , , , , , , | 1 Comment

Competing icons at the RCM: Gould, Liszt and others

Posted on August 10, 2022 by barczablog

It’s a branding exercise to give a building a name. Roy Thomson has his hall. Both Rogers and Four Seasons have Centres. They already have The Glenn Gould School in the Royal Conservatory of Music. So why not also give … Continue reading →

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Immortal Glenn Gould

Posted on July 29, 2022 by barczablog

I want to write something about Glenn Gould. Who is he, what is his legacy in 2022? I’m thinking about what GG means to me as I anticipate Tapestry Opera’s premiere of Gould’s Wall, a new site-specific opera opening August … Continue reading →

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News, positive and negative

Posted on April 28, 2022 by barczablog

It’s been a hard week so far. I’m heart-broken with the news in my inbox, that Elisa Citterio is leaving Tafelmusik. I can’t help but wonder about the subtexts for this change. Perhaps it’s just the pandemic and its deadly … Continue reading →

Posted in Dance, theatre & musicals, Food, Health and Nutrition, Music and musicology, Opera, Press Releases and Announcements | Tagged , , , , , , , , , , , , , , | 2 Comments

Composers dissing composers

Posted on March 21, 2022 by barczablog

Earlier today I commented on John Gilks’ post about The Lion Heart a new opera by Corey Arnold and Kyle McDonald that received its world premiere in a semi-staged production this past weekend. Near the end of his review John … Continue reading →

Posted in Music and musicology, Opera, Reviews | Tagged , , , , , , , , , , , , | 6 Comments