For bel canto fanatics, (among which number I count myself), the COC production of Rossini’s Maometto II (1820) will be nirvana. For others, the composer’s florid musical style, expressed through non-stop ornamentation, will seem like coloratura torture, and, not surprisingly, there were a significant number of early departures who did not come back after the intermission. Tant pis to them.
Rossini wrote far more opera seria than he did opera buffa, although it is the latter for which he is –Read More
Brilliant conducting by Italian maestro Paolo Carignani, coupled with the sensational singing of French mezzo-soprano Clémentine Margaine as Carmen, and the passionate delivery of Canadian tenor David Pomeroy as Don José, make the COC’s production of Bizet’s warhorse worth the price of admission.
All, however, is not perfect.
Bizet’s Carmen can be a two-edged sword. Yes, the richly expressive music certainly tells you all you have to know about the story and the characters, but on the other hand, weak staging –Read More
Dance Review – DanceWorks/Jackie Burroughs is Dead & what are you going to do about it?, choreographed by DA Hoskins
DA Hoskins usually creates busy pieces inspired by sophisticated intellectual inquiry. Elaborate is a good word to describe his epics that employ text, sets, and visual media, all rooted in a deep emotional base that pervades his choreography. Jackie Burroughs is Dead & what are you going to do about it? has Hoskins going back to the basics. Three dancers, an empty stage, and a live musicmaker are the sum total of the forces employed to express this work.
The –Read More
Since 1989, Modern Times Stage Company has come to stand for elegance of expression. Its productions are spare and passionate, whether the plays are original, classical or international. Co-artistic directors Soheil Parsa and Peter Farbridge believe in content that says something about and to humanity at large. As a result, there is a timeless quality to a Modern Times production. If I had to sum up the company in one word, it would be universality.
The Death of the King –Read More
Under artistic curator Ted Dykstra and artistic producer Diana Bentley, Coal Mine Theatre has become synonymous with quality and professionalism. The venue may be a storefront on The Danforth, but Coal Mine productions are top of the line in terms of programming and theatrical values. The company likes to style itself off off Broadway in design, and it’s a good comparison, because for many New York theatre goers (including visitors), off off Broadway is the last bastion of raw –Read More