L’Aiglon, a long neglected opera about Napoleon’s hapless son, is given the OSM treatment under Kent Nagano’s baton.
Opera de Montreal marks its 35th birthday with a stripped-back Samson et Dalila and a temple-shaking performance from Marie-Nicole Lemieux.
How did the creators of South Park achieve a Broadway miracle with The Book of Mormon? Montreal finally gets the chance to find out.
The Opéra de Montréal gets a little too amped up in their production of The Barber of Seville
The opera that launched the young Giuseppe Verdi’s career, Nabucco premiered in Milan in 1842.
Lewis Black was back at JFL and incensed as ever, as he trained his sarcasm-bathed rant on the ills of American society. Is he gonna burst? Is there a doctor in the room?
With Al Madrigal and Jimmy Carr at JFL, we get one night, two very different solo stand-up gigs, and laughs beyond counting. It’s a good time of year to be in Montreal.
With Wil Anderson hosting and fresh acts each night, every evening of JFL’s Stand Up Down Under will likely be different, but the opening was a gay old time.
With the Charter of Values behind us, it’s time to lay back and take the piss out of our differences, and the Ethnic Show at Just for Laughs is just what the doctor ordered.
Turandot is a moving but morally bankrupt tale, as soaring voices, swirling fabric and a bit of beefcake set the stage for a night of high drama and spectacle.
Looking elegant, Karina Gauvin set the mood with the opening section, comprising one line and delivered with implosive force: “J’ai seul la clef de cette parade sauvage.”
Montreal vocal ensemble VivaVoce is nothing if not adaptable. Unusually, they seem equally adept at everything from John Cage to the Renaissance, which is the focus of this sumptuous new recording, their sixth.
Hänsel and Gretel was Herr Engelbert Humperdinck’s one operatic hit, but since its 1893 premiere in Weimar, it has, unlike his name, never gone out of style.
From the sublime to the occasionally ridiculous, here are some great moments in literary-inspired opera, and operas with unexpected narrative origins – from Nixon to Walter White.
It’s difficult to know how to respond to George Gerswhin’s opera Porgy and Bess. Should we be a bit offended by this condescending representation of African-Americans, or revel in those beautiful sounds that celebrate their musical gifts to the world: jazz, gospel and spirituals?