Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Megan Latham

Amy Lane’s production of Gounod’s Roméo et Juliette at the COC is eye-catching and enjoyable but doesn’t offer the same level of insight as her Faust last season. 

Amy Lane's scattered borrowings from Tim Burton to Stanley Kubrick fail to cohere in the Canadian Opera Company's new Faust.

After more than a quarter of a century, Janáček’s late masterpiece returns to the Canadian Opera Company, but falls short in charm, magic, and humour.

The COC revival of its 2016 production of Le nozze di Figaro is still rooted in Claus Guth’s gloomy Scandinavia but it’s lightened up to become much sexier and funnier.

Christopher Alden’s production of Verdi’s Rigoletto returned to Toronto tighter, more focussed and with fewer dramatic incongruities. Add to this that every aspect of the music making was top notch and it made for a fine evening at the theatre.

Vancouver Opera's bold presentation of Nico Muhly's Dark Sisters is enjoyable but less audacious than its subject matter might suggest