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10 Days in a Madhouse is a musically and dramatically excellent but disturbing insight into conditions in a women’s asylum brought to life in Toronto by an excellent production.

Gustavo Gimeno and the TSO give a performance that’s both carefully thought out and very grand, aided by excellent soloists and the huge Toronto Mendelssohn Choir.

Excellent performances cannot turn a conventional production of Massenet’s Werther into a dramatic experience for the 21st century. 

After a Rachmaninov concerto that resembles a harangue, an uneven Toronto Symphony programme comes into focus with a sharply characterised Shostakovich Ninth.

Some 30 years after its first appearance, Robert Lepage’s double bill of Duke Bluebeards Castle and Erwartung is still strikingly effective and very modern-looking music theatre.

On the final leg of their North American tour, the Budapest Festival Orchestra’s Mahler proves a a transformative experience within the intimate setting of Toronto’s Koerner Hall. 

The Barber is back in Toronto with an excellent cast, young and old, and it’s as lively, colourful and energetic as ever. 

Christopher Alden’s Victorian-era Rigoletto still divides opinions, despite top-notch performances all around in this Toronto revival. 

Matthias Goerne and Daniil Trifonov take their Toronto audience on a Schubertian journey to remember at Koerner Hall. 

The restrained beauty of Robert Carsen’s production of Gluck’s Orfeo ed Euridice is matched by musical elegance in its revival current revival at the Four Seasons Centre. 

Stepping in to replace Stephen Kovacevich, Jonathan Biss’ Schubert alternates between insight and impatience.

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. 

The Toronto Symphony kicks off the 2025-26 season with an intriguing and exciting double bill of the very new and the very familiar. 

Kristiina Poska makes a successful Toronto debut with solid Beethoven and some spicy Caribbean fireworks from Stewart Goodyear. 

Robert Carsen’s 1997 production of Eugene Onegin has aged remarkably well but the latest Canadian Opera Company revival of it doesn’t quite recapture its magic. 

William Kentridge's production of Berg’s Wozzeck has it all: wonderfully imaginative and disturbing designs, terrific acting and singing plus fabulous orchestral playing. 

The Toronto Symphony Orchestra’s latest concert, tipped for European touring next year, fails to convince.

Despite a rousing start the touring VSO produce some understated Brahms and Shostakovich at Toronto’s Roy Thomson Hall. 

In the first revival of National Ballet of Canada's 2022 Swan Lake, a strong corps de ballet and star turn by Genevieve Penn Nabity almost overcome a muddled visual concept. 

Thomas Adès serves up an astronomical programme, pairing his Piano Concerto and Paradiso with Holst’s crowd favourite, The Planets.

Bilodeau and Bouchard’s La Reine-garçon is contemporary opera at its best, telling a great story with outstanding music and stunning visuals.

The Toronto revival of Michael Grandage’s straightforward but elegant production shields Puccini’s genius from contemporary critiques. 

Semyon Bychkov and the Czech Philharmonic bring their Year of Czech Music to a triumphant conclusion in Toronto’s Koerner Hall, where Daniil Trifonov raises the roof with Dvořák’s neglected Piano Concerto. 

John Adams returns to Toronto to conduct the TSO in an exciting and varied programme marked also by the debut of Spotlight Artist Anna Prohaska. 

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

The Canadian Opera Company’s season opening production is musically excellent, but the dated, dull production adds little. 

Gustavo Gimeno kicks off the TSO’s new season with new perspectives on the familiar and not-so-familiar

The Toronto Summer Music Festival opens with Les Arts Florissants’ enchanting performance of Purcell’s The Fairy Queen, featuring the singers of Le Jardin des voix and the dancers of Compagnie Käfig.

Japan’s leading composer conducted a programme that mixes concert and film music, but it was only the familiar tunes that enthuse the audience.

Gustavo Gimeno and the Toronto Symphony stir the emotions with a caring and dedicated performance of Mahler’s longest symphony.

Superstar dancer Carlos Acosta's Don Quixote debuts at the National Ballet of Canada, showcasing thrilling dancing in a sumptuous, sun-filled Spanish setting. 

French conductor Stéphane Denève leads the Toronto Symphony in an invigorating French-American programme, featuring Canadian star violinist, James Ehnes. 

In the title role of Canadian Opera Company's Medea, soprano Sondra Radvanovsky offers the vocal and dramatic goods required by this flawed masterpiece. 

The TSO effectively combine new and old with a first rate performance of the enargeia suite by Emily D’Angelo, followed by a satisfying Brahms First Symphony. A fitting tribute to dedicatee Sir Andrew Davis.

Canadian Opera Company's Don Pasquale offers a stylish Italian 1960s Fellini-inspired concept that delivers  comedy but omits the pathos. 

Gustavo Gimeno leads the Toronto Symphony in a programme of absorbing musical abstraction and storytelling, let down by a banal new trombone concerto.

Osmo Vänskä’s visit to the Toronto Symphony brings an outstanding, dramatic new concerto from Detlev Glanert, while familiar masterpieces by Grieg and Sibelius spring to life with vivid freshness. 

National Ballet of Canada adds three new works to its repertoire with cutting-edge pieces by William Yong and Emma Portner as well as Serge Lifar's early 20th-century paean to classicism.

Kasper Holten’s much travelled and spectacular Don Giovanni gets a fresh and lively remount at Toronto’s Four Seasons Centre from a young cast headed up by Gordon Bintner. 

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 return visit of former Principal Conductor and Music Director of the Toronto SO brings a programme of invigorating energy.

Despite the hype surrounding the star pianist Daniil Trifonov, it was the TSO under Gustavo Gimeno who stole the show.

James Kudelka's Czarist vision of The Nutcracker offers Imperial splendour and a conceptual twist at The National Ballet of Canada.

Young Russian maestro Maxim Emelyanychev makes his Toronto Symphony with a dip into Russian imperial ballet. 

National Ballet of Canada's connections to John Cranko's Onegin run deep and this revival featured beloved company farewells and exciting next generation debuts. 

David Robertson makes a successful debut with the Toronto Symphony Orchestra, substituting for Michael Tilson Thomas, in a hyper-romantic programme of Berg and Mahler.

Sir András Schiff’s seventh visit to Toronto’s Koerner Hall was an almost three-hour-long feast of “quality” music by his musical heroes.

Trevor Wilson conducts Elgar, Vaughan Williams, Copland and Wijeratne in the TSO's tour of a century of tonalism.

Canadian Opera Company’s revival of John Caird’s art-infused production is perfectly realised in singing, acting, and the orchestra’s vibrant yet velvety colours.

A massive rotating cube, CCTV, an immigrants’ detention centre: Fidelio returns to the Toronto stage with a visually arresting production full of contemporary resonances.