Beautiful Feet

Vanessa Wells ‏   @vwellseditor Hootlet More Told @ michaelhmori that I waited @ 10yrs to see #OksanaG since its inception in a @TapestryOpera brief. I knew then it'd be worth the wait! RETWEETS 2 LIKES 5 10:03 PM - 29 May 2017  from  Toronto, Ontario 0 replies 2 retweets 5 likes Reply   Retweet   2 Like   5 View Tweet activity Music by  Aaron Gervais  | Libretto by  Colleen Murphy CAST: Natalya Gennadi – Oksana Keith Klassen  – Konstantin Adam Fisher  – Father Alexander Krisztina Szabó  – Sofiya (Oksana’s Mother) Kim Barber –Aza Aaron Sheppard –Pavlo Jacqueline Wooley– Nataliya Alex Hajek –Yuri Andrea Ludwig –Lyuba Maria Soulis –Clara Neil Craighead –Dima Cairan Ryan –Immigration Officer Erica Iris –Auctioneer A Tapestry Opera Production

Photo by Bill Cooper, featuring Ben McAteer (James) Who called it?! Scottish Opera's Ben McAteer just beat out some fierce competition to win Outstanding Opera Performance at the  MyTheatre Awards  for last season's  The Devil Inside ! Composed by Stuart MacRae with libretto by Louise Welsh,  The Devil Inside  was Scottish Opera's North American debut featuring international artists including Matthew Richardson, Michael Rafferty, Nicholas Sharratt, Rachel Kelly, Ben McAteer, and Steven Page. CONGRATULATIONS to Ben and all involved in bringing this outstanding production to Toronto. We are proud and thrilled. The Nominees for Outstanding Opera Performance: Jane Archibald in Ariodante (Canadian Opera Company) Rachel Kelly in The Devil Inside (Tapestry Opera) Ben McAteer in The Devil Inside (Tapestry Opera) - WINNER! Erin Wall in The Marriage of Figaro (Canadian Opera Company) Sondra Radvanovsky in Norma (Canadian Op...

The Greek roots for 'hologram' mean the whole/entire thing that is written/drawn. I've got two reviews about the whole message—what's important in life, that is. For many years on this blog, I have been singing the praises of Tapestry Opera (starting way back when it was still called Tapestry New Opera Works); they just never disappoint and readily accomplish what artistic director Michael Mori discussed last night about attempts to bring new waves (tsunamis?) to the expression of modern opera. Video, turntables, texting: nothing seems off limits to this outfit, and I think that's the reason for their success in turning increasingly more people onto opera. I'm a multi-decade subscriber to Canadian Opera Company and there's definitely a niche for baroque operas, too, but the emergence of collaborations such as Indie Opera TO (digital presence forthcoming) are proof positive of the coolification of opera in the 21st century.  The other thing I like about...

A good piece of art takes you out of yourself. Last night, Toro , the ‘dance’ piece, allowed me to forget an unrelated incident from an hour previous that had left me shaking. I put dance in quotes for positive reasons, not to denigrate the performance. As Matthew Jocelyn likes to do, we were presented with a genre-bending performance that focused on dance but also employed world music, singing and drama to create the kind of eye-opening and enlightening CanStage offering that Toronto is beginning to expect from it. Toro was the quickly re-visioned performance after one of the two booked dancers, Israel Galvan, had a serious knee injury in Paris and had to withdraw. But the audience did not suffer for it: four remarkable musicians augmented the dance of Akram Kahn , and I had an education. David Azurza, countertenor, B C Manjunath, percussion, Bobote, flamenco and Christine Leboutte, contralto, provided an organic background of vocalization, and instrumental and body percussion wh...