Review: CARMEN Sizzles with Akhmetshina Heading Stellar Cast at the Met
by Richard Sasanow - Jan 16, 2026
From her first appearance on stage, it was clear that mezzo Aigul Akhmetshina was no flash in the pan when she gave us a scorching Carmen when this production was new just two years ago. The program describes the title character as “a force of nature” and that’s certainly what we got at the Met, in such arias as the Habanera (“L’amour est un oiseau rebelle”), the Seguidilla (“Pres des ramparts de Seville”) or in the opera’s Finale with Don Jose.
RIGOLETTO Returns to the Canadian Opera Company in Winter 2026
by A.A. Cristi - Dec 3, 2025
The Canadian Opera Company will bring Verdi’s RIGOLETTO back to the Four Seasons Centre for the Performing Arts this winter. The production will feature baritone Quinn Kelsey in the title role, conducted by COC Music Director Johannes Debus.
EUGENE ONEGIN Comes Home To The COC
by Stephi Wild - Mar 7, 2025
Eugene Onegin runs for seven performances at the Four Seasons Centre for the Performing Arts in May. Learn more about the upcoming event and how to get tickets here!
Review: JEN®FA, Royal Ballet And Opera
by Alexander Cohen - Jan 16, 2025
It’s a mistake to dismiss Claus Guth’s production of Janacek’s Jenůfa as symbolically overwrought and interminably grey. Look closer and you’ll discover a duality to each beguiling appearance.
Review: Dizzying Night at the Met with Grigorian's Splendiferous BUTTERFLY in House Debut
by Richard Sasanow - Apr 29, 2024
Those of us who keep an eye on the comings and goings of singers at major opera houses around the world, have known that Friday’s debutant, Lithuanian soprano Asmik Grigorian, was going to be one to watch. And it was. No worries about whether her voice would translate from Europe’s smaller houses to the Met’s enormous hall: Grigorian may have been singing Puccini’s Cio-Cio-San/Madama Butterfly this time around, but she’s a well-schooled Lady Macbeth and Turandot as well, bringing a notably large voice with her. She survived the Met’s notoriously short rehearsal time for revivals (particularly for the second cast of the season). Lastly, she even made it through the final curveball, when tenor Jonathan Tetelman became ill and standby Chad Shelton had to take over as Pinkerton; he did well considering the circumstances, but he was no match for her.