+++
author = ["authors/jenna.md","authors/greg.md"]
categories = "Editorial"
date = "2016-05-28T11:06:00+01:00"
draft = true
lastmod = "2016-05-28T22:44:00+01:00"
related_articles = ["articles/greg-jennas-opera-roundup-201516.md"]
related_companies = ["scene/companies/canadian-opera-company.md","scene/companies/royal-opera-house.md","scene/companies/city-of-london-sinfonia.md"]
related_people = ["scene/people/javier-camarena.md","scene/people/stefan-vinke.md","scene/people/christine-goerke.md","scene/people/alan-held.md","scene/people/diana-damrau.md","scene/people/charles-castronovo.md"]
slug = "greg-jennas-opera-roundup-201516"
title = "Greg &amp; Jenna&#039;s Opera Roundup, 2015/16"
+++

## Jenna loved: *Siegfried* at the COC

François Girard's [production](http://www.schmopera.com/in-review-siegfried/) at the [Canadian Opera Company](/scene/companies/canadian-opera-company/) was absolutely a highlight of mine. Michael Levine's design had a minimalist, ur-story quality to it, and his work with perspective was something to marvel at. His evocation of Fafner the dragon is something I'll never forget. Plus, the powerful cast sealed the deal, featuring [Stefan Vinke](/scene/people/stefan-vinke/) as Siegfried, [Alan Held](/talking-with-singers-alad-held/) as Wotan, and the incomparable [Christine Goerke](/talking-with-singers-christine-goerke/) as Brünnhilde.

## Jenna loved: *Lucia di Lammermoor* at the ROH

[This production](/in-review-lucia-di-lammermoor-at-roh/) held a lot of firsts for me. It was my first live hearing of [Diana Damrau](/scene/people/diana-damrau/) in the title role, our first real experience with an audience who unapologetically booed at Katie Mitchell's production, and it was the first time that Donizetti's frustrating tale of Lucia really made me feel something. Mitchell constantly showed us two scenes at once; often, one side of the stage reflected what was in the score, and the other was filled with "added scenes" that let us in on the details of how Lucia breaks down so tragically. Damrau was a spectacular actor that carried Mitchell's risky concept, and her singing, along with [Charles Castronovo](/scene/people/charles-castronovo/)'s Edgardo and Ludovic Tézier's Enrico, was a lesson in what it means to use a beautiful voice to tell an ugly story.

## Jenna loved: *Sex Workers' Opera*

This [collection of true stories](/in-review-sex-workers-opera/), contributed by sex workers worldwide and realized by a cast and creative team of 50% sex workers, was awesome in the true sense of the word. It achieved what theatre strives for, for entertainment and education; it was no lecture, but a series of tales that challenged assumptions and abstract ideas of what sex workers do, and the hurdles they face. I cackled with laughter, and my heart got broken a few times. There's nothing quite like it; there are plans to take *Sex Workers' Opera* to New York, the first of what I hope are many North American stops. (Bonus: the comment section of my review got interesting...)

## Jenna loved: Javier Camarena at Wigmore Hall

Who says recitals can't be fun? [Javier Camarena](/in-review-javier-camarena-at-wigmore-hall/) performed an awesome night of fab music with pianist Ángel Rodríguez, as part of the Rosenblatt Recitals series at Wigmore Hall. He started and ended on literal high notes, and wowed me with his unstoppable technique and shameless amount of fun onstage. High C's, two encores, and a backstage photo op after the show? Perfection.

<figure data-type="image">{{% md %}}![](https://res.cloudinary.com/schmopera/image/upload/v1545409169/media/webhook-uploads/1464431931414/2016-04-15---JennaJavier.jpg.jpg)
</figure>

## Jenna loved: *Sketches of Miles*

The [City of London Sinfonia](/scene/companies/city-of-london-sinfonia/) put up an objectively awesome night out at The Village Underground, and managed to refresh our idea of The Orchestra in the 21st century.[*Sketches of Miles*](/great-nights-sketches-of-miles/) was a celebration of the collaborations between Miles Davis and Gil Evans, headed by pianist and composer Gwilym Simcock. With the Sinfonia, he messed around with J.S. Bach, and invited jazz singer Cleveland Watkiss to lend his vocal skills for some re-imagined bits of Gershwin's *Porgy and Bess*. The vibe was happy, Watkiss schooled us in vocal imitation of Miles Davis' trumpet playing, and Simcock was a total genius at the keys.
