Call me old fashioned, but I believe the opera should be a vocal if not a visual spectacle as well. This whole modernist spin to it makes me shut my eyes and enjoy the music while imagining a more traditional scenery for the set.
You'll love Rigoletto then, Filip. Apparently the gowns are multi-coloured and mid-19th century in inspiration, though the men all wear black and white evening wear. I'm going on Wednesday, and will get into the spirit by sporting a tight-fitting, flashy, blue and black made in U.S.A. "rockabilly" 1960s era dinner jacket bought recently at Value Village, vintage ( 1950! ) dress trousers ( made by a Toronto tailor ), black shiny patents ... and a bow tie. The reviews for Rigoletto's staging have been dreadful so far.
I also found the staging of Iphigenia a bit iphy, compared to Carsen's wonderful Orpheus ed Euridice of last season. Perhaps, because he's a Toronto lad, there's a minimalist "Toronto Style" thing at play? Not sure what sort of "traditional scenery" you mean - something with classical architecture, and the cast dressed in chitons and himations?
Last Friday, to Koerner Hall for the Culture Days concert given by the students of the Glenn Gould School. The Wagner, Flying Dutchman, dragged on a bit, and I was reminded that, well, they are still students after all, but I enjoyed the Chopin as played by the slim blond boy; didn't go back after the intermission for Pictures at an Exhibition though. I've bought a ticket to see Harry Bicket conduct The English Concert on the 21st at the Koerner - Vivaldi, Purcell, Handel and Telemann.
Gave Nuit Blanche a miss this year - too cold, and it's not as if I'm a shut in.
Don't be such a tease, Tony - HOW WAS LONDON?