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On the red carpet, Mia Goth’s looks are severe and layered, just like her roles. I can’t help but feel the spine-chilling air of the films come to life off-screen, too. Crucially, both call attention to the inescapable passage of time.

While X hones in on the horror of living a life unfulfilled, Pearl spotlights the lengths required to achieve one’s dreams. Set in 1918, it follows the titular villain in her younger years as she tries to pursue a career in showbiz. Unsurprisingly, the prequel, Pearl (in theatres September 16) is already making waves. And often, Goth gives these performances in the same scene. She flips between an effortlessly beautiful, sexually liberated character to a prosthetics-donning older woman who feels she’s losing her femininity. But she also plays Pearl, the elderly woman who seeks violent revenge on the filmmakers.

In the film, Mia Goth plays Maxine, a young actress with hopes of becoming the next big star. The only problem? They have to do it without being caught by the puritanical elderly couple who owns the acreage. Set in the 1970s, X (released in March 2022) follows a group of free-spirited young adults who rent a cabin on a farm to make a porn film. In this franchise, Mia Goth-who plays both the victim and the villain-knows exactly what she’s doing.

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And it’s all because of her starring roles in Ti West’s stylistic slasher trilogy comprising the movie X, its newly released prequel Pearl and the upcoming final installment MaXXXine. The 28-year-old actor has recently cemented herself as nothing less than a modern horror icon, while disrupting tired tropes and serving insidiously captivating red carpet fashion along the way. And I mean that in the best way possible. The great classical pianist studied in the building beginning in the 1940s – an era represented in this production.I am terrified of Mia Goth. He represents inspiration and, perhaps, the RCM itself.

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Imagine Batman from the original television series scaling the Metropolitan Opera building.īelow, in cap, trench coat and fingerless gloves, is the brooding presence of Gould, capably sang by Canadian tenor Roger Honeywell. Along her climb, cast members from inside the building pop out of windows. We see a young musician on a quest, manoeuvring the wall’s challenges one ledge and finger grip at a time. The libretto from Liza Balkan is inquisitive, with occasional moments of whimsy.

Woodwind enthusiasts in particular will not be disappointed. The site-specific charmer is a meditation on the rigour of artistic creation, set to a nimble, dynamic score by Brian Current that empathizes, dazzles and sometimes threatens vertigo. Welcome to the world of performing arts in 2022. Gould’s Wall was postponed because of COVID-19 some patrons have had tickets since 2019. Other seats (and standing-room space) are offered on a mezzanine that more or less rests level with the climbing singer.

Close by, audience members sit in Muskoka chairs that allow them to look up at the action on the wall without craning their necks. The chamber orchestra and five pianists (including students from the RCM’s Taylor Academy) work on the atrium floor. The aerialist soprano Pearl is held by a harness suspended from the steel beams that connect the original 19th-century exterior of the Royal Conservatory building on one side and the much more recently built Koerner Hall on the other. It is presented in the glass-enclosed atrium of the TELUS Centre for Performance and Learning, with the original 19th-century exterior of the Royal Conservatory building on one side and the much more recently built Koerner Hall on the other. Gould’s Wall, from Toronto’s intrepid Tapestry Opera, is the final production of Koerner Hall’s 2021-22 season and the closing event of the Royal Conservatory of Music’s 21C Music Festival. There are scales, and then there are scales. It’s an allusion to the unsteady pursuit of artistic perfection and the mental and physical ascents that come with it. In the new contemporary opera Gould’s Wall, a soprano in climbing gear navigates an 18-metre rock wall while her mentor, the peculiar superstar pianist Glenn Gould, watches and encourages from below.

COVID-19 measures: Masks and proof of vaccination not required.

Written by: Brian Current (score) and Liza Balkan (libretto).