“Would I love to do these big operas in Symphony Hall? Yes. When I feel like I’ve got two-thousand people to attend, I’ll move over to Symphony Hall.”
As a composer, Gunther Schuller’s legacy is complex and has yet to be settled. Sorting through it all will constitute a great, welcome adventure.
Massenet’s instinct for drama and gifts as an orchestrator go a long way to carrying the piece, but it still can make for a long night at the theater.
Powder Her Face proved the perfect capstone to Odyssey Opera’s month-long survey of British (mostly comic) opera: biting, darkly humorous, provocative, and relevant.
To say that Odyssey Opera continues to set the bar for opera performances in Boston may be a bit superfluous, but it’s true.
A series of new and recent recordings by Boston orchestras demonstrate that, in the right hands, symphonic music since 1945 remains alive and well, still powerful, fresh, and vibrant.
Taken together, it’s a bracing, provocative, and – perhaps above all – fun survey of music for the stage from, for England, the conspicuously abundant 20th century.
It’s fun to recall what’s been played locally since January and be reminded just how rich the greater Boston area’s classical music scene really is.
The orchestral playing, a couple moments of questionable intonation notwithstanding, was commanding and, at times, exhilarating.
Nothing, until the very end of the opera, is ever settled or, even, as it seems: this is psychological musical drama writ large and graphically.