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.
Things are going well with Monadnock Music: before Saturday’s concert kicked off, managing director Christopher Sink announced that the festival had cleared its financial debts as it heads into next year’s 50th anniversary season.
The emphasis of Monadnock’s coming concerts is, quite happily, American music by composers with strong ties to New England. It’s hard to imagine a more appropriate place to hear such fare or a better group of musicians to play it.