Ultimately, there’s a “look at my technique” quality to composer Lewis Spratlan’s writing in this piece that doesn’t match the musical content and that seems to be striving to be all things to all listeners.
Though there were differences in quality between the compositions in the BMOP concert, all of the pieces fulfilled the primary requirement of a concerto: they showed off the capabilities of the solo instrument in question, often memorably so.
The past week saw its New England premiere of “Maria Padilla,” and while it’s received mixed reviews in the press, no one could fault the singing. It’s just that it is a very strange opera, with all signs pointing towards a tragedy, but it all ends happily — for an opera, anyway.
Many musicians know Paul Hindemith (1895–1963) as a somewhat dry composer who wrote a few operas as well as sonatas for every instrument and some half dozen for viola (he played both violin and viola extremely well). But real Hindemith has a cutting lyrical gift, much of it is on display in his kinky opera […]
Composer John Adams (b. 1947) was represented by two impressive works: “Chamber Symphony” (1992), and “Son of Chamber Symphony” (2007). For some reason the latter opened the concert and the former closed it, but no matter. By Caldwell Titcomb The Boston Modern Orchestra Project (BMOP) kicked off its season with a Jordan Hall program on […]
Reviewed By Caldwell Titcomb The Jordan Hall stage was crammed full of 70 players for the season’s final concert by the Boston Modern Orchestra Project (BMOP) on May 28. Under its artistic director Gil Rose, we heard music by five composers, the earliest dating from 1989. For two works the distinguished baritone Sanford Sylvan (b. […]
Reviewed By Caldwell Titcomb Opera Boston is winding up its season with a delightful production of Jacques Offenbach’s La Grande-Duchesse de Gérolstein (1867). This operetta, one of more than 100 of Offenbach’s works for the music stage, followed closely after three of his most accomplished contributions: La Belle Hélène (1864), Barbe-Bleue (1866), and La Vie […]
By Caldwell Titcomb March 2: The Contemporary Music Ensemble in residence at Boston University, Alea III, under the direction of Theodore Antoniou, offers a free concert in celebration of the late eminent composer/teacher/conductor Lukas Foss (1922–2009). Works by Foss to be performed are “Echoi,” “For Toru,” “Elegy for Anne Frank,” “For Aaron,” “The Prairie,” and […]
by Caldwell Titcomb Time was when Boston had a City Censor, and books and plays drummed up trade by getting “Banned in Boston.” The Boston Modern Orchestra Project, headed by conductor Gil Rose, came up with the deliciously punning title “Band in Boston” for its Jordan Hall concert on January 22. Indeed there was not […]
By Caldwell Titcomb Jan. 6,7,8,9,12: The Boston Symphony is led by Ton Koopman (b. 1944), Dutch keyboardist, conductor, and specialist in early music, knighted in 2003 in the Netherlands. With a bow to Haydn, the bicentennial of whose death occurred in 2009, there are two works: Symphony No. 98 in B-flat Major (1792), and Cello […]