Of course, it’s a tricky business to summarize a classical music scene as busy and wide as Boston’s.
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.
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.
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.
May Odyssey Opera continue gracing Boston’s opera scene for seasons to come with such delightful performances as this.
For their debut on Sunday, Odyssey Opera and conductor Gil Rose could hardly have picked a more spectacular, unfamiliar epic than they did.