“Partenope” is pure fun. Boston Baroque realized that a production of “Partenope” should eschew pretensions and embrace an opportunity to perform excellent writing by Handel and to field a compelling cast.
Specializing in presenting masterpieces of sacred music as well as newly created works, The Seraphim Singers, formed in 1997, has become an admired staple in the highly competitive Boston choral scene.
Blue Heron — fine musicians blending their talents to create a vital and remarkable unity.
I have also found some annoying problems in the city’s concert scene that can be rectified —- easily in some instances and difficult in others —- with a little bit of pragmatic attention to how performances are presented.
The Glimmerglass Opera staging was outstanding in all aspects of production: the singing was commanding, costumes were lavish, the scenery was sumptuously displayed and changed smoothly from scene to scene with appropriate lighting.
According to conductor Courtney Lewis, it was very difficult for the Discovery Ensemble when it started out. But now it is playing more concerts than before, its education program is growing, and the quality of the personnel in the orchestra has improved.
Pure pluses for the evening: the visuals of the 3-D film “The Book of Wisdom and Lies” were evocative, and the music was from a genre not usually heard.
Aston Magna suggested a minor bobble here and there, but its latest performance was music making at its finest: vigorous, thoughtful, appropriate in tempos, stylistic in dynamics, featuring suitably-integrated embellishments and well-directed ensemble work.
In one way, the fact that all the pieces dealt with sleep and dreams was a clever if somewhat abstract idea. But listening to the concert -— the real experience —- was highly problematic.
Woody Sez is a thoroughly enjoyable and effectively assembled presentation of Woody Guthrie’s life and music.