Susan Miron
The Boston Early Music Festival’s production of Monteverdi’s final opera, L’incoronazione di Poppea, is not to be missed.
Sunday’s performance of Il ritorno d’Ulisse in patria—by a company whose members know each other’s abilities, voices, and personalities well—gave every indication of an extraordinary week ahead.
Had they not had interesting and flourishing careers already in place, Elizabeth Schumann and Gloria Chien could give many full-time piano duos a run for their money.
Joseph Calleja’s voice is absolutely gorgeous, and he has been compared to the great Golden Age tenors Gigli and Caruso.
After hearing pianist Daniil Trifonov in this recital performance, I would say no one on the celebrity circuit has a more impressive technique.
The BSO’s captivating performances of King Roger received unanimous rave reviews from the local press, to which I add mine.
The first in what is surely going to be Blue Heron’s memorable series of testaments to the neglected brilliance of composer Johannes Ockeghem.
The fooling around was far more compelling than I could have imagined: the Ukulele Orchestra of Great Britain know how to throw a fun, funny, family-friendly show.
BEMF’s double bill of two short and comic Pergolesi operas made for an unusual and totally delightful presentation.
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