Susan Miron
The big theme in fiction this summer was the resonance of disappearance — seen as satire, as melodrama, and as tragedy.
Despite the high level of the players, there are things a professional quartet brings to a performance or recording—uniformity of sound and style—that cannot be matched by a group cobbled together and given limited rehearsal time.
Under the baton of its Artistic Director, Susan Davenny Wyner, Boston Midsummer Opera has become an annual highlight of Boston’s classical music line-up during the summer.
What continually impresses about A Far Cry is their discipline, ability to keep complicated rubato under complete control, well-modulated dynamics, beauty of sound, and really interesting programming.
The vocal ensemble Blue Heron closed its season with “a marvelously expansive concept of the divine” in a program of 16th-century Spanish music based on or inspired by the Song of Songs.
Chameleon Arts Ensemble’s programming, the brainchild of its director and flutist Deborah Boldin, aims to place pieces together that have interesting things in common musically and culturally.
Emmanuel Music bought this neglected Mozart opera to life with polished musicianship and excellent singers.
There was nothing in the program about the pieces he and his fellow musicians would be playing, but no one seemed to care. Most already knew the music from Paco de Lucía’s recordings. They were coming to hear him live, and there was not an empty seat to be seen in the Boston Opera House.
It was, for this listener, an embarrassment of riches, even in this early music town. Both groups gave excellent performances of music written at approximately the same time.
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