Opera
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.
Read MoreTo say that Odyssey Opera continues to set the bar for opera performances in Boston may be a bit superfluous, but it’s true.
Read MoreTaken 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.
Read MoreThe opportunity to hear Leoš Janáček’s magnificent score live ultimately trumps any reservations I have about the production as a whole.
Read MoreBEMF’s double bill of two short and comic Pergolesi operas made for an unusual and totally delightful presentation.
Read MoreWith its Opera Annex productions – presenting unfamiliar operas in unconventional performance spaces – Boston Lyric Opera really seems to have found its niche.
Read MoreIsango’s Magic Flute/ Impempe Yomlingo is lit by flashes of brilliance. Most can be traced directly to Mandisi Dyantyis’ reorchestration of Mozart’s orchestral score for an ensemble of marimbas.
Read MoreNothing, until the very end of the opera, is ever settled or, even, as it seems: this is psychological musical drama writ large and graphically.
Read MoreOn the surface, this is a deal that lets both sides go forward having saved face, though a closer look at things suggests that the musicians came out ahead.
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Music Commentary: “I’ve neither seen nor heard it, but I don’t like it. (And neither should you.)”: “The Death of Klinghoffer” Meets the Know-Nothing Protest
What we seem to have here is one of the glories of our democracy in action: the blind leading the oblivious; aping distortions and downright falsehoods about the opera.
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