Opera
Two recent albums feature compositions by James MacMillan, one of Europe’s leading composers, as well as an opportunity to hear him conducting.
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.
After experiencing, in seven days, Monteverdi’s three extant operas and his Vespers of 1610, I am in awe of BEMF and everyone associated with it.
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.
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.
The opportunity to hear Leoš Janáček’s magnificent score live ultimately trumps any reservations I have about the production as a whole.
BEMF’s double bill of two short and comic Pergolesi operas made for an unusual and totally delightful presentation.
With its Opera Annex productions – presenting unfamiliar operas in unconventional performance spaces – Boston Lyric Opera really seems to have found its niche.
Recent Comments