Opera
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.
Read MoreAfter 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.
Read MoreThe Boston Early Music Festival’s production of Monteverdi’s final opera, L’incoronazione di Poppea, is not to be missed.
Read MoreSunday’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.
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