Opera
Nothing, 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.
Read MoreMay Odyssey Opera continue gracing Boston’s opera scene for seasons to come with such delightful performances as this.
Read MoreThe Commonwealth Lyric Theater has again brought to the fore an underperformed, unfamiliar masterpiece well worth getting to know. Good for them and lucky for us.
Read MoreFor their debut on Sunday, Odyssey Opera and conductor Gil Rose could hardly have picked a more spectacular, unfamiliar epic than they did.
Read MoreThere is lots to praise (lavishly) in BEMF’s production of “Almira”: a large cast with no weak links, fabulous musicians, and inspired sets, costumes, and dancing.
Read MoreArts Fuse critics select some of the most promising in music, theater, and film for the coming week. A new feature!
Read MoreThis Judicial Review deals with the Boston premiere of John Harbison’s opera version of F. Scott Fitzgerald’s novel The Great Gatsby. Read the reactions and join the conversation.
Read MoreDespite its aura of “Gidget Goes Hawaiian,” and the profusion of cute props like rubber duckies and ukeleles, The Hypocrites’ production is smart enough not to mess (too much) with the original score and lyrics.
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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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