Opera
Isango’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.
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.
On 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.
May Odyssey Opera continue gracing Boston’s opera scene for seasons to come with such delightful performances as this.
The 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.
For their debut on Sunday, Odyssey Opera and conductor Gil Rose could hardly have picked a more spectacular, unfamiliar epic than they did.
There 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.
Arts Fuse critics select some of the most promising in music, theater, and film for the coming week. A new feature!
This 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.
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.
Read More about 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