BMOP

Opera Album Review: A Major New Opera that the Met Has Ignored — Tobias Picker’s “Awakenings”

June 22, 2024
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This world-premiere recording lets us hear one of the most effective recent operas, based on the famous book by Dr. Oliver Sacks.

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Classical Concert Review: BMOP celebrates Joan Tower

February 13, 2018
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Above all, Joan Tower’s music doesn’t waste your time.

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Concert Review: Boston Modern Orchestra Project’s “Glass Works”

February 20, 2017
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It was a treat to experience Philip Glass’s orchestral music live and in-person.

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Concert Review: Boston Modern Orchestra Project’s “American Masters”

October 11, 2016
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The BMOP’s opening concert featured the group succeeding at an important part of its mission: to perform unfairly overlooked American music.

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Concert Review: Odyssey Opera’s Inspired Production of Dvořák’s “Dimitrij”

September 19, 2016
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For my money, the biggest star on Friday night turned out to be none other than Antonin Dvořák.

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Music Interview: Preview/Interview with Gil Rose on Odyssey Opera’s “Dmitrij”

September 9, 2016
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“Would I love to do these big operas in Symphony Hall? Yes. When I feel like I’ve got two-thousand people to attend, I’ll move over to Symphony Hall.”

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Commentary/CD Reviews: Recent Symphonic Recordings From Boston Orchestras

May 19, 2015
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A series of new and recent recordings by Boston orchestras demonstrate that, in the right hands, symphonic music since 1945 remains alive and well, still powerful, fresh, and vibrant.

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Music Commentary: Notable Classical Performances of 2014

December 24, 2014
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It’s fun to recall what’s been played locally since January and be reminded just how rich the greater Boston area’s classical music scene really is.

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Concert Review: Boston Modern Orchestra Project’s Surround Sound at Jordan Hall

October 15, 2014
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The orchestral playing, a couple moments of questionable intonation notwithstanding, was commanding and, at times, exhilarating.

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Concert Review: BMOP Presents “A Fine Centennial” at Jordan Hall

May 18, 2014
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While 1962’s Symphony owes a clear debt to Stravinsky and Britten (especially its last movement), it sounds like nobody but Irving Fine. This is a score that orchestras ought to be lining up to play.

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