Boston Baroque
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
Read MoreBy Aaron Keebaugh Lithe and economical, Boston Baroque’s superb production of Iphigénie en Tauride proved the old adage that less can be more. Iphigénie en Tauride, an opera in four acts. Libretto by Nicolas-François Guillard. Music by Christoph Willibald Gluck. Performed by Boston Baroque. Martin Pearlman, conductor. Mo Zhou, stage director. At GBH’s Calderwood Studio,…
Read MoreMusic Director Martin Pearlman had the excellent idea to cut out 6 of the 24 arias to make Jephtha move along, and it paid off.
Read MoreSome institutions’ offerings aren’t as challenging as they could be, but there’s a healthy balance between the familiar and new.
Read MoreIn the six years I’ve now been reviewing for the Fuse, I can honestly say that the 2016-17 season looks to be one of the liveliest in recent memory.
Read MoreBoston Baroque staged a very enjoyable and entertaining performance of Mozart’s much-loved opera.
Read MoreThe upcoming season is a remarkably robust one in terms of the variety of offerings and the quality (and number) of participating ensembles.
Read MoreIt looks to be as rich, intense, and, hopefully, rewarding a season as we’ve seen in recent memory.
Read MoreI am starting to love Vespers of 1610 deeply, so I am happy to be given so many opportunities by first-rate groups to re-experience it.
Read More
Performing Arts Series: Stories of Surviving COVID-19 — Boston Baroque
“At Boston Baroque, as we look to the future, we take comfort in knowing that redefining ourselves is in our organization’s DNA.”
Read More