“At Boston Baroque, as we look to the future, we take comfort in knowing that redefining ourselves is in our organization’s DNA.”
Music Director Martin Pearlman had the excellent idea to cut out 6 of the 24 arias to make Jephtha move along, and it paid off.
Some institutions’ offerings aren’t as challenging as they could be, but there’s a healthy balance between the familiar and new.
In 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.
Boston Baroque staged a very enjoyable and entertaining performance of Mozart’s much-loved opera.
The upcoming season is a remarkably robust one in terms of the variety of offerings and the quality (and number) of participating ensembles.
It looks to be as rich, intense, and, hopefully, rewarding a season as we’ve seen in recent memory.
I 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.
There’s a powerful attachment to conventional repertoire among the city’s many orchestras, through are there things to look forward to. Here is a guide to what’s coming up.
Conductor Martin Pearlman and restaurant proprietor Mary-Catherine Deibel talk about their 35 year-old friendship.