Boston Early Music Festival
The music was so extraordinarily pleasant and well performed that the two-hour production breezed by.
After experiencing, in seven days, Monteverdi’s three extant operas and his Vespers of 1610, I am in awe of BEMF and everyone associated with it.
The Boston Early Music Festival’s production of Monteverdi’s final opera, L’incoronazione di Poppea, is not to be missed.
Sunday’s performance of Il ritorno d’Ulisse in patria—by a company whose members know each other’s abilities, voices, and personalities well—gave every indication of an extraordinary week ahead.
BEMF’s double bill of two short and comic Pergolesi operas made for an unusual and totally delightful presentation.
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.
Dame Emma, now sixty-four, sat and sang just quietly enough and with the right measure of mystery and stillness to draw the audience in, and to keep them there in a trance.
The tremendous success and rave reviews elicited by this “Orfeo” are due in large part to Boston Early Music Festival’s superb orchestra and cast of eight singers.
It’s “Mahler Unleashed” month at the New England Conservatory. I heartily recommend all of the “Mahler Unleashed” events.
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