The Boston Early Music Festival’s production of Monteverdi’s final opera, L’incoronazione di Poppea, is not to be missed.
Boston Early Music Festival
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.
I keep being surprised by the brilliant productions and overall excellence of the concerts Boston Early Music Festival presents.
It’s “Mahler Unleashed” month at the New England Conservatory. I heartily recommend all of the “Mahler Unleashed” events.
BEMF is, quite simply, paradise for those who love early music, and they seem to be a different audience than those who show up for, say, the Boston Symphony or any of the excellent chamber music groups around town.
The Boston Early Music Festival is THE place for performers to be heard. And there are enough good programs, between the big Jordan Hall concerts, the two operas, a Family Day program, the mini-festivals for organ and keyboard, fringe concerts at at odd hours of the day and late night, for everyone.