For my taste, too much of the stage action during Friday’s performance was stiff and shopworn.
Some institutions’ offerings aren’t as challenging as they could be, but there’s a healthy balance between the familiar and new.
By opting to set Figaro as a straight comedy, Cucchi’s production glossed over the opera’s subversive edge.
Bieito’s vision – even if it’s not quite as racy as advertised – comes off better than any new canonical production of the BLO’s I’ve seen recently.
Of course, it’s a tricky business to summarize a classical music scene as busy and wide as Boston’s.
Two recent albums feature compositions by James MacMillan, one of Europe’s leading composers, as well as an opportunity to hear him conducting.
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.
With its Opera Annex productions – presenting unfamiliar operas in unconventional performance spaces – Boston Lyric Opera really seems to have found its niche.
The Boston Lyric Opera’s production of “The Flying Dutchman” may not the subtlest you will see — the Freudian elements are slathered on pretty thick — but the nervy dramatic concept adds to our understanding of the opera without compromising its core elements.
The Boston Lyric Opera’s new production of “Macbeth,” with sets designed by John Conklin, is based on elements of a New York City Opera production and plays up the macabre elements of the story, which are many.