Boston Modern Orchestra Project
By Aaron Keebaugh The Last Savage delivered good tunes, a delightfully twisted story, and all-around cheer. As a librettist, Gian Carlo Menotti held a critical mirror up to society, often probing the psychological fault lines of his operatic targets. Yet, though he would often question what he saw around him, his works, no matter how…
Played and sung with verve in its New England premiere, “Frederick Douglass” stands as the most significant revival BMOP has undertaken in recent years.
Happily, the composers on this compelling BMOP program were not cowed by tradition.
The Israeli-born composer, a professor at Gettysburg College, composes music that intrigues the mind and glistens with fresh sounds.
Here are some recommendations of concerts with hybrid works coming to the Boston area in the months ahead.
A serving of the essence of the music of John Corigliano: a blend of old and new, radical and traditional that has made him such a singular force in American music over the last fifty-plus years.
A surprisingly moving collection, all of it mightily played and sung by musicians who clearly intuit John Harbison’s musical language.
New CD releases provide splendid performances of remarkable American music, from Barber and Bernstein to recently rediscovered Black composers Florence Price and William Grant Still.
Bottom line: these are excellent performances and a valuable documentation of Elliott Carter’s early work.
Terrific performances, blazing with color, character, and wonderful technique from Neeme Järvi and the Royal Scottish National Orchestra; John Williams and the Vienna Philharmonic Orchestra offer considerable pleasure with some misteps; another triumphant release from Gil Rose and the BMOP.
Recent Comments