Gil-Rose
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.
This world-premiere recording lets us hear one of the most effective recent operas, based on the famous book by Dr. Oliver Sacks.
The Israeli-born composer, a professor at Gettysburg College, composes music that intrigues the mind and glistens with fresh sounds.
2022 was a year in which hybrid musical forms reached more Boston audiences than ever before. 2023 promises to open even more doors. The Place Between is no longer dangerous territory, a detour, or a side road. It has become a destination in itself.
Gil Rose’s team, headed by an incandescent Ellie Dehn as Catherine of Aragon, should help bring this major work back to the world’s opera-house stages.
A surprisingly moving collection, all of it mightily played and sung by musicians who clearly intuit John Harbison’s musical language.
Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
BMOP’s performances of three John Adams chamber symphonies, all conducted by music director Gil Rose, offer welcome, distinctive takes on the triptych.
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