Gil-Rose
Played and sung with verve in its New England premiere, “Frederick Douglass” stands as the most significant revival BMOP has undertaken in recent years.
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Happily, the composers on this compelling BMOP program were not cowed by tradition.
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This world-premiere recording lets us hear one of the most effective recent operas, based on the famous book by Dr. Oliver Sacks.
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The Israeli-born composer, a professor at Gettysburg College, composes music that intrigues the mind and glistens with fresh sounds.
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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.
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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.
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A surprisingly moving collection, all of it mightily played and sung by musicians who clearly intuit John Harbison’s musical language.
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Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
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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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Bottom line: these are excellent performances and a valuable documentation of Elliott Carter’s early work.
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Arts Remembrance: In Memoriam — Tom Stoppard