Gil-Rose
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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Two new recordings and one much-welcome re-release contain first-rate performances of Haydn’s 1798 “Lord Nelson” Mass, Dello Joio’s opera about Joan of Arc, and Virgil Thomson’s astonishing musical portraits of Alice B. Toklas, Picasso, and others.
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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.
Read MoreOpera CD Review: Gunther Schuller’s Splendid 1970 Children’s Opera Gets Its World-Premiere Recording
A Grimm, but not grim, opera about a Fisherman, his Wife, their Cat, and a wish-granting Flounder.
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