Bottom line: these are excellent performances and a valuable documentation of Elliott Carter’s early work.
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.
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.
A Grimm, but not grim, opera about a Fisherman, his Wife, their Cat, and a wish-granting Flounder.
Arnold Rosner’s writing in each act is strongly contrapuntal, metrically unpredictable, and idiomatically scored. The music is marked by constantly shifting colors, a strong sense of rhythm, and a healthy dose of lyricism.
John Corigliano’s take on goodbyes is, if not exactly bitter, then full of sorrow: few happy memories to be had here.
Above all, Joan Tower’s music doesn’t waste your time.
Saturday’s performance ranked among Odyssey Opera’s finest and most artistically satisfying undertakings.
It was a treat to experience Philip Glass’s orchestral music live and in-person.
BMOP releases a fitting, moving tribute to a giant of contemporary music; Johannes Moser turns in a sweeping performance of Elgar’s Cello Concerto.