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.
“I have always been a fan of horror movies, and I’m sure that was part of the attraction to me.”
The BMOP’s opening concert featured the group succeeding at an important part of its mission: to perform unfairly overlooked American music.
For my money, the biggest star on Friday night turned out to be none other than Antonin Dvořák.