Gil-Rose
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.
“Would I love to do these big operas in Symphony Hall? Yes. When I feel like I’ve got two-thousand people to attend, I’ll move over to Symphony Hall.”
As a composer, Gunther Schuller’s legacy is complex and has yet to be settled. Sorting through it all will constitute a great, welcome adventure.
Massenet’s instinct for drama and gifts as an orchestrator go a long way to carrying the piece, but it still can make for a long night at the theater.
Powder Her Face proved the perfect capstone to Odyssey Opera’s month-long survey of British (mostly comic) opera: biting, darkly humorous, provocative, and relevant.
To say that Odyssey Opera continues to set the bar for opera performances in Boston may be a bit superfluous, but it’s true.
A series of new and recent recordings by Boston orchestras demonstrate that, in the right hands, symphonic music since 1945 remains alive and well, still powerful, fresh, and vibrant.
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