Odyssey Opera
By Aaron Keebaugh The Last Savage delivered good tunes, a delightfully twisted story, and all-around cheer. As a librettist, Gian Carlo Menotti held a critical mirror up to society, often probing the psychological fault lines of his operatic targets. Yet, though he would often question what he saw around him, his works, no matter how…
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.
Odyssey Opera, and major singers from Ukraine and Russia, bring the great Russian composers’s three one-act operas to Jordan Hall on Sunday, September 25.
Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
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.
Opera 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.
Odyssey Opera revels in the glittering wit and touching moments of this full-length chamber opera by Mario Castelnuovo-Tedesco, better known for his Hollywood film scores and some wonderful guitar pieces.
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.
There’s so much going on in the area that’s good that it’s a challenge to go wrong.
Arts Commentary: 2019-20 Classical Music Preview
I’ve compiled a list of twelve concerts (or concert series) that I think will stand among the future season’s highlights.
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