Orfeo
This world-premiere recording of a powerfully compelling opera, based on a play by Jewish philosopher Martin Buber, is revelatory.
A collection that provides a fascinating bit of context for how Andris Nelsons has developed as a conductor over the last decade-plus, and an honest, mostly flattering, tribute to a much-loved conductor, the late Mariss Jansons.
Marc Minkowski’s recording of Jacques Offenbach’s La Périchole pays the composer a handsome tribute in his birthday year; violinist Baiba Skride’s new all-Bartók disc is one of the year’s best.
JoAnn Falletta’s recording of Schreker’s orchestral works is fantastic; Manfred Honeck and his Pittsburgh Symphony make Beethoven’s Eroica Symphony shocking again, and Baiba Skride proves a strong advocate for Miklós Rózsa’s Violin Concerto.
After experiencing, in seven days, Monteverdi’s three extant operas and his Vespers of 1610, I am in awe of BEMF and everyone associated with it.
As with any Richard Powers novel, when you finish “Orfeo” you will have no doubt you are alive, awake, and likely ready to start over at page one.
The tremendous success and rave reviews elicited by this “Orfeo” are due in large part to Boston Early Music Festival’s superb orchestra and cast of eight singers.
By Bill Marx Now in its third year under the watchful eye of the admirable Whistler in the Dark Theatre, FeverFest presents a selection of Boston’s fringe groups in an evening of short performances, a sort of theatrical tasting event billed as a round up of “explosive work by vital young companies.” Tonight will be…
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