Related:
- BLO’s Barber of Seville; plus Eschenbach leads the BSO, Boston Baroque’s Mozart, and the Yiddish songs of Lazar Weiner
In his program note for the Boston Lyric Opera production of Rossini's effervescent The Barber of Seville (Shubert Theatre, through March 18), music director David Angus asks us to listen extra carefully to this irresistible score, however familiar it may be.
- Emmanuel’s late Mozart, NEC’s early Britten, BSO guest conductors, and Boston Lyric Opera’s The Inspector
By an odd coincidence, two recent events included two of Boston's best-loved singers in non-singing roles, artists who've been teamed in some of Boston's most memorable opera productions: baritone James Maddalena and soprano Susan Larson, essential members of the great Peter Sellars/Craig Smith stock company.
- Welsh rarebit
Boston Lyric Opera hasn't had much success lately with either its home-grown or its second-hand products, but its latest import — the Welsh National Opera's 2004 production of Ariadne auf Naxos, Richard Strauss's third collaboration with Hugo von Hofmannsthal, his favorite librettist — is a charmer.
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- BLO’s Barber of Seville; plus Eschenbach leads the BSO, Boston Baroque’s Mozart, and the Yiddish songs of Lazar Weiner
In his program note for the Boston Lyric Opera production of Rossini's effervescent The Barber of Seville (Shubert Theatre, through March 18), music director David Angus asks us to listen extra carefully to this irresistible score, however familiar it may be.
- Emmanuel’s late Mozart, NEC’s early Britten, BSO guest conductors, and Boston Lyric Opera’s The Inspector
By an odd coincidence, two recent events included two of Boston's best-loved singers in non-singing roles, artists who've been teamed in some of Boston's most memorable opera productions: baritone James Maddalena and soprano Susan Larson, essential members of the great Peter Sellars/Craig Smith stock company.
- Welsh rarebit
Boston Lyric Opera hasn't had much success lately with either its home-grown or its second-hand products, but its latest import — the Welsh National Opera's 2004 production of Ariadne auf Naxos, Richard Strauss's third collaboration with Hugo von Hofmannsthal, his favorite librettist — is a charmer.
- Wanting more
After its triumphant traversal of the complete Béla Bartók string quartets at the Isabella Stewart Gardner Museum, the Borromeo Quartet was back for a free 20th- and 21st-century program at Jordan Hall, leading off with an accomplished recent piece by the 24-year-old Egyptian composer Mohammed Fairuz, Lamentation and Satire.
- Bach beat
Composers John Harbison and Peter Lieberson are big presences this spring.
- Fall Classical Preview: The power of music
Here’s my Top 10 list, in chronological order, of some of the season’s most appealing and important classical music events: symphonies, chamber music, operas.
- Review: Jonathan McPhee & the Longwood Symphony Orchestra at Jordan Hall
Jonathan McPhee is a hard man to keep up with.
- Sing, sing, sing!: The 2011 winter opera forecast
For opera lovers, the offerings last fall were at best a little thin. But this winter, it seems, everyone's doin' it.
- Oedipus schmoedipus
One of the Boston Symphony Orchestra's most famous concerts was one that didn't take place. Nearly 30 years ago, the BSO announced Stravinsky's Oedipus Rex , to be staged by Peter Sellars, with Vanessa Redgrave narrating.
- Opera from BLO, the Met, and Teatro Lirico, plus top-level conducting at the BSO
Opera in Boston is now back in full swing. Boston Lyric Opera, with a company of singers and designers largely new to Boston led by Boston Classical Orchestra music director Steven Lipsitt, gave a memorable production of the opera that composer Viktor Ullmann and poet Petr Kien created in 1943 at the Terezín concentration camp, The Emperor of Atlantis , or Death Quits .
- Tod Machover's Death and the Powers, plus Norrington's C.P.E. Bach and the Cantata Singers' B-minor Mass
In her director's note for the American premiere of Death and the Powers: The Robots' Opera , Diane Paulus, artistic director of the American Repertory Theater, wrote that this "work of music-theater . . . has brought together artists from the widest range of disciplines — from theater and film to modern dance and the cutting-edge technology of the MIT Media Lab."
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