Intoxicating sounds came from the BSO and Lang Lang under Music Director Andris Nelsons as the orchestra opened its 136th season with an all-Russian extravaganza. [continued]
A mixed bag of puzzle and treat lay in store with pianist Sa Chen’s performance Saturday night at Jordan Hall in a Foundation for Chinese Performance Arts presentation. [continued]
BAE’s considerable ensemble experience resulted in a concert on Sunday St. Paul’s Church in Brookline overflowing with poetry. [continued]
The chamber opera Loose, Wet, Perforated, “A morality play in four ordeals,” with libretto and music by Nicholas Vines, came to the Zack Box Theater over the weekend in Guerilla Opera Company’s wild and woolly production. [continued]
Calixto Bieito’s production of Carmen for Boston Lyric Opera’s Friday at the Boston Opera House proved challenging, flawed but coherent, dramatically effective and often exciting. Repeats September 25th, 30th and October 2nd. [continued]
Theatrical Sebastian mingled with Heinrich’s deeper realms last night in Symphony Hall, as the compleat pros at Handel and Haydn opened their season. Repeats Sunday at 3:00 [continued]
Miriam Fried’s three hours of playing at Jordan Hall Sunday revealed sublime mastery of six of the most difficult works in the solo violin repertoire. [continued]
The Neave Trio offered a totally fresh concert of little-known Arthur Foote, Leonard Bernstein, and Erich Korngold at the Center for Arts in Natick Sunday. [continued]
“Quiver, Pound, Recharge!” opened the Annex’s 42nd season on Sunday at The Rockwell in Davis Square. [continued]
In its third and final Gardner concert devoted to pairing Mozart and Britten, Pacifica String Quartet this Sunday exploited the subtle connection between the dramas of giving birth, and dying. [continued]
Dvořák’s Dimitrij rewarded out attention with a rich orchestral score, a fine libretto, and extraordinary singing at Jordan Hall Friday through the efforts of Odyssey Opera under Gil Rose. [continued]
Huntington Theater Company’s must-see Sunday in the Park with George runs through October 16th . [continued]
Sunday at the Gardner A Far Cry offered penetrating viewpoints on Haydn, Reich, Vaughan Williams, and Kip Jones. [continued]
The Bach, Beethoven and Brahms Society of Boston began its 2016-17 season and its third performance ever on Sunday at Boston’s Faneuil Hall under Steven Lipsitt. Violinist In Mo Yang soloed impressively. [continued]
The “Ouroboros Trilogy” of librettist Cerise Jacobs, comprising Scott Wheeler’s Naga, Madame White Snake by Zhou Long, and Paola Prestini’s Gilgamesh, proved binge-worthy at the Cutler Majestic Saturday. [continued]
The Pacifica Quartet returned to Maverick Concerts yesterday with some powerful playing in a wonderful conclusion to the festival’s season. [continued]
Pianists Andrew Russo and Frederic Chiu duetted and soloed for a generally satisfying concert at Maverick last Saturday. [continued]
College of Wooster OH (August 5th)— Irving Berlin’s Annie Get Your Gun and Jerome Kern’s Have a Heart along with the symposium “Taking Light Opera Seriously” concluded the annual festivities for Ohio Light Opera. [continued]
Berkshire Opera Festival offered a damned good Puccini production in a beautifully restored 750-seat theater in Pittsfield on Saturday. [continued]
Berkshire Opera Festival brought an estimable Butterfly to the Colonial Theater, Pittsfield: continuing on August 30th and September 2nd. [continued]
An often inaudible violinist Lara St. John and dominating pianist Matt Herskowitz promoted their new CD “Shiksa,” at Maverick Concerts on Saturday. [continued]
Having written 325 reviews for the Intelligencer, David Patterson stands as an irreplaceable stalwart and champion on these pages. In fact, he authored our first published review in 2008. Like some of his BMInt colleagues, Patterson doubles as a music professor (UMass-Boston), where he teaches theory and composition; he also composes and plays piano [his website is here]. Unlike anyone else on staff, though, Patterson hails from the St. Louis Missouri suburb of Ferguson and graduated from Ferguson High School.
On October 21st at 7:30pm a concert of Patterson’s works, including #FERGUSON, inaugurates music in the new recital hall at UMass-Boston.
In addition to classrooms and an atrium with spectacular views, the Wilson Architect-designed University Hall, originally known as The General Academic Building No. 1, contains a 500-seat auditorium, a black box theater, a 150-seat recital hall, exhibition gallery, lounge, and a café that “foster user interaction and provide an academic and cultural destination on campus.” [continued…]
Boston Lyric Opera’s season of peripateticism begins, surprisingly, with its first-ever visit to—also the first opera production in decades in—Boston’s so-called Opera House. There BLO mounts a production freighted with the hopes and dreams of the company to be both relevant and lively. Calixto Bieito’s stripped-down, actor-driven version of Carmen recently marched and swaggered into San Francisco, where it garnered reviews ecstatic [LA Times here] and disappointed alike [BMInt’s is here], running from “tawdry and tactless” to “ A Carmen for Our Times.” Joan Anton Rechi, who is directing revivals of the production, said we can expect even more stage energy and energized singing than we might have heard in the Bay City.
Set in the arid earthiness of 1970s post-Franco Spanish North Africa, this revisionist and decidedly non-folkloric (though perhaps inadvertently kitchy and quaint in its own ritualized violence and simulated sex conventions) co-production with the San Francisco Opera runs September 23rd through October 2nd at the Boston Opera House.
Jennifer Johnson Cano returns to Boston in the title role, alongside a Don José played by Roger Honeywell. Michael Mayes and Chelsea Basler also revisit BLO, and conductor David Angus leads. Before BMInt’s extensive interviews with Angus and Rechi, we had some questions for BLO artistic director Esther Nelson.
FLE: Bieito’s productions are infamous for their shock value and often accused of privileging theatrical gimmickry over dramatic coherence and depth. As a company that has chosen to open its season with a Bieito production, how would BLO answer that? David Angus, for one, finds this Carmen compelling. [continued…]
“If the New World Symphony were not so overwhelmingly famous, audiences might very well realize that Dvořák was a committed composer of opera.” Thus did Gil Rose rue local wisdom. Virtually everyone knows and loves the New World Symphony, to say nothing of the “American” string quartet and more than a handful of other orchestral and chamber works. Yet Dvořák himself delighted in the stage. Just two months before his death, he stated in an interview that his “main inclination was towards dramatic composition.”
This must surprise most music lovers outside of the Czech Republic, where his operas are far better known. And it is worth recalling that between 1870 and 1903, shortly before his death, Dvořák wrote no fewer than 10 operas, of varying styles and characters; not counting revisions and remountings, that averages an opera every three years of his maturity.
He was certainly to some degree following in the footsteps of Smetana, who had by 1870 (the date of Dvořák’s first attempted opera) already produced three grand operas on subjects drawn from Czech history as well as his most popular, the charming village comedy The Bartered Bride. Although Smetana was to write four more operas especially in the comic vein, and although he and Dvořák were therefore in a sense rivals for the audience’s attention, the two composers’ operas were actually rather different in character. Smetana carefully and consciously created a nationalistic opera, emphasizing at every point the very “Czechness” of the work. [continued…]
Boston is hardly short on famous musical pedagogues, but NEC’s Israeli violinist Miriam Fried is among the top while still active as performer. If you have three-quarters of an hour, hear her wonderfully old-fashioned way with the Brahms Violin Concerto (Longwood SO, Ronald Feldman; from three years ago HERE), and then prepare for her Bach upcoming. On Sunday September 18th at Jordan Hall at 4:30pm and 7:30pm, in a Music for Food benefit, Fried is going to be playing Bach’s six Violin Sonatas and Partitas, in celebration of her 70th birthday last week.
One of her colleagues fondly characterizes her as no-nonsense, her teaching informed by uncompromising values, and her playing as strong, tight, emotionally on the edge. The Bach therefore promises to be rather more than your basic NEC faculty recital. The Romania-born musician spent much of the past year reading and thinking about the pieces, and has produced a series of lectures and masterclasses (available online, with credentials, at www.iclassical-academy.com). She’s never done all six in one day before. Hearing these works together in such proximity permits grasping of the relationships, and the differences, among them.
Why are you celebrating your birthday with Bach? [continued…]
While camping in the White Mountains a year ago, bassist Karl Doty and violinist Liesl Schoenberger Doty ran into David Upham, conductor of the UNH Symphony Orchestra. David introduced them to Norman Dello Joio’s Meditations on Ecclesiastes. Thus began the genesis of this weekend’s season opener for A Far Cry, the Jamaica Plain-based 18-member self-organized string orchestra. Performances come this Saturday, September 10th at 4 pm at St. John’s Church in JP and at the Isabella Stewart Gardner Museum on Sunday at 1:30.
The Crier’s process of curating has gradually evolved, so that by their fourth season (this being the 10th), any Crier could propose a program for the ensemble to consider. On the walls of Kneisel Hall in Blue Hill ME last weekend, the ensemble mapped out its whole 2017 season.
From the seed of the familiar Ecclesiastes text, “To everything there is a season” which Dello Joio translated into 10 musical statements, one for each verse, Karl and Liesl came up with “Point of View”, pulling together works that each offer a different way of encountering experience. [continued…]
The BPO has taken its Youth Orchestra on tour four times—every year since the orchestra was founded. We have embarked on these challenges that many an organization would think impossible because of our commitment to the growth and development—humanly as well as musically—of our performers: an outlook we call Possibility. We have discovered that when these young people, age 12 to 21, are given the responsibility of being ambassadors for the attitude we espouse—in terms of music-making, friendship, and respect for each other and the larger world—they leap ahead exponentially in their expertise and in their spirit. [continued…]
In 2005 Cerise Lim Jacobs set out to mark her husband’s birthday with a commissioned song-cycle. She finished with libretti to a trilogy of operas. The first to be performed was Madame White Snake, premièred in 2010 by Opera Boston, reviewed here), and winner of the 2011 Pulitzer Prize in Music. Charles Jacobs lived long enough to see the première but not the Pulitzer. Boston will now see the première of the Ouroboros cycle September 10th – 17th in the Cutler Majestic Theater, thanks to Beth Morrison Projects and Arts Emerson. In advance of this event, principals in the production spoke and performed at The Boston Athenæum on August 18th and composer Scott Wheeler (by email to BMInt earlier) kindly answered our questions.
Madame White Snake begins with a Chinese folktale dating from the Tang and Five Dynasties period (7th – 10th centuries CE) and the earliest written version extant dates to the Ming Dynasty (14th – 17th centuries CE). It is now considered one of that nation’s four great folktales, and has grown and shifted over time. There are Taoist and Buddhist elements in this story of good and evil, a quest for immortality, an intergenerational quest to reunite a family, and stories of striving in the face of adversity and opposition; sometimes it is a tale of horror and sometimes a romance. There are television series, films, plays, picture books, modern dance interpretations, Chinese operas, and Western opera. Swatch even based a 2012 watch design on this legend, celebrating the Year of the Snake. It is a widely known cornerstone of Eastern folktales. [continued…]
Performing classic Broadway musicals with a full orchestra returns them to their original symphonic splendor. Because of the decreasing size of pits and budgets, many first-rate theater companies now use scaled-down instrumental forces when producing musicals. Clever reductions exist, but something is lost. The harp part is covered by the pianist, four sax lines are boiled down to one, and the string section is decimated. In the worst scenario, everyone is replaced by a synthesizer. What is lost is not just color and richness but also counterpoint—the back and forth among instruments that is a hallmark of masterful orchestral writing.
When Boston Landmarks Orchestra and Commonwealth Shakespeare Company (CSC) decided to revive Rodgers & Hart’s The Boys from Syracuse, this summer, we looked forward to what we had done in 2013 with Kiss Me, Kate: playing the full charts. The performance comes next Wednesday at 7pm at DCR’s Hatch Memorial Shell. [continued…]more news & features →