The Boston Lyric Opera’s production of the dark Stravinsky opera last Sunday showed high invention and high finesse. [continued]
All day Saturday at First Lutheran, God was in His organ loft and much was right with the musical world. [continued]
Brookline Symphony Orchestra music director auditions continued Saturday as the band expertly served up three hits from the 1840s. [continued]
Mario Castelnuovo-Tedesco’s The Importance of Being Earnest ran for two nights only at The Wimberly Theater on St. Patrick’s day in Odyssey Opera’s sparkling production. [continued]
Amelia LeClair led Cappella Clausura in “A Caravan of Songs” at Emmanuel Church on Saturday. The feast and the music concluded with Abbie Betinis’s setting of poems by the Sufi mystic Hafez, From Behind the Caravan. [continued]
Sunday’s Musicians of Marlboro concert of Haydn, Webern, and Brahms at the Gardner was not quite ready for prime time. [continued]
Spectrum Singers paid homage yesterday at the First Congregational Church in Cambridge to a tradition of outstanding church music in England. [continued]
Under the masterful and restrained leadership Bernard Haitink on Thurday, the Boston Symphony Orchestra delivered Haydn, Debussy, and Beethoven in a programmatically somewhat unusual cross-section at the highest orchestral expertise. [continued]
The Brandeis Women’s show featured music by Amy Beach, Rebecca Clarke, Ruth Lomon, and Marianna von Martines, whose gorgeous, masterful works remain woefully underperformed. [continued]
Israel in Egypt displayed the brilliance and variety of Handel’s choral writing (almost to the exclusion of solo voices), but also felt very timely in Música Sacra’s performance last Saturday at First Church Cambridge. [continued]
An “Unstuffy, Unpredictable” Mistral duo made its way into WGBH’s elegant Frazer Studio Friday for a Massivemuse, which seeks to bring younger audiences to live classical music. Harpist Ina Zdorovetchi and flutist Julie Scolnik expanded on the Groupmuse BYOB house-concert format to give us a relaxed, informative, sometimes exhilarating salon-styled extravaganza. [continued]
The Boston Lyric Opera opened a weeklong run of The Rake’s Progress on Sunday in an outstanding production at the Cutler Majestic Theater. [continued]
Violinist extraordaire Christina Day Martinson carried off all 16 of Heinrich Biber’s Mystery or Rosary Sonatas at Jordan Hall on Friday for Boston Baroque. [continued]
“Paris to Hollywood – Dada to Noir” celebrated the centenary of the Dadaist movement and the modernist music of American maverick George Antheil at Tufts and Brown during the past week. [continued]
Finnish conductor Sakari Oramo led Sibelius 3 and Busoni’s Piano Concerto with Kirill Gerstein yesterday afternoon. Brave the cold and go hear it tonight. [continued]
A diverse crowd packed MIT’s Kresge Auditorium to hear Evan Ziporyn’s 80-person Ambient Orchestra play Blackstar, David Bowie’s last album. [continued]
Under Steven Lipsitt, an all-strings formation of the Bach, Beethoven and Brahms Society Orchestra offered “harpsichiod” Bach, fresh Frazin and ripe Tchaikovsky to a Sunday afternoon at Faneuil Hall in which Kim Kashkashian joined as soloist. [continued]
The Philharmonia Quartett Berlin fully lived up to its justly high standards in a meat-and-potatoes program for the Celebrity Series at Jordan Hall on Friday [continued]
The Cyclorama rocked and thrummed with light and sound Thursday evening as Masary Studios flipped the polarity of negative realms. [continued]
“20th Century Classics—Debussy, Bartók, Boulez” Sunday at the Isabella Stewart Gardner Museum showcased piano marvel Paavali Jumppanen and gifted young violinist Corey Cerovsek. [continued]
A crowd of cold-tolerant souls gathered in Longy’s Pickman Hall Saturday to hear the Radius Ensemble dispatch an eclectic mix of works ranging from some with the ink barely dry to an early Brahms looking back to the early Baroque. [continued]more reviews →
Paul Lewis is a pianist who appeals to cognoscenti. After a three-year traversal of the 32 Beethoven Sonatas at major venues, he moved on to a two-year consideration of the mature Schubert’s piano oeuvre; reviewers were ecstatic. Now, BMInt is very pleased to recommend his latest interesting mixed recital for the Celebrity Series at Jordan Hall on March 26th at 3:00: Bach’s Partita No. 1 in B-flat Major, BWV825; Beethoven’s Sonata in E-flat Major, Opus 7; Chopin’s Selected Waltzes; Weber’s Sonata No. 2 in A-flat Major.
Three years ago the notable Liverpudlian concluded for Bostonians, the complete cycle of Schubert’s works he began in 2011. BMInt is very pleased to recycle the publisher’s memorable conversation with the artist about Schubert’s last three sonatas, death, and pianos.
Lee Eiseman: You’re depicting the end of Schubert’s life in music with the three last sonatas, his final statements for the piano. This is appropriately the end of your Schubert cycle and is likely to be something really special. Hearings of D. 958, 959 and 960 together ought to be among the most memorable musical experiences one can have. Will you talk to BMInt readers about Schubert, the end of his life, and the end of your Schubert cycle? [continued…]
Who or what brings the colorful players of the Forbidden City Chamber orchestra to Jordan Hall in company with the Borromeo String Quartet and one of our favorite pianists for crossover program inspired by mostly Eastern European composers? Cathy Chan, the quietly essential director of the Foundation for Chinese Performing Arts comes to mind first as the titular presenter, but further investigation finds Chinese-American pianist Meng-Chieh Liu at the center of the March 25th event. The full program is HERE.
One of the deepest artists we have come to know, Meng, having just come off a two-year survey of the complete Brahms keyboard works (all from memory, incidentally), is set to tour in China in May and June, performing Rachmaninov Concertos 2 and 3 with China Philharmonic, Kunming Sym, Shenzhen Sym, and Qingdao Sym.
Meng took some time off from a mostly nonstop day of teaching at NEC to fill us in about the festivities
Did you have to work as hard as Busoni did when he was here? He saw five students an hour for $5, and he complained, “I’m the greatest pianist in the world, and they make me teach five people per hour.” So how hard do you work at NEC? [continued…]
In celebration of another birthday of Johann Sebastian Bach, the First Lutheran Church of Boston hosts the ninth annual Boston Bach Birthday on Saturday, March 18, 2017. Presented jointly by First Lutheran and the Boston Chapter of the American Guild of Organists, Boston Bach Birthday 332 will feature organists, instrumentalists, vocalists, and one renowned researcher to celebrate the music of the greatest Lutheran composer. As always, all musical events are free and open to the public, and concertgoers may come and go as they please. A compendium with minute-by-minute listings is HERE.
Each year the Boston Bach Birthday prominently features First Lutheran Church’s brilliant Richards, Fowkes & Co. opus 10 pipe organ. Known as “Boston’s Bach organ,” it replicates more precisely than any other organ in the city the sounds with which Bach would have been familiar. Five of the day’s events feature this instrument, including for children, a dramatic reading of Casey at the Bat with the organ pitching. This year’s organists, John Robinson, Brink Bush, and Jonathan Wessler, as well as Jennifer Hsaio, Laura Gullett, and Khristian Erich Bauer-Rowe of Christian Lane’s Boston Organ Studio, and Christopher Holman, will interpret eight large-scale preludes, toccatas, fantasias, and fugues, as well as smaller-scale chorale preludes and free pieces. [continued…]
Odyssey Opera’s “Wilde Opera Nights 2017” opens with the comedic masterpiece The Importance of Being Earnest, set by one of the 20th-century’s master film composers, Mario Castelnuevo-Tedesco.
The famous romp comes to life in full staging with music that pokes as much fun at the opera world as Oscar Wilde does at Victorian society.
The three-act chamber opera for eight singers, two pianos and percussion, based on the play of the same name by Wilde, plays for two nights only, March 17th and 18th, at Boston Center for the Arts’ Calderwood Pavilion.
Shall we think of the director Gil Rose as a modern-day Odysseus? His journeys through realms of discovery are characterized by sirenic pulls in enough directions to keep the namesake company well-centered within its straits. In short, Odyssey Opera, operating outside the mandates of conventional box-office wisdom, can take us beyond the predictable in opera productions which always give pride of place to the composers and librettists. Whatever Rose has rescued from obscurity has provided plenteous rewards. We expect this season’s Oscar Wilde ménage à trois to charm and amuse. Don’t look for any bloody handkerchiefs, though.
BMInt spoke with Rose about it all.
FLE: Mario Castelnuovo-Tedesco is from neither the country nor the period of this quintessential Wilde satire. How does he go about evoking those very integral components of the play? [continued…]
The Second Annual Alfredo and Dimitra Diluzio Concert will be presented by the Women and Music Mix of the Brandeis Women’s Studies Research Center on Sunday March 12, at 3pm in the Slosberg Music Auditorium
News about International Women’s Day and Women’s History Month seems to be everywhere—except Boston’s classical music scene. If you want to go beyond the Spotify classical playlist of IWD that starts with “Hildegard von Binge” [sic], if you want to attend a concert that showcases rare and remarkable music by four very different female composers, it’s all happening Sunday afternoon at Brandeis University. Organized by the music scholars of the Women’s Studies Research Center, the second half of the program features two psalm settings by Marianna von Martines (1744-1812). That eminent historian Charles Burney would describe Martines as “having the greatest genius in music” and view her as the embodiment of Saint Cecilia should have meant that the modern musical would would take more note of her music. It has not, but to remedy this situation is one of the goals of the concert. [continued…]
Boston’s Blue Heron singers and the Cleveland-based early music instrumental ensemble Les Délices will be reviving Guillaume de Machaut’s Remede de Fortune (A Remedy for Fortune) in a multimedia extravaganza encompassing narration, music, and projected images. A cleric schooled in both Latin and French, poet, musician, and composer Machaut served as secretary and companion to John of Luxembourg, king of Bohemia, travelling all over Europe with him until the blind king’s death in 1346 in the battle of Crécy during the Hundred Years’ War. Machaut also drew support from a number of other royal and aristocratic patrons, including John’s daughter Bonne, who died in 1349, her husband, the duke of Normandy, later John II of France, and their son, Charles V of France. By 1360 or so he seems to have taken up residence as a canon at the cathedral of Reims, where he was buried in 1377.
More than 15 long narrative poems, a collection of lyric poetry known as the Loange des dames (Praise of Ladies) and musical settings including 19 lais, 23 motets, a setting of the Mass, a hocket, 42 ballades, 22 rondeaux, and 33 virelais comprise Machaut’s oeuvre. These works have survived in six manuscript volumes, some of them lavishly illustrated by the best artists of the day; each contains all the poetry and music Machaut had completed by the time that book was copied.
We talked with Blue Heron’s music director, Scott Metcalfe, about the upcoming collaborative presentation of the Remede.
VN: Why did you choose the Remede, and how did your collaboration with Les Dëlices come about? [continued…]
While the numbers of all those with vital memories of World War II are waning, music survives the passage of time. Next Tuesday afternoon at Radcliffe’s Knafel Center, Boston Globe chief classical music critic Jeremy Eichler, on leave as a fellow at Harvard’s Radcliffe Institute for Advanced Study, will be speaking on music and the cultural memory of the war and the Holocaust. He will discuss Strauss, Britten, Shostakovich, and Schoenberg, among other composers, making the case for hearing history, for reclaiming the power of sound as a unique carrier of meaning, in order to explore how the wartime past is inscribed in music. At the Radcliffe Institute Eichler is writing a book examining the relationship of cultural memory and music composed in the wake of the war, focusing on key commemorative works.
The free public event, the Julia S. Phelps Annual Lecture in the Arts and Humanities, takes place at 4:15pm March 7 at the Knafel Center, 10 Garden St. in Cambridge.
Cultural historian Jeremy Eichler is the latest in a long line of distinguished classical critics at the Globe, including Michael Steinberg and Richard Dyer and many notable stringers. Eichler has also taught at Brandeis. His work has appeared in the New York Times, the New Yorker, the Washington Post, and the New Republic, and he has been recognized with an ASCAP Foundation Deems Taylor Award. He was also featured in the Proust Project, a collection of contemporary writers responding to the French author. Eichler earned his bachelor’s degree at Brown and his doctorate at Columbia, where his 2015 dissertation centered on Arnold Schoenberg and the creation of the first major musical memorial to the Holocaust, and was awarded the Salo and Jeanette Baron Dissertation Prize. Eichler’s work has been supported by grants from the Center for Jewish History and the German Academic Exchange Service. [continued…]
Celebrating another revival of a certain amazing musical confection for three xylophones, four bass drums, tam-tam, two pianists, seven electric bells, a siren, three airplane propellers and sixteen synchronized player pianos, Tufts professor and George Antheil specialist Paul Lehrman will be mounting a two-day celebration of the film scores of the musical “Bad Boy” from his Dada days in 1920s Paris to his dual careers in Hollywood as a film composer and a critic of film music. The program running from noon on March 6th through the next evening includes a double premiere showcasing the work of a singular individual and his contributions to film music. The relationship with Hedy Lamarr and torpedo guidance will not be mentioned, or maybe it will. [continued…]more news & features →