![]() ![]() While it is clear that nothing has been wasted and a few sacrifices have been made, there is consistently excellence in the areas that matter most, as well as a few well-judged luxuries like the great Ewa Podleś in Tancredi, where a truly outstanding star turn is pretty much a necessity. What impresses me about the work of both organizations is that the essential musical values are consistently on a very high level, and when sacrifices are made, they are as accurately positioned as Gil Rose’s beat on the podium. This doesn’t come out of thin air, of course, and it’s clear to anyone who has seen an Opera Boston production that success depends entirely upon strict priorities. Such original programming will seem like a dream to most musical organizations, but both Opera Boston and BMOP are thriving. Just last year there were Shostakovich’s The Nose, and Rossini’s Tancredi, and now Opera Boston’s first commission of a new opera, Zhou Long’s Madame White Snake. I know I’ll be eternally grateful to him and Opera Boston for my first opportunity to see Weber’s Der Freischütz, universally regarded as a seminal work in the history of opera and a great one, but rarely performed today. ![]() Gil Rose is best known for his leadership of two high-profile Boston organizations, the Boston Modern Orchestra Project (BMOP), one of the major supporters of contemporary music in America, and Opera Boston, which specializes in musically outstanding performances of operatic masterpieces which have been neglected by the mainstream houses.
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