Author Archive: Charles Warren

Charles Warren studied literature and music formally and now teaches film history and analysis at Boston University and in the Harvard Extension School. He is the author of “T.S. Eliot on Shakespeare,” and edited and contributed to the volumes “Beyond Document: Essays on Nonfiction Film” and “Jean-Luc Godard’s ‘Hail Mary:’ Women and the Sacred in Film.”

Recent Orchestral Performances in Boston, above all Oliver Knussen and the BSO

Sunday evening, April 14th, the night before the fateful Boston Marathon, British composer/conductor Oliver Knussen was honored by the Boston Modern Orchestra Project and the New England Conservatory at a concert at Jordan Hall. NEC officials awarded Knussen an honorary…
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Charpentier’s La Couronne de Fleurs and La Descente d’Orphée aux Enfers by the Boston Early Music Society

Boston Early Music Festival’s presentation of two Marc-Antoine Charpentier chamber operas took us from the playful, elegant, high baroque world of the court of Louis XIV, into something more serious and grave, and then back out again. First we were given most of La Couronne de Fleurs, a Pastoral probably not meant for full staging, where Flore, goddess of spring—well sung, and acted with spirit, by soprano Mireille Asselin—summons up the season and then proposes to shepherds and shepherdesses a contest to praise Louis XIV’s military triumphs, the winner to receive the crown of flowers of the title. After the conventional tributes are made, the production turns to the short opera La Descente d’Orphée aux Enfers, presenting it as a further entry in the poetic contest, though this is done a bit awkwardly, since the piece does not refer to Louis. The Orpheus opera seems not to have been finished by Charpentier, having only two acts instead of the usual three, and stopping with the beginning of Orpheus’s ascent from the Underworld with his lover Euridice rescued from death. We do not get the familiar incident of his prohibited looking back at her and thus permanent loss of her.

Lewis Spratlan’s Opera “Life is a Dream” Premiered at the Santa Fe Opera

Lewis Spratlan, Composer

The story has been well told in the musical press by now about the delay in production of Lewis Spratlan’s great opera Life Is a Dream — commissioned in the late 1970s by an opera company that went out of business before the opera could be produced; rejected numerous times by other American and European companies; awarded the Pulitzer Prize a decade ago for a concert performance of Act II; more rejections for a full staging… Congratulations and thanks are due at last to General Director Charles Mackay and the Santa Fe Opera for taking a new look at this work, seeing its intrinsic worth and its great potential as staged music drama, believing in it, and now giving it a committed and brilliant production. This occasion is a triumph for all concerned. Here palpably, for the eyes and ears and mind, is one of the great American operas, one of the great modern operas, one of the great operas.