Tag Archive: Opera Boston

Opera Boom: Lots of opera in Boston, but how much was really good?

Colin Balzer as Ulisse in BEMF's production of Monteverdi's "Il ritorno di Ulisse in patria." Photo Frank Siteman.

I need more than two hands to count the number of operas I’ve attended in Boston so far this year. Two productions by the Boston Lyric Opera, our leading company; nine (four fully staged) by our newest company, Odyssey Opera; a brilliant concert version by the BSO of Szymanowski’s disturbing and mesmerizing King Rogerall three of Monteverdi’s surviving operas presented by the Boston Early Music Festival, performed in repertory for possibly the very first time; a rarely produced Mozart masterpiece, Die Entführung aus dem Serail, in a solid and often eloquently sung concert version by Emmanuel Music; the world premiere of Crossing25-year-old Matthew Aucoin’s one-act opera about Whitman in the Civil War, presented by A.R.T.; and the first local production of Hulak-Artemovsky’s Cossack Beyond the Danube, the Ukrainian national opera, by Commonwealth Lyric Theatre (imaginatively staged and magnificently sung). Not to mention several smaller production I couldn’t actually get to—including an adventurous new work, Per Bloland’s Pedr Solis, by the heroic Guerrilla Opera, which I got to watch only on-line, and Boston Opera Collaborative’s Ned Rorem Our Town (music I’m not crazy about, but friends I trust liked the production).

A lot of opera! But how full is the cup?

Gil Rose talks to Michael Miller about contemporary music, BMOP, and the Opera Boston premiere of Madame White Snake

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. I know I’ll be eternally grateful to him and Opera Boston for my first opportunity to see Weber’s Die Freischütz, universally regarded as a seminal work in the history of opera and a great one, but rarely performed today. 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.

Rossini’s Tancredi at Opera Boston

Gioachino Rossini

Among the many things I admire about Opera Boston is the consistency of their priorities. A great deal of care and expense goes into casting vocally and dramatically excellent singers appropriate for their roles. Music Director Gil Rose maintains a strong orchestra, and he is an impressive musician and conductor in his own right. Budgetary restrictions are more apparent in sets and costumes—this in turn touches the stage direction as a whole. In last year’s season, for example, the first act of Der Freischütz was perfectly viable, while the Wolf’s Glen scene was pretty much a shambles, a seemingly a desperate attempt to make the most of inadequate resources with precious gimmicks. Opera Boston’s production last spring of Shostakovich’s The Nose was more successful: brilliant stage and costume design and brilliant direction were noticeably, but acceptably compromised by budget limitations. As impressive as the intelligent programming and musical results are, a hint of well-intentioned “making do” remains in the physical production, and that was painfully apparent in Opera Boston’s recent production of Rossini’s youthful opera seria, Tancredi.