It has taken time for Sir William Walton’s Second Symphony to find a secure place in the repertory. But I think this new CD from Edward Gardner and the BBC Symphony fully confirms its place in the canon and right to be there. Walton is the sort of artist, like Oscar Wilde, who interests sociologists, because he hides depth in the shallows.
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 Roger; all 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 Crossing, 25-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?