Fanny cano series#

VISITING ARTISTS Celebrity Series of Boston Symphony Hall & Jordan Hall | April 4-23 This year, an outstanding cast of local favorites-soprano Amanda Forsythe, tenor Aaron Sheehan and soprano Theresa Wakim join French contralto Lucile Richardot (in the title role of the sorceress Circé) in French Baroque composer Henry Desmarest’s 1694 tale from the “Odyssey,” “Circé.” This BEMF season is called “ A Celebration of Women.” “Circé” librettist Louise-Geneviève Gillot de Saintonge, who in her lifetime was more famous than the composer, doesn’t even have a Wikipedia page. And because some of the operas are so rare, we really don’t know what to expect until we see them. Sometimes the sets and costumes are the real star, but sometimes the music itself is the cynosure. (Courtesy Alice Romanov) Boston Early Music Festival: Henry Desmarest's 'Circé' Emerson Cutler Majestic Theatre| June 4-11Įvery other year, the international world of Early Music and Historical Performance meets up in Boston, and the high point is the Boston Early Music Festival’s elaborate full-scale opera production. Boston Baroque in GBH’s Calderwood Studio. Met star soprano Wendy Bryn Harmer will be singing the title role for the first time, with Met tenor William Burden and the excellent baritone Jesse Blumberg, with wonderful opportunities for the chorus and orchestra.

Now, celebrating Boston Baroque’s 50th season, Pearlman is repeating “Iphigénie” in three staged performances. This time, to balance the story of the much-married Bluebeard, BLO has come up with a plausible solution: a song cycle by one of the 20th century’s most famously and frequently married women: Alma Mahler’s “Four Songs.” The star stage director is Anne Bogart who blew audiences away in her memorable BLO production of “ The Handmaid’s Tale.” (Trigger warning: the BLO website lists an “intimacy director.”)īoston Baroque: ' Iphigénie en Tauride' GBH's Calderwood Studio | April 20-23īack in 1999, Martin Pearlman and his period-instrument orchestra, Boston Baroque, gave Boston a rare taste of a neglected masterpiece - Christoph Willibald Gluck’s late 18th-century French “tragédie lyrique” based on Euripedes, “Iphégenie en Tauride (Iphigenia in Tauris).” Pearlman once pointed out that this opera may include “the first time a composer has used the orchestra to convey the subconscious feelings of a character.” Iphigenia was then sung by the now universally admired Wagnerian soprano Christine Goerke, who repeated the role on Boston Baroque’s recording. Bartok’s short work is usually part of a double bill. Our leading opera company is presenting one of the most powerful 20th-century operas: Béla Bártók’s unnerving one-act “Bluebeard’s Castle,” which dramatizes the most sinister of marriage myths with music of seductive mystery and implacable force. OPERA Boston Lyric Opera: ' Bluebeard's Castle' The Terminal Flynn Cruiseport Boston | March 22-26 Opera | Visiting Artists | Symphony Orchestras | Chamber & Solo Music | Chamber Orchestras | Choral & Vocal Music | New Music | Early Music But please don’t let that discourage you from seeking out all the other notable events between now and - yes, dare I say it - summer! The spring offerings are so rich, I had to be particularly selective, so these are the events that really stick out for me. Here (in more or less chronological order) are some of our best groups and their spring awakenings. In other words, lots of good stuff to look forward to. This dim winter of our discontent is finally dissolving into the promise of a lively spring bounty. The music that’s suddenly filling my head is the sublime section near the end of Handel’s “L’Allegro, il Penseroso, ed il Moderato” (especially as choreographed by Mark Morris):

Fanny cano