Friday evening’s appearance in Emmanuel Church marked the 10th anniversary of the British vocal ensemble Stile Antico’s first appearance in Boston. During these years, Boston Early Music Festival, has booked the ensemble almost annually. [continued]
Odyssey Opera presented the wacky and bouncy operetta La belle Hélène in a “new” English translation last night at the Huntington Avenue Theater. The show repeats Sunday afternoon. [continued]
The Rockport Chamber Music Festival opened its 48th season, dubbed “Source and Inspiration,” joining American Jazz standards with European reactions to the quintessentially American idiom. On Friday night at the Shalin Lu Center, some things worked phenomenally, some missed the mark. [continued]
Singer/harpist Benjamin Bagby in collaboration with Sequentia reached back several centuries earlier than the usual BEMF fare on Wednesday at Jordan Hall. [continued]
The 12-piece string ensemble made its Boston Early Music Festival début Wednesday in Emmanuel Church, spanning works by Antonio Bertali, Heinrich Ignaz Franz von Biber, Samuel Capricornus, Giovanni Valentini, and other eccentric gems from the mid-late 17th century. [continued]
Kristian Bezuidenhout led Dunedin Consort’s two 11-piece orchestras, organ, and three vocal quartets in Bach’s Matthew Passion at Jordan Hall on Monday. [continued]
Boston Early Music Festival’s magical production of Agostino Steffani’s Orlando generoso continues on June 12th and 14th at 7 pm and June 16th at 3:30 pm at the Cutler Emerson Majestic Theater. Absolutely not to be missed! [continued]
Seven Berklee College composers each scored a “reel” of the 90-year old silent masterpiece The Passion of Joan of Arc, and then conducted their sections with the Berklee orchestra, passing the baton relay-style while the film screened uninterrupted at the Cabot Cinema in Beverly last night. [continued]
The Craft Ensemble’s “Art Deco” program graced the newish concert series sponsored by the First Baptist Church of Medford on Saturday. [continued]
Modern instruments, composers, and transcribers embraced and enlivened the master at St. Paul’s Brookline Sunday night. [continued]
“Teach us about listening” and “if you have one of these wretched noisemaking things, turn it off, ”declared the eager impresario in introducing the Kurganov-Finehouse Historical Piano Concert. The duo performed French music on a piano by Erard from 1877 Paris and a 2013 violin patterned after a 1732 Antonio Guarnieri example by luthier Andrew Ryan. [continued]
Emmanuel Music staged Britten’s The Beggar’s Opera Saturday and Sunday at Longy under conductor Ryan Turner and with Nathan Troup’s clever direction and staging. [continued]
Commonwealth Lyric Theater’s concise Carmen showed idiomatic accuracy and flavor Sunday in Newton’s War Memorial Auditorium. [continued]
The reliable ensembles joined forces for the first time in a Jordan Hall concert Friday. Works evoking ocean voyaging, longing, and searching for home balanced a world-premiere setting of extended passages from a new translation of Homer’s Odyssey. [continued]
Chameleon’s Deborah Boldin characterized the group’s last concert of the season as “in the twilight air, swan songs and farewells,” examining the passage of time through the lens[es] of 5 master composers.” [continued]
St. Paul Church in Cambridge resonated gloriously Friday during the ensemble’s concert of wind-accompanied works of Bruckner, Stravinsky, and Gabrieli. [continued]
Boston Chamber Music Society offered up masterful performances of rarely heard works by Ravel, Loeffler, and Chausson on Sunday evening in Sanders Theater. [continued]
Brahms’s beloved German Requiem served as conductor Jameson Marvin’s Schwanengesang with his eponymous ensemble on Friday at Jordan Hall. Marvin founded The Jameson Singers in 2010 after concluding his distinguished 32-year tenure as Harvard University’s Director of Choral Activities. [continued]
Who could have imagined that Benjamin Zander would be co-conducting on the Sanders Theater stage yesterday with a jazz-dancing, scatting Doppelgänger? But the success the players and soloists achieved as they adventured forth under Zander’s lofty standard surprised no one. [continued]
Violinist Soovin Kim and pianist Gloria Chien, both well-known to Boston audiences as soloists and chamber musicians, played a thoughtfully conceived program with passion and a passionate attention to detail at Jordan Hall Saturday night with many distinguished NEC faculty in attendance. [continued]
The Boston Lyric Opera chose to perform the powerful operatic version of the novel, with music by the Danish composer Poul Ruders, on a brilliantly crafted libretto by Paul Bentley, in the precise basketball court that might have been Atwood’s inspiration for the opening scene of her novel. [continued]
Beginning with a festive June 14th opener celebrating the Roaring ’20s in jazz, chamber music, and even an accompanied photoplay, the 38th-Rockport Chamber Music Festival, “Source and Inspiration,” will peel back the layers of the creative process, exploring the many sources that inspired composers and performers, it also promises to serve as a deep well of inspiration for all who attend the festival events. The gorgeous seaside venue will once again be the go-to site for top chamber music from veteran and upcoming performers. Artistic Director Barry Shiffman has inked a season with variety, tradition and pizzazz, as he tells us below.
Source and Inspiration: Is this a marketing label, or will the thematic glue be apparent to audiences who attend one or two events, or does it only emerge over several of the 30 events between June 14th and August 31st?
BS: The theme applies throughout the festival, from our opening night connecting jazz influence with the great French composers, to the splendor of mountains inspiring the film Mountain, dance inspiring “Take this Waltz” program, or A Far Cry performing Lembit Beecher. I don’t think that contemplation of the theme is necessary to enjoying a concert or a number of concerts, but is an interesting guiding light for the curation of the festival. I have been fascinated with the many ways a composer finds and reacts to that source of inspiration. I hope the audience enjoys seeing and hearing these links.
Are there individuals making festival debuts that you would like to highlight? [continued…]
Ninety years after Carl Theodor Dreyer’s transcendent tale of power, belief, and martyrdom first came to the screen, it remains remarkably relevant and surprisingly current.
The Berklee Silent Film Orchestra (BSFO) will debut its new score for the definitive version of The Passion of Joan of Arc to accompany the newly available, revelatory 20 frames-per-second version on Thursday, June 6th at the Coolidge Corner Theater. Subsequent performances are inked for Sunday, June 9, 7:00 pm, at The Cabot, Beverly, MA; and on Thursday, June 20, 7:30 pm, at the Martha’s Vineyard Film Center, as part of the MVFC’s annual FILMUSIC Festival. .
Berklee’s Scoring Silent Films director Prof. Sheldon Mirowitz tells us more.
The Passion of Joan of Arc is simply a remarkable and astonishingly powerful film, particularly groundbreaking for its extended use of close-up and for the stunning, incredibly intimate performance by Marie Falconetti as Joan. This makes it essential viewing for film aficionados. However, the film that they are familiar with is almost never seen as intended.
David Elliott, the voice of Harvard’s radio station WHRB (95.3 FM) for 58 years, is going to be featured in the station’s Spring Orgy Saturday from 1 p.m. until 8 p.m. Precisely during the first four or five hours of this period, David used to oversee the broadcast of live programs from the Metropolitan Opera. After each opera, David treated the listening audience to historic recordings of opera highlights, along with insights on performance. For a while, he ran a contest in which the winner would be the fourth, or sixth, caller—a number he chose at random each week. We also heard his mellifluous, cultured voice on many advertisement and public service announcements.
Besides his many hours as DJ every week, Elliott served as president of the WHRB board of trustees. Aaron Fogelson, a senior at Harvard, is putting on the orgy to honor David, who stepped back from his many roles at WHRB) due to ALS (amyotrophic lateral sclerosis, familiarly known as Lou Gehrig’s Disease) in October 2018, noted in tributes by both Harvard Magazine and The Harvard Gazette.
“There is much to be said about David’s 58-year career as an announcer, a mentor for students, and a pillar of Boston’s classical music community,” said Fogelson. “As one listener said, ‘David Elliott was the most important thing to happen to radio since its advent.’ While this may be a bit of hyperbole, it is easy to say he has been the most important thing to happen to Harvard Radio and possibly even, Boston radio generally. David is a great man with an enormous and loyal following that believes he deserves a bevy of public sentiments detailing his legacy.” [continued…]
Commonwealth Lyric Theater’s artistic and stage director Alexander Prokhorov has taken inspiration from Peter Brook’s La Tragédie de Carmen, which in 1983, condensed the opera to its most dramatic, action-filled moments. Prokhorov’s version, while preserving all great hits, like the lively and quintessentially Bizet quintet and the fun-filled children’s chorus (performed by the Lucky Ten Young Talent Studio), comes in at about two hours. [continued…]
Two groups that do things just a little differently team up for a collaboration that’s going to be, well, just a little bit different. Lorelei Ensemble’s artistic director Beth Willer, and Sarah Darling, A Far Cry’s program curator for Friday’s Jordan Hall show, get to relate the scoop.
What drew your two groups to collaborate with each other, and what do you hope comes out of this musical meeting?
Beth: I have long admired the work of A Far Cry, its collaborative energy, and ability to bring both standard and forward-thinking repertoire to life. Lorelei and A Far Cry seem like a natural pairing. We are both committed to co-creative work, and contemporary programming which can shed new light on existing repertoire, and both groups love to incorporate new works that push the boundaries of classical music. Of course, we look forward to learning from each other in the rehearsal process and premiering an entire program of repertoire that exceeds either group’s independent possibilities.
Sarah: I’ve been obsessed with Lorelei’s sound and energy for years. I remember everything about my first experiences hearing the group — which, incidentally, I can also say about A Far Cry! My ears perk up whenever I hear a group listening deeply and interacting with the degree of passion that classical music needs and frankly, deserves. Individuals didn’t vanish in Lorelei’s group sound; instead, you heard the full expression of what they could do when they were at their best. So I’ve been dreaming about putting these two groups on a single stage to see what happens for a long time.
What was the process of putting this program together? [continued…]
How do we celebrate such a milestone? According to a recent article in Chorus America’s journal, The Voice, “anniversary observances become most meaningful when they reinforce a chorus’s reason for being, when they inspire self-examination, and when they help to lay a foundation for the future.” For Zamir Chorale of Boston’s 50th Anniversary Concert, we will offer choral music from Jewish traditions, not just by Jewish choirs, but by all choirs across America—high school, college, conservatory, community, professional choruses, even church choirs. Most conductors know very little about our repertoire beyond a dreidel song or two. They are unaware of the significant repertoire that Zamir promotes: secular and sacred; Baroque, classical, romantic, modern, contemporary; classic compositions as well as arrangements of folksongs, popular songs, theater songs; music in Hebrew, Yiddish, Ladino, German, English; a cappella and accompanied.
On Tuesday, June 4, at 7:30 pm, at Sanders, the ensemble will showcase some of its best repertoire and premiere commissioned works from Jeremiah Klarman, Ken Lampl, Jonathan Leshnoff, Charles Osborne, Nick Page, and Benjie Ellen Schiller. [continued…]
How many BMInt readers know anything of the history of one of our sponsors, the Harvard Musical Association? The private charitable organization founded by Harvard College graduates in 1837 maintains a longstanding tradition of commissioning new works, supporting local nonprofit musical organizations, and giving prizes and awards to young performers.
The Association announced one such award last week, a grant of $5,000 to Castle of Our Skins for a concert honoring the 100th anniversary of the women’s suffragist movement and celebrating the power of women’s voices. According to COOS president Ashleigh Gordon, “Fiber art and spoken word poetry showcases will be woven into the concert experience. Black women poets, quilters, musicians, and composers will all be elevated and celebrated.” Click HERE for the details.
The worthies of the Association encourage organizations dedicated not only to the performance and composition of serious music, especially chamber music, but also to the development of steady, attentive audiences appreciative of this kind of musical experience to apply for the annual Harvard Musical Association’s George Henschel Community Awards HERE.
More on all of HMA’s awards and grants can be found HERE.
Behold! the sea itself!
And on its limitless, heaving breast, thy ships:
See! where their white sails, bellying in the wind, speckle the green and blue!
Ralph Vaughan Williams, an aspiring English composer, first became aware of the poetry of Walt Whitman in 1892. Whitman, whose bicentennial is being celebrated across America in 2019, became a touchstone for Williams, who carried a pocket volume of Leaves of Grass through the trenches of World War I. Whitman beautiful verses became a touchstone for Vaughan Williams, who helped usher in a new era of British choral music after a century of compositions dominated by German influence. Each man was a powerful disruptor, a breath of fresh air for their respective forms of poetry and choral composition. In short, few pairs of artists are better suited to one another. Vaughan Williams created two choral works from Leaves of Grass, both premiered at the Leeds Festival in 1910: “Toward the Unknown Region and A Sea Symphony.”
Humanist and metaphysical, the sections of Whitman that make up A Sea Symphony describe travel across the ocean as a metaphor for the soul’s journey into the infinite. To capture the majesty of the poetry and “the sea itself,” Vaughan Williams created a massive work, ringing with the mighty sounds of a symphonic chorus and orchestra. Few truly choral symphonies had been attempted before. The seventy-minute, four-movement piece begins with a fast-paced, booming introduction that immediately situates the audience in the power of the waves. It continues at a variety of tempos and dynamics, incorporating semi-choruses and two soloists — a baritone and a soprano — as it plunges into themes of life, death, and shared humanity. [continued…]