A Far Cry’s “Homeland,” an intricate musical journey through geographically and chronologically diverse migrations, showcased the best of the Crier’s adventurous and inclusive programming. [continued]
The very successful premiere of Scott Wheeler’s new Sextet, a BCMS commission, took center place in Sunday afternoon’s Boston Chamber Music concert which also included Beethoven’s Quintet in C Major for Strings and Franck’s Piano Quintet in F Minor. [continued]
Shostakovich’s two masterful piano concertos, separated by an intermission and by 24 tough years in his life, are strikingly different, though one would have been hard pressed to notice the contrast in on Saturday night’s BSO concert with the brilliant Yuja Wang. Makeshift Castle by Julia Adolphe — a BSO co-commission — played on contrasts too. [continued]
In last night’s Foundation for Chinese Performing Arts concert at Jordan Hall, Ya-Fei Chuang gave us piano works ranging from the delicate miniature of ephemeral love to the towering immensity of eternity in works by Schubert, Chopin, CPE Bach, Ravel and Rachmaninoff. [continued]
Odyssey roared back from a two-year covid-caused absence with a powerhouse concert traversal at Jordan Hall of Rachmaninoff’s total operatic oeuvre: Aleko, The Miserly Knight, and Francesca da Rimini. [continued]
Lang Lang drew a young, enthusiastic full house to Symphony Hall Saturday, as three evergreen crowd-pleasers took their places alongside Carlos Simons’s Motherboxx Connection for Opening Night. [continued]
Forget what you knew about La bohéme, and for that matter, discard all your preconceptions about opera. Without a doubt Boston Lyric Opera’s staging of Puccini’s evergreen masterpiece entered the annals of memorable shows which have occupied the legendary Colonial Theater over its 123 years. [continued]
BSO’s opening night blissed out the mass of music-goers with a new and convenient start time of 7:30 Thursday evening at Symphony Hall. American pianist Awadagin Pratt made his BSO debut in fellow American composer Jessie Montgomery’s Rounds written for him, and he angled Bach according to his own muse. [continued]
Sunday brought the latest in a longstanding series of benefit recitals for the continuing restoration of the magnificent E. & G. G. Hook & Hastings Organ in Boston’s Cathedral of the Holy Cross. [continued]
We had something of an epiphany while listening to the performance Sunday by the Merz Trio (Lee Dionne, piano; Bridgid Coleridge, violin; Julia Yang, cello) on the Ashmont Hill Chamber… [continued]
Revered pianist Victor Rosenbaum gave himself an 80th birthday party cum farewell to New England Conservatory in Jordan Hall last Saturday; votaries completely packed the floor. Belying his age, Rosenbaum skipped on stage to thunderous acclaim before embarking on Brahms’s op. 118, no. 1. [continued]
Soprano Susan Narucki and pianist Donald Berman joined at Longy School of Music at Bard College Friday evening, appraising gender-specific songs from another time. [continued]
As chaos coalesced in the decoratively polychromatic Emerson Paramount last night, slam, bang, pow, wow, kaboom went Cerise Lim Jacob’s Cosmic Cowboy in a Bayreuth meets Hayden Planetarium mashup of myth, madness and quotidian. [continued]
The 2022 Boston Bach International Organ Competition concluded Sunday evening memorably with the Winners’ Concert at First Lutheran Church of Boston. The week-long competition brought 17 accomplished young organists from 14 countries and 4 continents as well as 7 judges from 5 countries. [continued]
Maverick Concerts ended its 107th season of “Music in the Woods” on Sunday with a solo recital by the prodigiously gifted Uzbek–Israeli pianist Roman Rabinovich offering “The Mystical World of César Franck: The Complete Music for Piano” [continued]
Fireball pianist Heng-Jin Park and luminous violinist Irina Muresanu joined Winsor Music regulars for sometimes lively and often intriguing musicmaking at First Church of Boston on Saturday night. [continued]
The Catalyst String Quartet delivered an altogether inspired concert opening with Haydn’s “Sunrise,” they welcomed Dashion Burton for Dover Beach and gave pride of place to music by Black Americans. [continued]
On Sunday afternoon, in “Music for Eugène Ysaÿe,” the Amernet String Quartet dished up, with superior respect for our delight, works of Beethoven, Chausson, Franck, and Saint-Saëns for a responsive Maverick audience. [continued]
For Saturday’s Maverick show, music director Alexander Platt assembled forces from the Caroga Arts Collective and three important soloists for Tchaikovsky’s Serenade for Strings as well as music by Shostakovich and Alan Shulman. [continued]
The all-Beethoven extravaganza at Jordan Hall, including Nan Ni’s prize turn for the Foundation for Chinese Performing Arts’s Fou Ts’ong International Piano Competition, found Channing Yu and the Mercury Orchestra in great form in the best of all possible concerts in Boston on Saturday night. [continued]
Yesterday’s Boston Globe took note of a heart-warming donation of $100 million to the Boston University Medical School, which will be renamed the Aram V. Chobanian and Edward Avedisian School of Medicine. A photograph identified the donor, Edward Avedisian, “a retired clarinetist and philanthropist,” and it impressed me that the paper mentioned “clarinetist” first. “All right, so I made a few dollars,” he said, and I am sure he made the money in other enterprises than music, but “clarinet” stuck with me because I remembered Ed Avedisian from when we were students at Tanglewood in summer 1959. I didn’t know him well; I was a 19-year-old sophomore, but he had already graduated from BU, was an official in the musicians’ union, and would play from time to time with the Boston Pops. Chobanian, his close friend ever since they were children growing up in Rhode Island, later became Dean at the med school.
A faculty recital on steroids—with famous alums and the occasional current student collaborators all volunteering their services—that’s what New England Conservatory worthy Laurence Lesser inaugurated 38 years ago with his initial First Monday at Jordan Hall series of free concerts of great chamber music. If you want Larry to talk to you about this year’s edition rather than reading further, click HERE for his video of the October 3rd program:
Seeing and hearing any classical show in the magical and inspiring Emerson Colonial Theater interests us tremendously. Witnessing Puccini’s La bohéme from the venerable Boston Lyric Opera adds another dollop. For this production, director Yuval Sharon runs Act IV first and adds a “Wanderer”/interlocutor to explain the proceedings.
Boston Lyric Opera presents the favorite opera of starving artists and thwarted lovers September 23rd through October 2nd at the Colonial Theater…except the lovers don’t end up thwarted. Love triumphs over death in this show. Purchase tickets HERE.
This feature will first discuss the venue. Our interesting interview with Lauren Michelle, the show’s Mimi, follows several paragraphs down.
The oldest Boston theater to survive intact and one of Boston architect C.H. Blackall’s (he did many important theaters in Boston as well as Temple Ohabei Shalom in Brookline) most gracious creations, the Colonial Theater opened on December 20, 1900, and through, war and pestilence remained a beloved venue for important premieres and tryouts of plays and musicals. It narrowly escaped conversion to a food court six years ago. Flo Ziegfeld launched his Follies there, and notable players, playwrights and composers at the house include Irving Berlin, Sigmund Romberg, Richard Rogers, and Oscar Hammerstein, Cole Porter, Ether Merman, the Gershwins, Katherine Cornell Lunt and Fontaine, Katherine Cornell Tyrone Power, Paul Robeson, Laurence Olivier, Doyly Carte Company with the great John Reed. I remember that 1973 Pinafore well, as the last musical I heard anywhere without amplification. Imagine Merman projecting to the back rows in Annie Get Your Gun…singers needed great pipes until amplification changed belting to crooning.
The BSO subscription season begins this Thursday night with a lively and celebratory program HERE which finds the orchestra toasting itself through a namesake overture by John Williams, finding its place within the Planets, and showcasing the debut of pianist Awadagin Pratt in Bach’s Concerto in A Major and in Rounds, for piano and string orchestra, a new work written for him by the young Jessie Montgomery [the orchestra included her Starburst in a 2020 “American Promise”-themed program HERE]. A review on these pages noted how the 55-year-old Pratt delivered “old-master richness” and compared him to Horowitz and Richter.
Pratt became the first African American to win the Naumburg International Piano Competition. That achievement launched an active performing career (including appearances with numerous American orchestras and for the Clinton White House and Obama White House), as a recording artist, and as a professor of piano at the University of Cincinnati College-Conservatory of Music. Recent projects include the multimedia presentation “Awadagin Pratt: Black in America” which chronicles his life, including unpleasant encounters with law enforcement as a young man. He talked with us at length and rewardingly.
FLE: So where did the name Awadagin come from?
AW: My father was from Sierra Leone.
As of late, you’ve been talking a little about your roots, but more about your personal experiences of racism. Apparently you were arrested while running late to class at Peabody…while Black.
Odyssey Opera’s “Troika,” comprising Rachmaninoff’s complete operatic oeuvre, brings his three rarely heard one-act operas together for the first time according to conductor and Artistic Director Gil Rose. At Jordan Hall, Odyssey will conjoin Aleko, Miserly Knight, and Francesca Da Rimini in a three and one half-hour extravaganza. Audition them in Neeme Järvi’s excellent recordings HERE.
The stories by Alexander Pushkin and Dante tell of an exiled Russian nobleman consumed by jealousy, an aging Baron who dies calling not for his son but for his gold, and a young couple consigned to the Second Circle of the Inferno after an illicit kiss. Presented in concert in Russian, with English Supertitles in a collective US premiere on September 25, 2022 at 3:00 PM NEC’s Jordan Hall. Tickets HERE
FLE: All three operas can be auditioned in multiple YouTube streams. Miserly Knight got done at Bard this summer, and Aleko is hardly unknown. Commonwealth Lyric Theater, specialists in Russian/Ukrainian repertoire, did it in Boston about ten years back. [reviewed HERE]
Gil Rose: Even though it was a student work, Aleko has had something of a continuous concert life on stage. It gets done, often paired with various things.
And how did you come up with the idea of this triple bill? You say, they haven’t ever been fit together, though in 1906 at the Bolshoi Theatre, Moscow, Rachmaninoff conducted a double-bill of Miserly Knight and Francesca da Rimini. You probably are correct in claiming a first for this 3.5-hour triple header.
Pianist, composer, conductor, teacher, past Longy president Victor Rosenbaum celebrates his 80th birthday and retirement from his first and last job with a free Jordan Hall recital on September 17th at 8:00 PM offering a retrospective of music he loves: Brahms: Intermezzi Opus 118, Nos. 1 and 2, Victor Rosenbaum: Elegy-Impromptu, Beethoven: Sonata in E Major, op. 109, Schubert: Sonata in A Major, D. 959, as well as the world premier of composer-pianist Lewis Warren’s second Ballade. Rosenbaum’s elegant valedictory essay follows this short interview.
Are you satisfied with how your career has unfolded?
I made a conscious decision (spoken to myself and others in so many words) many years ago never to be bitter about what I might not achieve in fame or recognition. How tiresome are those regrets of many musicians who think the world failed to give them the accolades they deserved. By contrast, I feel very lucky that I have been able to play the music I love most, often with some incredible (and world famous) collaborators (like Leonard Rose, Robert Mann, Roman Totenberg, and many wonderful NEC colleagues). And I have taught all these years in one of the world’s great schools of music. What a great privilege! If I look back on opportunities missed, there is one moment that could have changed the trajectory of my career: it was when Erich Leinsdorf saw me conduct a little kids orchestra at a summer camp in the Berkshires where his daughter was a violinist. He must have seen something in our little attempt at the first movement of Beethoven’s First Symphony, because afterwards he invited me to be some kind of assistant at the BSO. Stupidly, I turned it down because I was in the middle of my graduate studies. I mean, really, how stupid can you be?
But, you know, even though that could have led to something very different and wonderful (and I always have loved conducting), I am rather happy that I have had a not too shabby career. I’ve traveled for concerts and teaching in many parts of the world (even to Iraq, believe it or not), and have had the admiration of my students and musical colleagues. A life in music is a pretty great thing, regardless of the degree of fame or fortune it brings.
On September 18th at Sanders Theater BCMS begins its 40th season with what its fans like, great chamber music: Brahms’s Piano Trio in C minor, Op. 101, Poulenc’s Trio for Oboe, Bassoon and Piano, and Beethoven’s Septet in E-flat major, Op. 20 in the company of Romie de Guise-Langlois, clarinet; Adrian Morejon, bassoon; Jason Snider, French horn; Yura Lee, violin; Marcus Thompson, viola; Clancy Newman, cello; Thomas Van Dyck, double bass. Tickets HERE.
Alongside its nine member musicians*, this season BCMS brings 16 familiar and exciting guests to 3 concert stages and adds nine works to its repertoire, including the premiere of an anniversary commission by Scott Wheeler. I enjoyed a very pleasant talk with Artistic Director Marcus Thompson about how the ensemble began, responses to recent challenges, the upcoming season, and beyond.
FLE: Over nearly 40 years the Boston Chamber Music Society has maintained the appearance of being an exclusive club as the word ‘Society’ implies. And maybe for roster of distinguished Member Musicians, it is something of a club which admits listeners to its fold. Long before so many other groups, series and venues got started, this Society has had quite impact on how and where chamber music is presented around town. Even though you weren’t a member in its first season, at some point ‘you made the cut,’ ‘paid the fee,’ got to be a member, and, for the last 12 years you’ve served as Artistic Director. What is BCMS’s origin story?