Kevin Wells was bitten by the opera bug at 10, having heard a 1936 recording of Jussi Björling singing “Che gelida manina”. He has never been the same since. A student of voice, performance practice, the history of singing and opera, he holds advanced degrees in Italian and has lived and worked in Italy off and on since the 70s. La Scala became a second home as the Met had been during college daze. Now in his native Boston, he works as translator, tutor, and language coach, haunts Symphony Hall, and would haunt the Opera House had it not been demolished in 1958!
Director Ola Mafaalani has created an absorbing and completely cinematic version of the opera, combining stationary and handheld cameras to create a pictorial variety of perspectives and expressionistic framing
Konzertmusik is a showpiece for the sections it involves, but, as this performance demonstrated, its conversational structure brings with it a dry wit and rich dynamic which sets it apart.
Excellent camera work contributed to the transparency and clarity by visualizing the interplay between various instruments and sections in the reduced orchestra, especially the eloquent winds.
After Helen Grimes makes her Symphony Hall debut, Johannes Moser is the soloist in William Walton's Cello Concerto, before Maurice Duruflé's Requiem comes as welcome consolation.
Yu-An Chang and the Boston Symphony Orchestra premiere Chihchun Chi-sun Lee's commission and Till Fellner offers a lucid, elegant classical interpretation of Mozart.
