Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | New England Conservatory: Jordan Hall

Eine Feierstunde, die Josquins Vollkommenheit und der eigenen Vokalqualitäten des Ensembles huldigte.

An impeccable company of artists well-versed in the most up-to-date historically informed performance practices bring Monteverdi to life in the 21st century.

A rare chance to see the first extant opera written by a woman, Francesca Caccini's La liberazione di Ruggiero dall’ isola d’ Alcina. 

Gil Rose conducts all three of Rachmaninov's operas in Boston, with impressive performances making a convincing case for at least two of them. 

Bezuidenhout and the Handel and Haydn Society offer the Boston audience an entirely different sound world where the music sings in a new voice. 

An earnest, posthumous premiere of a flawed opera from Odyssey Opera and the Boston Modern Orchestra Project.

Odyssey Opera's Tudor themed season opens with Saint-Saëns' Henry VIII in which Ellie Dehn's Catherine of Aragon steals the show. 

The Boston Early Music Festival Orchestra led by Robert Mealy, with soprano Emőke Baráth and dancers Caroline Copeland and Pierre-François Dollé, showcase Rameau's vitality and originality.

A concert performance in Boston of Strauss' rarely heard opera, The Egyptian Helen. 

From opera to Broadway to song, an entertaining recital in Boston... minus any tenors! 

A Gounod rarity comes to Boston for a concert performance under the ever-enterprising Gil Rose.

Disparaged by critics and his fellow musicians, Tchaikovsky's The Maid of Orléans is performed by Odyssey Opera. 

A riotous double bill of Pergolesi at the Boston Early Music Festival.

Handel's La Resurrezione, anchored the Boston Early Music Festival’s Thursday programs in a dramatic reading by many of the same forces performing Campra’s La Carnaval de Venise.

Zemlinsky's tortured take on Oscar Wilde's Birthday of the Infanta is given a harrowing treatment; Aleš Briscein convinces as the dwarf of the title.

A concert performance of Dvořák’s Dimitrij opened the fourth season of Boston’s intrepid Odyssey Opera, constituting the US première of Milan Pospíšil’s 2004 critical edition of the original 1882 score. 

Odyssey Opera's concert performance of Le Cid is sadly compromised by the size of the hall. 

Rounding off the holiday weekend almost like an after-dinner cordial, the Boston Early Music Festival presented a pair of Pergolesi intermezzi: La serva padrona and Livietta e Tracollo.

Between Baz Luhrmann’s recent film The Great Gatsby, Northern Ballet’s The Great Gatsby currently at Sadler’s Wells, and Elevator Repair Service’s circulation-testing, eight-hour Gatz at the Noël Coward Theatre last year, Londoners such as myself could be forgiven for feeling all Gatsbied out (in truth, Gatz could probably have achieved that by itself).