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Once again, the BEMF brings a Baroque opera back to life. Reinhard Keiser’s 1705 Octavia is exceptionally well sung, adroitly staged, designed and danced, with impeccable musicianship.

Impeccable ensemble work in Dawn M Simmons' first foray into opera. 

The white hot intensity and conviction of the duet between Santuzza and Turiddu encapsulated the strengths of this performance.

With Lully’s death in 1687 and Louis XIV’s increasing immersion in religious piety under the influence of Madame de Maintenon, the court ceased to exercise a strangle hold on opera.

Opera Boston, whose mantra is “Only innovative repertory. Only original productions” has created a new production of Berlioz' Béatrice et Bénédict for Boston. Seductively charming, the production's depth and complexity become apparent with time and acquaintance – just like any worthwhile relationship.This little-seen opera is sung in French, with spoken dialogue.

Donizetti's Maria Padilla is a canvas for sumptuous costumes, regal staging and bel canto voices. The royal court, the wedding finery and the homes of Spanish nobility add up to a visual feast. Even without all this, the opera stands up musically. While some operas benefit (or are saved) by a grand production, Maria Padilla passes the “in the car” test.