Intérprete: Aaron Sheehan

In der Lachmuskeln strapazierenden Inszenierung formationseigenen Gilbert Blins gelingt dem BEMF ein Opernspaß, der es absolut verdient, vermehrt sein fantastisches Unwesen treiben zu dürfen.

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.

Les Violons du Roy ont donné un éclatant Messie au Palais Montcalm, offrant une interprétation originale et vivifiante du tube haendelien.

Opera Atelier's return to the earliest part of the repertoire with Monteverdi's Il ritorno d'Ulisse in patria showcases their strengths in a relatively restrained production anchored by a strong ensemble cast.

“Leave your hoop skirts and swords at home,” the audience was advised, in order to avoid overcrowding when Handel’s Messiah premiered in Dublin in 1742.

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.