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

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

Odyssey Opera’s convincing revival of flawed Pacini in Boston.

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

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

Helen of Troy is the theme for this half of Odyssey’s season, launched with Gluck's rarity. 

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

Odyssey Opera comes full circle closing its season “Trial By Fire“ with another opera rooted in Schiller’s Die Jungfrau von Orléans, Giovanna d’Arco. Verdi’s seventh opera is an uneven, retrograde effort which fails to mine further the rich vein he had struck in Ernani.

Boston's Odyssey Opera performs a rarity: Arthur Honegger's Jeanne d’Arc au bûcher, a dramatic oratorio inspired by medieval mystery plays. 

Odyssey Opera gives the US première of the original three-act version of L'assedio di Calais, with every note Donizetti wrote in 1836.

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

Director Frank Kelly channels the inspired lunacy he displayed as a tenor to this production of Patience.

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.

Odyssey Opera has unearthed a gem with its production of Mario Castelnuovo-Tedesco’s 1962 chamber opera The Importance of Being Earnest, never published and staged only twice previously.

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. 

Once upon a time an intrepid youth showing off his precocious skills as a cyclist boasted, “Look, Ma, no hands!” The 16 year-old Mozart could well have been exclaiming the same as he composed Lucio Silla in 1772.

From a purely chronological standpoint, the original, 1750 version of Gluck’s Ezio is a pre-reform opera. A performance as carefully curated and persuasive as Odyssey Opera’s, however, proves how deceptive chronological classifications can be.

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