En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Daniel Sutin

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.

On Friday, a new co-production of Die Meistersinger von Nürnberg opened at the Lyric. The only comedy among Wagner’s mature music dramas, its sound is very much like that of the better-known tragedies – brassy, overfull, with a core of strings teetering at vibrato’s edge.

Imagine a tattered red curtain, blocking the set but revealing several bodies, bound head to toe in grey, hanging from the ceiling by their feet. It looks like the home of a malevolent, human spider - its prey a silent presence overhead. This is the opening of Verdi's Macbeth, at Boston Lyric Opera.

“There was love all around / But I never heard it singing / No, I never heard it at all / Till there was you!” I vividly recall when I first heard Shirley Jones sing these touching, heartfelt lines on the beloved motion picture version of Meredith Wilson’s “The Music Man”, when both the devious Professor Harold Hill and the stingy spinster Marion Paroo discover the true meaning of love.