They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub. There is a baroque opera revival, spawned by the Boston Early Music Festival (a Monteverdi trilogy arriving next spring) and leading to hi-jinks at the region’s many schools, and to Boston Baroque, which gives Handel’s Agrippina in April. The somewhat traditional Boston Lyric Opera presents everything from Lizzie Borden (last month) to La Traviata (next month), though confining itself to three or four productions a year.
Then there’s a lively newcomer, Odyssey Opera, which debuted last year with Rienzi to celebrate the Wagner bicentennial. Last Saturday night, Odyssey gave Erich Wolfgang Korngold’s best-known opera, Die tote Stadt, in the New England Conservatory’s lovely, 800-seat Jordan Hall, and sold the place out. A very impressive cast sang and acted the concert with brief (mezzanined) contributions from the New World Chorale and the Boston Youth Chorus. Read more »