The timing for Boston Lyric Opera’s production of Macbeth this weekend was perfect for Halloween, though the show itself at the Emerson Colonial Theatre was decidedly less spooky.
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
With Boston Lyric Opera’s largest opera production of the season already well behind us, the one-off semi-staged gala performance of Aïda held on Sunday at Emerson College’s Colonial Theatre to support the company’s vast education and community engagement apparatus, was a particularly enticing entry on the Boston cultural calendar.
A performance from Boston recorded earlier this fall and reviewed here
Boston Lyric Opera’s shows, of late, are often going to war with their texts.
And is this ‘Orpheus’ in the room with us right now?
Gioachino Rossini’s adorable adaptation of Cinderella famously dispenses with a slipper in favor of a bracelet to lead the Principe Ramiro back to his Cenerentola. If only this performance had benefitted from such a glittering guiding hand.
Phil Chan described his point of departure for reimagining Orientalist works as the question, “what else could this be?”
In Boston Lyric Opera’s production of Bartók’s Bluebeard’s Castle, which closed on Sunday after a nearly sold-out run—there are no doors.
Yuval Sharon at Boston Lyric Opera has brilliantly found an interpretative middle ground for La bohème by presenting the acts in reverse order.
“Singers slated for next season include… Jane Eaglen (Mother Goose in The Rake’s Progress).”
