By the end of this past summer, concert halls were almost fully open, and often full. Our classical music critic Lloyd Schwartz shares his favorites of the year:
Odyssey Opera's production of Anthony Davis’ “X: The Life and Times of Malcom X" at Dorchester's Strand Theater.
The young Enigma Chamber Opera company, under the direction of Kirsten Cairns, has been giving us rare productions at the Cathedral Church of St. Paul of Benjamin Britten’s remarkable church parables, which I’ve been watching online. I was blown away by 2021’s “Curlew River,” slightly less so by this year’s “The Prodigal Son,” which maybe isn’t quite as good a work. I hope Britten’s third parable, “The Burning Fiery Furnace,” is in Enigma’s pipeline.
Rose and Odyssey Opera returned to Jordan Hall for an outstanding afternoon called “Troika,” the very first program in North America to include all three of Rachmaninoff’s only operas—“Aleko” and “The Miserly Knight” and “Francesca da Rimini” —each opera a single but substantial act. Rose, the orchestra, chorus and vocal soloists seemed tireless, especially bass Mikhail Svetlov in his extraordinarily complex and nuanced 20-minute monologue as the miserly baron.
An intimate vocal recital that both moved and delighted me was the rare Boston appearance of the beloved Brazilian singer and composer Adriana Calcanhotto, accompanying herself on the guitar, at the Berklee Performance Center . In afrom that concert on YouTube you can hear the audience spontaneously singing along with her in a song they obviously knew and loved. Her one song in English was the old Nat “King” Cole hit “Nature Boy” and it was sheer magic.
And of course, there’s the Boston Symphony Orchestra. I haven’t been going very often. Partly because I’m not seduced by the repertoire that music director Andris Nelsons seems devoted to. But on the radio, I heard his performance of the Mahler Sixth Symphony, and although I wasn’t captivated by his interpretation, I thought the orchestra sounded spectacular.
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