![]() ![]() ![]() BMOP also holds three or four Club Concerts every season in a less conventional venue, the Moonshine Room at the Club Café. Rose told me that the acoustics are quite difficult for musicians. I personally liked the acoustics in concerts which admittedly involved considerable amplification and synthesized music, but Mr. BMOP appears occasionally in Distler Hall at Tufts University, as well as the spectacular Barbara Lee Family Foundation at ICA Boston. Since the beginning BMOP has presented a wide variety of music by contemporary composers in a variety of Boston venues, most commonly Jordan Hall. As befits an organization intended to become the major venue for contemporary music in America-which is what Gil Rose plans to achieve for it, or perhaps has achieved already during its fourteen years of operation. Rose settled us in his own office, one of the fuller spaces, but again, entirely arranged for productivity.īMOP’s activities are multi-faceted. File boxes dotted the mostly empty spaces. No interior decorator or corporate curator has been near it. This sense of priorities was evident at an almost fanatical level at BMOP’s Malden office, where we met to discuss Gil Rose latests projects: to call it spartan is a serious understatement. While it is clear that nothing has been wasted and a few sacrifices have been made, there is consistently excellence in the areas that matter most, as well as a few well-judged luxuries like the great Ewa Podleś in Tancredi, where a truly outstanding star turn is pretty much a necessity. What impresses me about the work of both organizations is that the essential musical values are consistently on a very high level, and when sacrifices are made, they are as accurately positioned as Gil Rose’s beat on the podium. This doesn’t come out of thin air, of course, and it’s clear to anyone who has seen an Opera Boston production that success depends entirely upon strict priorities. Such original programming will seem like a dream to most musical organizations, but both Opera Boston and BMOP are thriving. Just last year there were Shostakovich’s The Nose, and Rossini’s Tancredi, and now Opera Boston’s first commission of a new opera, Zhou Long’s Madame White Snake. ![]() I know I’ll be eternally grateful to him and Opera Boston for my first opportunity to see Weber’s Der Freischütz, universally regarded as a seminal work in the history of opera and a great one, but rarely performed today. Gil Rose is best known for his leadership of two high-profile Boston organizations, the Boston Modern Orchestra Project (BMOP), one of the major supporters of contemporary music in America, and Opera Boston, which specializes in musically outstanding performances of operatic masterpieces which have been neglected by the mainstream houses. ![]()
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