Opera 2023

The Boston Modern Orchestra Project (BMOP) is a professional orchestra in Boston, Massachusetts, United States.

This year, we are celebrating the memory of the Swedish writer and poet Erik Johan Stagnelius, who died 200 years ago (1823).

In his 3rd studio album, Aigars Reinis, the music director and organist of the Riga Cathedral, offers complete works for organ by his predecessor in this position - Alfreds Kalnins.

One of the leading sopranos of her generation, Ekaterina Siurina enjoys an international career that takes her to the top opera houses in Europe and America. She made her professional debut as Gilda in Rigoletto, singing opposite the world-renowned baritone Dmitri Hvorostovsky. Commenting on her recent performance as Violetta in La bohème, Parterre Box called her singing “deeply touching, with arching beams of tone.”

Supplementary to his legendary Beethoven cycles for Decca are Hans Schmidt-Isserstedt’s recordings for Philips, Mercury, Deutsche Grammophon and Accord.

Supplementary to his legendary Beethoven cycles for Decca are Hans Schmidt-Isserstedt’s recordings for Philips, Mercury, Deutsche Grammophon and Accord.

Supplementary to his legendary Beethoven cycles for Decca are Hans Schmidt-Isserstedt’s recordings for Philips, Mercury, Deutsche Grammophon and Accord.

Venus, goddess of sensuality and great orchestrator of pleasures, pulls the strings of opera characters as if they were puppets in the land of Tendre. With great delectation, Marie Perbost invokes the goddess and the heroines of French opera from the century of Louis XV to embody all the victims of passions unleashed by Aphrodite.

In 1958 Poulenc composed La voix humaine, a one-act opera for soprano and orchestra, based on the monodrama of the same name, written for the Comédie-Française by his friend Jean Cocteau. In this staging of the end of an amorous relationship, we hear only the woman’s side of a final telephone conversation with the man who has abandoned her. The orchestra in this innovative work is used not only to unify the composition, but also to reveal what the voice, laid bare by a moving parlé-chanté style, does not say. Fiançailles pour rire and Chemins de l’amour, usually for voice and piano, but presented here in an orchestrated version by one of our finest conductors, Frédéric Chaslin, completes this eloquent rendition of works of a bittersweetness that Poulenc transcends like no other.

Supplementary to his legendary Beethoven cycles for Decca are Hans Schmidt-Isserstedt’s recordings for Philips, Mercury, Deutsche Grammophon and Accord.