Gil Rose

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BMOP and Mark Morris

As the Globe 's Jeremy Eichler pointed out in his review of the Boston Modern Orchestra Project's season-ending concert — called "Apollo's Fire" — referring to the program note by the BSO's Assistant Director of Program Publications Robert Kirzinger, th
Classical classics
By LLOYD SCHWARTZ  |  June 01, 2012
Update: Opera Boston shuts down

Update: Opera Boston shuts down

CURTAIN CALL Opera Boston is the latest in a long and distinguished line of failed opera companies in Boston. Despite productions like this past year's...
By Lloyd Schwartz  |  December 23, 2011

Tod Machover's Death and the Powers, plus Norrington's C.P.E. Bach and the Cantata Singers' B-minor Mass

In her director's note for the American premiere of Death and the Powers: The Robots' Opera , Diane Paulus, artistic director of the American Repertory Theater, wrote that this "work of music-theater . . . has brought together artists from the widest r
By LLOYD SCHWARTZ  |  March 25, 2011

Review: Beethoven with the Discovery Ensemble, the BSO, and Opera Boston

We've had a good deal of Beethoven recently, with the high bar being set by young Courtney Lewis — a former Zander Fellow and the current assistant conductor of the Minnesota Orchestra — and his extraordinary young chamber orchestra, Discovery Ensemble
Heroes and villains
By LLOYD SCHWARTZ  |  October 29, 2010

What's new

The timely highlight of Gil Rose’s latest BMOP (Boston Modern Orchestra Project) concert, “Strings Attached,” was a new/old piece (2004, revised 2009) for two string orchestras by Scott Wheeler now called Crazy Weather — the new title taken from a John
BMOP, and the Christian Wolff festival
By LLOYD SCHWARTZ  |  March 26, 2010

Bach beat

Composers John Harbison and Peter Lieberson are big presences this spring.
Lions and lambs
By LLOYD SCHWARTZ  |  March 12, 2010



"I can no longer stand to let this travesty continue," sings a character in Madame White Snake , the new opera based on an ancient Chinese legend co-commissioned by Opera Boston, which has just presented its world premiere. I'm afraid I shared the senti
Opera Boston presents the world premiere of Madame White Snake; plus the Leipzig Gewandhaus and Boston Philharmonic
By LLOYD SCHWARTZ  |  March 05, 2010

Stopping time

BSO music director James Levine has returned to Symphony Hall for the first time since October, when back surgery put him out of commission.
The BSO, Peter Maxwell Davies, BCMS, BMOP, Mark Morris, and Christian Tetzlaff
By LLOYD SCHWARTZ  |  February 05, 2010

John Harbison plus 10

Classical music in Boston is so rich, having to pick 10 special events for this winter preview is more like one-tenth of the performances I'm actually looking forward to.
Picking from a packed concert schedule
By LLOYD SCHWARTZ  |  January 01, 2010

2009: The year in Classical

This was a queasy year for classical music.
Beating the quease
By LLOYD SCHWARTZ  |  December 25, 2009

Blessings: mixed and otherwise

By odd coincidence, in recent weeks we’ve had performances of two important operatic rarities, landmark early works a century apart: 30-year-old Handel’s Amadigi (1715) and 20-year-old Rossini’s Tancredi (1813, his 10th opera!).
Boston Baroque’s Amadigi; Opera Boston’s Tancredi; the BSO’s Beethoven; the Borromeo’s Bartók; Brahms from BCMS and BSOCP
By LLOYD SCHWARTZ  |  October 30, 2009


Baroque and beyond

Ten-best lists usually come at the end of the season, but this year the Phoenix has asked its critics to provide a calendar of 10 events that, at least on paper, might wind up on an end-of-season Top 10. Boston, in case you didn't know it, is a great
Betting on the best this fall
By LLOYD SCHWARTZ  |  September 18, 2009
Boston Modern Orchestra Project with Gil Rose

Boston Modern Orchestra Project with Gil Rose

The BSO and the Celebrity Series may have retired for the season, but Gil Rose and Boston Modern Orchestra Project keep celebrating the merry month...
By Shaula Clark  |  May 20, 2009

Here comes the bride

It's been a long time since Bostonians had the chance to see the most popular Czech opera, Bedrich Smetana's The Bartered Bride , but Opera Boston followed its electrifying run of Shostakovich's The Nose with this tuneful folk opera and gave it a swe
Opera Boston's Smetana, the BSO's Berlioz, and Dawn Upshaw
By LLOYD SCHWARTZ  |  May 08, 2009

Mad love

The destructive power of jealousy makes a good subject for opera.
John Harbison's Winter's Tale, Dvorák's Rusalka, Hans Graf with the BSO, Mark Morris's music
By LLOYD SCHWARTZ  |  March 24, 2009


Boston Lyric Opera follows up Dvorák’s moonstruck Rusalka, with Christopher Schaldebrand in the title role of Mozart’s Don Giovanni, the BSO and much more.
From Don Giovanni’s hell to Haydn’s Creation
By LLOYD SCHWARTZ  |  March 17, 2009



By the time you read this, you've either seen or missed one of Boston's most exciting opera productions, Opera Boston's brilliant version of Shostakovich's The Nose .
Opera Boston doesn't blow The Nose — plus Yannick Nézet-Séguin's BSO debut and the return of Lang Lang
By LLOYD SCHWARTZ  |  March 03, 2009

Lift every voice!

Opera is the big word for 2009.
Classical goodies for 2009
By LLOYD SCHWARTZ  |  December 30, 2008

Year in Classical: Celebrate!

In Handel's Hercules, the demented Dejanira's loss is still so painful, I was afraid to listen; now I don't want to hear anything else.
Comings and goings
By LLOYD SCHWARTZ  |  December 22, 2008

Magic bullets

Last week’s Boston Symphony Orchestra program looked odd on paper, but the concert was a knockout.
Maurizio Pollini returns to the BSO; Opera Boston’s Der Freischütz
By LLOYD SCHWARTZ  |  October 21, 2008

It’s about time . . .

It’s been 17 years since Boston’s last local festival of contemporary music, the New Music Harvest organized by composer Charles Fussell: 19 programs (several free), a celebration of composer Ned Rorem, an opera production performed by BU students, and t
The Ditson Festival of Contemporary Music starts in Boston
By LLOYD SCHWARTZ  |  September 25, 2008


Epic undertaking

The act four sequence of quintet, septet, and love duet is non-stop musical orgasm.
Berlioz’s Les Troyens at the BSO; Opera Boston attempts Verdi’s Ernani
By LLOYD SCHWARTZ  |  May 07, 2008

Singers’ delight

The season may be starting to wind down, but there remain some events music lovers have been waiting for all year.
Spring Arts Preview: Opera and vocal works lead the season
By LLOYD SCHWARTZ  |  March 10, 2008

Too much too soon?

Two of the most exciting concerts announced for this winter are on the same date, February 24.
Classical goodies for 2008
By LLOYD SCHWARTZ  |  January 31, 2008

Country for old men

A youthful 80-year-old Sir Colin Davis was back in front of the Boston Symphony Orchestra last weekend with one of the pieces he loves most.
Elgar’s The Dream of Gerontius, BMOP, Marc-André Hamelin, and Sasha Cooke
By LLOYD SCHWARTZ  |  January 29, 2008

Lorca without Lorca

Is it possible for a work of art to seem both completely sincere in its intentions and at the same time counterfeit and manipulative?
Opera Boston’s Ainadamar, plus Ida Haendel, the BSO, and West Side Story
By LLOYD SCHWARTZ  |  October 30, 2007


World music

There’s more to Boston’s classical music scene than the Boston Symphony Orchestra.
The BSO goes traveling, and Berlin comes to Boston
By LLOYD SCHWARTZ  |  September 12, 2007

Decent catch

The opening moments of Opera Boston’s new production of Les pêcheurs de perles set me up to expect an extraordinary evening.
Opera Boston’s Pêcheurs de perles, plus Evgeny Kissin, and Bernard Haitink with the BSO
By LLOYD SCHWARTZ  |  May 08, 2007

Boston music news: April 27, 2007

For its 10th-anniversary finale, Boston Modern Orchestra Project is pulling out all the stops.
Notes on the Boston Modern Orchestra Project and Haunt
By JIM SULLIVAN  |  April 23, 2007

Rise and fall

With its production of the Kurt Weill/Bertolt Brecht Aufstieg und Fall der Stadt Mahagonny, Opera Boston consolidates its position as this city’s most exciting opera company.
Opera Boston does Mahagonny; the BSO and the Boston Philharmonic do Sibelius
By LLOYD SCHWARTZ  |  March 13, 2007