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Kendra Colton

Latest Articles

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Springer vs. Nero!

Two opera productions overlapping at the Calderwood Pavilion exploit exploitation.
Monteverdi's Poppea opens the Boston Early Music Festival, plus the Cantata Singers, the Discovery Ensemble, and Barbara Cook at the Pops
By LLOYD SCHWARTZ  |  June 12, 2009
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Grand finales

Jeffrey Rink has just ended his 18th and final season as music director of Chorus pro Musica. He’ll be missed.
The Cantata Singers’ Weill retrospective, Mark Morris leading Dido , Chorus pro Musica’s Carmen
By LLOYD SCHWARTZ  |  June 03, 2008
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Altar and ego


Mark Morris’s Dido and Aeneas
By JEFFREY GANTZ  |  May 30, 2008
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Passion-less

If the St. John Passion is Bach’s equivalent of lesser Shakespeare, the St. Matthew Passion is Bach’s King Lear.
Bernard Haitink and the BSO; Dominique Labelle with the Handel and Haydn Society
By LLOYD SCHWARTZ  |  April 02, 2008
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Great gifts

Knussen’s interludes, barely seven minutes, are a complex but attractive mix of the seductively creepy and the intricately lively.
Julian Kuerti leads the BSO and Leon Fleisher, Stockhausen’s Mantra at Harvard, Emmanuel’s St. John Passion
By LLOYD SCHWARTZ  |  March 12, 2008
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The best of times, the worst of times

This year Boston classical music lost some of its most beloved figures — some, like mezzo-soprano Lorraine Hunt Lieberson, at the very height of their extraordinary powers, others, like opera director Sarah Caldwell and her conductor/collaborator, Osbo
A year in classical
By LLOYD SCHWARTZ  |  December 20, 2006


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Transfigured nights

James Levine and the BSO resumed their Beethoven/Schoenberg series with superb performances of two pieces at the opposite ends of the Schoenberg spectrum.
The BSO’s Schoenberg and Beethoven; Boston Baroque’s Don Giovanni; Opera Boston’s La clemenza di Tito
By LLOYD SCHWARTZ  |  October 24, 2006
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The eyes of Osiris

Jules Massenet composed two operas about the relationship between a beautiful voluptuary and a man of the cloth, both of which take us from the high life of a cosmopolitan sin city to a desert where the heroine dies.
Boston Lyric Opera’s Thaïs, Emmanuel Music’s The Magic Flute
By LLOYD SCHWARTZ  |  May 02, 2006