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10 things we said goodbye to in 2012

Not to be all gloomy as we stand on 2013's doorstep or anything, but we thought it only right to bid one final adieu to some people and things we left behind in 2012.
We Hardly Knew Ya...
By ALEXANDRA CAVALLO  |  December 28, 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
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Opera Boston's Béatrice et Bénédict, plus Masur at the BSO, Boston Baroque's Creation, and Andréas Scholl

Opera Boston began its season of relative rarities (two of them based on Shakespeare) with Berlioz's enchanting last opera, Béatrice et Bénédict, centered around the two most compelling characters in Much Ado About Nothing — witty antagonists who, in t
Merry war
By LLOYD SCHWARTZ  |  October 28, 2011
galantes list

Boston Baroque's Rameau, Opera Boston's Donizetti, BSO's Berlioz, the Met's new Walküre

As the season wound down, one of the most applauded concerts was Boston Baroque's semi-staged version of Jean-Philippe Rameau's early 18th-century extravaganza, the "opéra-ballet" Les Indes galantes (roughly, "The Romantic Indies").    
  Something old, something new
By LLOYD SCHWARTZ  |  May 27, 2011

Opera Boston’s Cardillac, plus another Levine cancellation, H&H’s Handel, the Takács Quartet, and Dmitri Hvorostovsky

One of the major musical events of the season, Opera Boston’s New England premiere of Paul Hindemith’s Cardillac, was upstaged by the depressing announcement by BSO managing director Mark Volpe, just before the first of the BSO’s four performances of Mah
Heavy metal
By LLOYD SCHWARTZ  |  March 04, 2011

The Top 10 Classical Music Stories of 2010

The good, the not-so-good, and the departed
The good, the not-so-good, and the departed
By LLOYD SCHWARTZ  |  December 24, 2010


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

Fall Classical Preview: The power of music

Here’s my Top 10 list, in chronological order, of some of the season’s most appealing and important classical music events: symphonies, chamber music, operas.
 And, we hope, the good health of James Levine
By LLOYD SCHWARTZ  |  September 17, 2010

Blythe spirit

Leaving the Cutler Majestic after the opening night of Opera Boston’s latest Offenbach, La Grande-Duchesse de Gérolstein , you could see the smiling faces of an audience that had had a good time.
Opera Boston’s Offenbach, Thomas Quasthoff, the BSO, Boston Baroque, and BU’s Sondheim
By LLOYD SCHWARTZ  |  May 14, 2010

Chorus of robots, and maybe an iPhone app: meet MIT Media Lab, the Opera

The MIT MEDIA LAB is best known for shocking the world with next-level innovations like e-ink and the $100 laptop. But now it's teamed up...
By Carly Carioli  |  May 07, 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

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

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

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



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

‘A miracle!’

“Deep, tough, devout — and in church! It’s a miracle!”
Emmanuel’s memorial for Craig Smith, plus Russell Sherman’s Bach, the Royal Concertgebouw, and Handel’s Semele
By LLOYD SCHWARTZ  |  February 05, 2008