Tag Archives: BMOP

Odyssey Opera Brings The Picture of Dorian Gray to Boston

Odyssey Opera and the Boston Modern Orchestra Project joined forces on November 18th to present a semi-staged production of Lowell Liebermann’s The Picture of Dorian Gray. Director Gil Rose, drawn to the composer’s “innate sense of theatricality,” was eager to bring the opera to Boston and it was well received.

Liebermann’s opera, an adaptation of Oscar Wilde’s 1890 novel, follows the title character’s unwillingness to reconcile the difference between appearance and reality — a subject that feels increasingly relevant in the midst of our modern, digital society. The music dramatically highlights Dorian’s slow corruption as Liebermann’s score parallels the character’s descent into darker realms of thinking. The result is an opera that unquestionably “brings Wilde to life.”
Duration: 120′
Cast: Principal Roles: Soprano, Tenor, Baritone, Bass; two secondary roles and three minor roles
Orchestration: 3 3 3 3 – 4 3 3 0; Timp. Perc. Hp. Str. On-stage Upright Piano, Off-stage Violin
Reduced Orchestration: 2(Picc.) 2 2(B.Cl.) 2 – 2 2 1 0; Timp. Perc. Hp. Kbd, Str.
Premiere: May 8, 1996. L’Opéra de Monte-Carlo, Orchestre Philharmonique de Monte-Carlo, conducted by Steuart Bedford, directed by John Cox

Preview of “The Picture of Dorian Gray” with Odyssey Opera and BMOP

Piano/Vocal Score
Libretto
Full Score – Study

Stucky and Colgrass Among BMOP’s “American Masters”

Boston Modern Orchestra Project launched its 2016-2017 season with its “American Masters” program, featuring the music of Steven Stucky and Michael Colgrass. The October 8th concert opened with Colgrass’ imaginative work, The Schubert Birds, and closed with Steven Stucky’s Chamber Concerto, both of which garnered high praise in the Boston Music Intelligencer:

Michael Colgrass: The Schubert Birds
Colgrass’s imagination gave us some fine solo writing, and some vivid color, with a memorable duet between oboe and contrabassoon and a striking melody for violins, violas, and cellos in unison fortissimo, without octaves. The waltz itself fades away near the end with four solo contrabasses playing very high on their G strings, a remarkable sound that kept in tune only with difficulty. A widely-spaced, luminous string chord at the very end supported a touching gesture of flute and piccolo.

Steven Stucky: Chamber Concerto
…premiered only six years ago, and it still sounds young and fresh. An abundance of expressive melody wanders through the highs and lows of orchestral sound, featuring rich differences of instrumental soli. The beginning, with widely-spaced polychordal fifths in string harmonics and vibraphone, evokes a daybreak scene. A rhythmically well-marked faster section follows with staccato woodwinds in parallel thirds; it yields to a slower section with expressive clarinet, solo violin, and solo cello, eventually much-divided strings playing soft trills with solo flute and bisbigliando harp. …Overall, the radiant orchestral sound and color most impressed in this formally adventurous concerto.