The fall season has included a Mozart juvie-rarity—the Boston Lyric Opera’s sparkling Mitridate, featuring tenor Lawrence Brownlee but really featuring the entire cast: sopranos Brenda Rae, Vanessa Goikoetxea, and Angela Lam; countertenor John Holiday; mezzo Alexis Peart. A talented grouping for a modest season-opener (only two performances). The staging (James Darrah) was sexy and inspired, and might have been informed by French avant-theater explorations of the classics from the mid-last century. Nicely done all around.
Two ensembles will stay in my focus this season, with the aim of writing something substantial eventually: Boston Camerata, celebrating its 70th season; and Palaver Strings, the downtown Portland teaching ensemble that tours New England incessantly (Cambridge/Brattleboro/Stowe/lots more) playing memorable programs. Stay tuned on both.
Camerata performs next in December, with two different holiday programs, and in January in a reworking of the medieval musical play Daniel; Palaver visits the ICA Nov. 2 for “noisefloor,” a collaboration with choreographer Heather Stewart and little house dance.
The BSO has had some touching programs lately. I haven’t prepared any to review, but was particularly fascinated by the Olivier Latry’s performances in early October, reviving Michael Gandolfi’s concerto Ascending Light, and providing ballast for Saint-Saëns organ symphony—a marvelous work woven with musical invention.
This weekend: a rare visit to Boston Ballet, a program centered on Crystal Pite’s The Seasons’ Canon; then two performances featuring pianist Jean-Yves Thibaudet, with the BSO for the second Liszt concerto, and with the Chamber Players (three Poulenc sonatas).
Sorry to miss Castle of Our Skins, giving another superb looking free program both in Rockport and Dorchester.