For many, The Marriage of Figaro represents the “perfect” opera—that elusive, ideal blend of sublime music and drama, humane comedy and human foible, social satire and compassionate resolution.
For an opera company to thrive over the course of four decades, being in tune with ongoing trends and the constantly changing digital landscape is crucial. Boston Lyric Opera has established itself as a lead player in the space where the opera world and digital worlds collide. The company has a strong and growing ‘Tweet Seat’ campaign, that generated national coverage including this Wall Street Journal article, in which invited theatergoers are encouraged to live tweet during dress rehearsals. BLO’s latest initiative is a Virtual Reality (VR) video that immerses viewers in a rehearsal for its upcoming production of The Rake’s Progress.
After this triumph of neoclassicism, Stravinsky abruptly changed compositional course, subsequently writing in the style of musical serialism (closely associated with that other 20th-century titan of composition, Arnold Schoenberg). The upcoming BLO production will use The Rake’s Progress to explore this pivotal moment in Stravinsky’s career: the creative team has secured permission from the Stravinsky estate to add the non-singing role of Stravinsky to the opera.
In 1947, Stravinsky visited the Art Institute of Chicago and viewed a series of engravings by the 18th-century artist William Hogarth, entitled A Rake’s Progress. These eight scenes, which traced the descent of Tom Rakewell from respectability to debauchery to madness, struck him immediately with their dramatic potential—and thus, the seed was planted for what became his neo-classical operatic triumph, The Rake’s Progress. What were these artworks that so sparked his imagination, and who created them?
Simon Dyer grew up as an athlete, but as fate would have it, an injury led him to join a chorus in an afterschool program. With a little encouragement and some nurturing, Simon went on to pursue a degree in Voice Performance from the Boston Conservatory at Berklee. As a student, Simon attended BLO’s performance of The Magic Flute...
Greek is not only a reworking of the famed Greek tragedy, but also an adaptation of a 1979 play by Steven Berkoff. By setting Sophocles’ work in contemporary London, Berkoff offered a pointed commentary on the state of Britain in the late 1970s. For his part, Turnage has stated that his political sensibilities, which paralleled Berkoff’s, informed his interest in adapting this work for the operatic stage.