BLO’s 40th Anniversary Season has been an incredible journey of music, drama, and joy across our great city. Take a look back through just some of the high notes with us. None of these efforts would happen without the support and commitment of our Subscribers, donors, ticket buyers, and wider community members. We are honored to be part of the cultural life of our city and dedicated to the vibrancy of opera in the 21st century.
BLO invites high school and college students to attend the final dress rehearsals of its productions. Often this is students’ first experience with opera. Student study materials are provided. In exchange for passes, BLO requests student responses about the production.
During the performance did your ears happen to perk up at the sound of something familiar? Our fortepiano player Brett Hodgdon has taken the lighthearted, jovial, spirit of The Marriage of Figaro and found spaces within the opera, to weave in some well placed Easter eggs.
Last Season Cucchi’s direction of Puccini’s La Boheme for Boston Lyric Opera proved so successful that the Company invited her back to produce Mozart’s Le Nozze di Figaro this year. During a pause in preparations last week, Cucchi sat down in the break room in the rehearsal space in the Boston Center for the Arts to talk
Reuniting Rosetta Cucchi, stage director, and John Conklin, BLO Artistic Advisor and scenic designer—the dramaturgical minds behind our 2015/16 Season La Bohème—this upcoming production of Mozart’s classic sets the action in an imaginary Italian villa in the 1950s, a world of luxury and cinematic style.
When Mozart and his new librettist, Lorenzo Da Ponte, put together their Italian version of Pierre Beaumarchais’ 1778 play, The Marriage of Figaro, revolution was in the air.
Of the Beaumarchais Figaro trilogy of plays, The Barber of Seville and The Marriage of Figaro live on both in their own right and through the operas that mark cornerstones of the repertory, while the third play, The Guilty Mother, has provided the foundation for a fascinating, challenging 20th-century work.
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.
The inspired suggestion of Auden as librettist came from Stravinsky’s neighbor, Aldous Huxley. Auden had been an opera lover for years, a passion he shared with his devoted-yet-fickle lover Chester Kallman, whom Auden brought on as co-librettist.