BSO — 2024/05/04

 The Symphony Hall subscription season ends with "Roméo et Juliette" by Hector Berlioz. Here's WCRB's synopsis:

Saturday, May 4, 2024
8:00pm

Encore broadcast on Monday, May 13

To close the 2023-2024 Boston Symphony season, Andris Nelsons leads one of Hector Berlioz’s most beloved works, Roméo et  Juliette. Berlioz described his the piece as a “symphony with choruses,” with the title characters represented both in the orchestra and through the vocal soloists. 

Andris Nelsons, conductor
J’Nai Bridges, mezzo-soprano
Nicholas Phan, tenor
John Relyea, bass-baritone
Tanglewood Festival Chorus

Hector BERLIOZ Roméo et Juliette

Apparently there is no interview with any of the artists, but that's probably not needed for this concert. We can visit the BSO performance detail page for more about the piece and links to performer bios and the program notes:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Andris Nelsons, conductor 
J’Nai Bridges, mezzo-soprano
Nicholas Phan, tenor
John Relyea, bass
Tanglewood Festival Chorus
 James Burton, conductor 

BERLIOZ Roméo et Juliette* 

*Sung in French with English supertitle

Friday afternoon's performance by J’Nai Bridges is supported by a gift in loving memory of Alan J. Dworsky.
This week's performances by the Tanglewood Festival Chorus are supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

The works of William Shakespeare deeply influenced composer Hector Berlioz. In fact, it was actress Harriet Smithson’s performances of two great Shakespearean heroines — Ophelia in Hamlet and of Juliet inRomeo and Juliet — that captivated the composer and led to their (ill-fated) marriage. As we close the season, Andris Nelsons leads one of Berlioz’s most successful and vibrant compositions, Roméo et Juliette. Berlioz called his Roméoet Juliette a “symphony with choruses,” highlighting the importance of the orchestra and of the work’s overall form. These performances celebrate the role of French repertoire in the BSO’s rich history; the complete symphony and movements from it were frequently programmed by Pierre Monteux, Serge Koussevitzky, Charles Munch, and Seiji Ozawa. 

The Friday Preview talk on May 3 will begin at 12:15pm. Admission included with ticket.

Thursday's performance will end around 9:10pm, Friday's performance will end around 3:10pm, and Saturday's performance will end around 9:40pm.

Unfortunately, they don't seem to have provided the text. I've found this link https://www.opera-arias.com/berlioz/romeo-et-juliette/libretto/english/ at "Berlioz Romeo et Juliette libretto."

The Intelligencer has a descriptive review with no complaints. The review in the Globe was also descriptive, with some minor quibbles.

I don't think I've ever heard the full piece, but the love scene is often played on the radio. Based on that and on my overall liking for Berlioz's music, I think you'll like this one a lot.

P.S. From now until the BSO begins its Tanglewood Season in July, WCRB will fill the Saturday evening time slot with encore broadcasts of some of the concerts from last summer. I may not post something about each one of them, but you can find a listing of what they will offer here: https://www.classicalwcrb.org/show/the-boston-symphony-orchestra  Enjoy!

BSO — 2024/04/27

 This evening's Boston Symphony concert could be challenging or fun, depending on which review you believe. Before we get to the reviews, here's what WCRB says:

Saturday, April 27, 2024
8:00pm

Encore broadcast on Monday, May 6

BSO Principal Trumpet Thomas Rolfs is the soloist in Detlev Glanert’s Trumpet Concerto, an eclectic, dramatic work commissioned for and premiered by Rolfs in 2019. The concert opens with a new work by one of the greatest living composers, Sofia Gubaidulina’s The Wrath of God, dedicated to Beethoven, and closes with Sergei Prokofiev’s Symphony No. 4, commissioned by longtime BSO Music Director Serge Koussevitzky for the orchestra’s 50th anniversary in 1931.

Andris Nelsons, conductor
Thomas Rolfs, trumpet

Sofia GUBAIDULINA The Wrath of God (American premiere)
Detlev GLANERT Trumpet Concerto
Sergei PROKOFIEV Symphony No. 4

In a preview of Detlev Glanert's Trumpet Concerto, the composer and the soloist, BSO Principal Trumpeter Thomas Rolfs, describe the very personal expressions of emotion, first inspired by Glanert's friend and mentor, composer Oliver Knussen, that are woven throughout the score and through Rolfs's performances. To hear the interview with CRB's Brian McCreath, use the player above, and read the transcript below.

TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Thomas Rolfs, principal trumpet of the Boston Symphony, and Detlev Glanert, the composer

Turning to the BSO's performance detail page, we read the following:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Andris Nelsons, conductor 
Thomas Rolfs, trumpet 

Sofia GUBAIDULINA The Wrath of God 
Detlev GLANERT Trumpet Concerto
Intermission
PROKOFIEV Symphony No. 4, Op. 47 (original version)

Thursday evening’s performance is supported by Hemenway & Barnes LLP.
Thursday evening's performance by Thomas Rolfs is supported by Dr. Kenan E. Sahin and Andrea TN Sahin.
Friday afternoon's concert is supported by the Gilbert Family

The program begins with the American premiere of Sofia Gubaidulina’s musically and spiritually forceful Wrath of God, a 2019 work dedicated to Beethoven that Andris Nelsons recorded with the Gewandhausorchester Leipzig. BSO principal trumpet Thomas Rolfs is the soloist in Detlev Glanert’s Trumpet Concerto, an eclectic, dramatic work commissioned for and premiered by Rolfs in 2019. The program concludes with Sergei Prokofiev’s Symphony No. 4, commissioned by longtime BSO music director Serge Koussevitzky for the orchestra’s 50th anniversary in 1931.

As always, there are links to the program notes for each of the pieces, and they could be well worth reading.

The Globe review is lukewarm and suggests that much of the evening's music could be challenging. The Intelligencer's reviewer finds no difficulty in an interesting and enjoyable evening. I guess the only thing to do is listen and decide for ourselves.

BSO — 2024/04/20

 This evening the BSO will give us a couple of pieces from the standard repertory along with one unfamiliar item to open. Here's the summary from WCRB:

Saturday, April 20, 2024
8:00pm

Encore broadcast on Monday, April 29

Hilary Hahn returns to Symphony Hall and the Boston Symphony as the soloist in the Violin Concerto by Johannes Brahms. The program, led by Andris Nelsons, also includes Mozart’s charming, lesser-known Symphony No. 33 and Anna Thorvaldsdottir’s orchestrally imaginative Archora, inspired by the primordial energy of her Icelandic homeland.

Andris Nelsons, conductor
Hilary Hahn, violin

Anna THORVALDSDOTTIR Archora 
Wolfgang Amadeus MOZART Symphony No. 33
Johannes BRAHMS Violin Concerto

To hear a preview of Brahms's Violin Concerto with Hilary Hahn, as well as her reflections of her #100daysofpractice Instagram series, use the player above and read the transcript below.

Hear more from Hilary Hahn, with Jeremy Siegel, on GBH's Morning Edition.

TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Hilary Hahn, who has returned to the Boston Symphony for the Violin 

The BSO performance detail page has the following overall description:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Andris Nelsons, conductor 
Hilary Hahn, violin 

Anna THORVALDSDOTTIR Archora
MOZART Symphony No. 33
Intermission
BRAHMS Violin Concerto

[…]

Opening the program is Wolfgang Mozart’s charming Symphony No. 33, followed by Anna Thorvaldsdottir's monumental work Archora, a recording of which was named among the best of 2023 by the Boston Globe, New York Times, and NPR. Closing the program, international star Hilary Hahn is soloist in one of the greatest works in the repertoire: Brahms’s Violin Concerto. Brahms composed this rich, lyrical work in 1878 for, and with the advice of, his friend Joseph Joachim, a towering virtuoso of the age. 

The program notes are all linked, and could be interesting previews.

The program wasn't part of my subscription, so I can't give you any personal impressions. The review in the Globe was favorable and gives an encouraging overview of the Thorvaldsdottir piece. The Intelligencer is also favorable, with a more detailed description of the Thorvaldsdottir.

All in all, this semms like a concert worth hearing.

BSO — 2024/04/13

 A single work makes up this evening's concert, as WCRB tells us:

Saturday, April 13, 2024
8:00pm

Encore broadcast on Monday, April 22

French composer Olivier Messiaen was famously synesthetic, “hearing” colors as harmony and seeing colors in sound. Turangalîla-symphonie summed up the composer’s passions for nature, birdsong, Catholicism, Eastern philosophy and music, and romantic love as embodied in the legend of Tristan and Isolde. Andris Nelsons conducts, Yuja Wang plays the work’s substantial piano part, and Cécile Lartigau performs the rarely heard ondes Martenot, an electronic instrument invented in 1925.

Andris Nelsons, conductor 
Yuja Wang, piano 
Cécile Lartigau, ondes Martenot 

Olivier MESSIAEN Turangalîla-symphonie

Here's the link to the BSO performance detail page,where you can follow the link to the program note. Messiaen's own description of the parts which is there may help. They summarize:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Andris Nelsons, conductor 
Yuja Wang, piano 
Cécile Lartigau, ondes Martenot

MESSIAEN Turangalîla-symphonie

French composer Olivier Messiaen was famously synesthetic, “hearing” colors as harmony and seeing colors in sound. The Turangalîla-symphonie summed up the composer’s passions for nature, birdsong, Catholicism, Eastern philosophy, music, and romantic love as embodied in the legend of Tristan and Isolde; in this concert, Andris Nelsons leads this work that the BSO premiered in 1949 under Leonard Bernstein’s baton. The brilliant Yuja Wang takes on the work’s hefty piano part and Cécile Lartigau performs on the ondes Martenot, an early electronic instrument. Turangalîla was commissioned by Serge Koussevitzky. 

There are favorable reviews in the Globe and in the Intelligencer.

I hadn't really expected to enjoy it yesterday, but I was pleasantly surprised. It is pretty cacophonous at times, but not terribly off-putting; and there are calm passages as well. So I recommend giving it a try. I'll be listening this evening and again on the 22nd if I'm free.

BSO — 2024/04/06

 Tonight the BSO gives a program I don't care much about, but you may find it interesting. Here's the scoop from WCRB's webpage:

Saturday, April 6, 2024
8:00pm

Encore broadcast on Monday, April 15

The first program in the BSO’s Music for the Senses festival centers on Alexander Scriabin’s Prometheus, Poem of Fire, in which the composer depicts the evolution of human consciousness. Also on the program are Anna Clyne’s Color Field, inspired in part by the vibrancy of the Mark Rothko 1961 painting Orange, Red, Yellow, Richard Wagner’s ecstatic Prelude and Liebestod from Tristan und Isolde, and Franz Liszt’s Prometheus.

Andris Nelsons, conductor
Yefim Bronfman, piano
Tanglewood Festival Chorus

Anna CLYNE Color Field
Richard WAGNER Prelude and Liebestod from Tristan and Isolde
Franz LISZT Prometheus
Alexander SCRIABIN Prometheus, Poem of Fire, for piano, color organ, chorus, and orchestra

To hear a preview of Scriabin's Prometheus, Poem of Fire with pianist Yefim Bronfman, use the player above, and read the transcript below.

TRANSCRIPT (lightly edited for clarity):

Brian McCreath I'm Brian McCreath at Sym

You'll note that apart from the opening piec, it's all pre WWI music.

As always, we get more from the BSO's performance detail page:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Andris Nelsons, conductor 
Yefim Bronfman, piano 
Anna Gawboy, lighting research
Justin Townsend, lighting designer
Tanglewood Festival Chorus
 James Burton, conductor

Anna CLYNE Color Field 
WAGNER Prelude and Liebestod from Tristan and Isolde
Intermission
LISZT Prometheus 
SCRIABIN Prometheus, Poem of Fire, for piano, color organ, chorus, and orchestra

This week's performances by the Tanglewood Festival Chorus are supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

A program of color: It opens with Anna Clyne’s Color Field, inspired in part by the vibrancy of a Mark Rothko painting. Followed by Richard Wagner’s ecstatic Prelude and Liebestod from Tristan and Isolde, and Franz Liszt’s Prometheus. The program closes with Alexander Scriabin’s Prometheus, Poem of Fire. When Alexander Scriabin wrote Prometheus, Poem of Fire, he conceived of a “light organ” that would project colors corresponding to his music. Prometheuspremiered in 1911 with future BSO Music Director Serge Koussevitzky, whose 150th birthday year we celebrate in 2024.

See the linked program notes for more information about each piece.

The review in the Intelligencer tells about what went on with the colors, but the reviewer was not very pleased with the perforance, especially the Wagner. The Globe was tepid.

I'll probably have a lie-down with the radio on while this plays, and loook forward to hearing the rebroadcast on April 15.

BSO — 2024/03/30

 Two debuts this week and the American premiere of a new symphony. Let WCRB give us the basics of this evening's concert:

Saturday, March 30, 2024
8:00pm

Encore broadcast on Monday, April 8

Venezuelan conductor Domingo Hindoyan makes his BSO debut leading the American premiere of the BSO co-commissioned Symphony No. 6 by Puerto Rican composer Roberto Sierra. Also making his BSO debut is Spanish cellist Pablo Ferrández in Edward Elgar’s regal and impassioned Cello Concerto, often interpreted as a profound reaction to the First World War. One of the repertoire’s greatest symphonies, Czech composer Antonín Dvořák’s darkly majestic Seventh, exudes his love for his native Bohemia as well as the influence of his mentor, Johannes Brahms.

Domingo Hindoyan, conductor
Pablo Ferrández, cello

Roberto SIERRA Symphony No. 6 (American premiere; BSO co-commission)
Edward ELGAR Cello Concerto
Antonín DVOŘÁK Symphony No. 7

Kendall Todd spoke with Domingo Hindoyan about his personal relationship with Roberto Sierra's music, what makes Dvořák's Seventh Symphony so special, and sharing a BSO debut with Pablo Ferrández. Follow along with the audio player above and the transcript below.

TRANSCRIPT:

Kendall Todd I'm Kendall Todd here at Symphony Hall with Domingo Hindoyan

For more information, includiong a link to the program notes, we turn to the BSO's own performance detail page:

 

Boston Symphony Orchestra

Symphony Hall, Boston, MA

         Domingo Hindoyan, conductor

         Pablo Ferrández, cello

Roberto SIERRA Sinfonía No. 6 (American premiere; co-commissioned by the Boston Symphony Orchestra, Andris Nelsons, Music Director, as part of the Koussevitzky150 initiative, with generous support from the New Works Fund established by the Massachusetts Cultural Council, a state agency, and Catherine and Paul Buttenwieser.) 
ELGAR Cello Concerto
Intermission
DVOŘÁK Symphony No. 7

Thursday evening’s concert is supported by Nancy and Richard Lubin.
Thursday evening's performance by Pablo Ferrández is supported by Mary Cornille, in loving memory of Jack Cogan.
Saturday evening’s concert is in memory of Stephen R. Weber, supported by Dr. Dorothy A. Weber.
Saturday evening's performance by Pablo Ferrández is supported by Jim Aisner, in memory of his wife, Virginia Simpson Aisner.

Venezuelan conductor Domingo Hindoyan makes his BSO debut leading the American premiere of Roberto Sierra’s Symphony No. 6, a BSO co-commission. Also making his BSO debut is Spanish cellist Pablo Ferrández in Edward Elgar’s regal and impassioned Cello Concerto, often interpreted as a profound reaction to the First World War. One of the repertoire’s greatest symphonies, Czech composer Antonín Dvořák’s darkly majestic Symphony No. 7 exudes his love for his native Bohemia as well as the influence of his mentor, Johannes Brahms.

From the program notes, it sounds as if the Sierrs symphony should be interesting and not too tough to take. The rest of the program is standard repertory, well liked by most listeners.

I find no review in the Globe, but there is a highly favorable one in the Intelligencer.

This should be a good evening at Symphony Hall and on WCRB. Enjoy.

BSO — 2024/03/23

 Now for something completely different. WCRB has the bare bones, but for a serious description you have to go to the BSO's performance detail page, where we are told:

Celebrating the Symphonic Legacy of Wayne Shorter

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Clark Rundell, conductor
esperanza spalding, vocalist and bass
Leo Genovese, piano
Terri Lyne Carrington, drums
Dayna Stephens, saxophone 

ALL-WAYNE SHORTER PROGRAM
Forbidden, Plan-It! 
Orbits 
Midnight in Carlotta’s Hair 
…(Iphigenia) Suite No. 1 
Causeways 
Gaia, for jazz quartet and orchestra

This tribute concert honors the life and legacy of the great jazz innovator, composer, bandleader, and saxophonist Wayne Shorter who passed away in March 2023. These performances feature five longtime Shorter collaborators in their BSO debuts, including the Grammy Award-winning bassist and vocalist esperanza spalding. spalding wrote the libretto for Shorter’s 2022 opera …(Iphigenia), which was premiered in Boston in 2021 and is based on the ancient Greek tragedy by Euripides. 

Thursday evening’s concert is supported by Tom Kuo and Alexandra DeLaite.

Saturday's performance of Gaia, for jazz quartet and orchestra is supported by John Lowell Thorndike, former BSO trustee, treasurer, vice president, and lifelong advocate for the performance of contemporary music.

There are very extensive biographical notes followed by briefer annotations about each piece in the program notes which are linked on the BSO page.

There is an enthusiastic review in the Globe and a favorable, althought drier, one in the Intelligencer.

This will all be new to me. Those of you who are jazz afficionados probably already know some of Wayne's work. It should make for an interesting evening for all on WCRB, which is simulcasting the concert with sister station WGBH where there is a presence of jazz.

Enjoy.

BSO — 2024/03/16

This week the BSO gives us three pieces for or about children and rounds the evening off with a lively and pleasantpice that's about 100 years old. Here's their description:

Saturday, March 16, 2024
8:00pm

Encore broadcast on Monday, March 25

Eminent English conductor Sir Mark Elder returns to Symphony Hall for the first time since 2011 to lead a program exploring whimsy, fantasy, and folklore. He leads the American premiere of Elena Langer’s The Dong with  the Luminous Nose, a setting of Edward Lear’s delightful “nonsense poem,” written for the BSO and the London Philharmonic Orchestra. The performance features BSO Principal Cellist Blaise Déjardin as soloist along with the Tanglewood Festival Chorus. Maurice Ravel’s Mother Goose began as a suite of children’s piano pieces, each illustrating an iconic fairytale, while Antonín Dvořák’s The Noonday Witch is based on a much darker Czech folktale. Czech composer Leoš Janáček’s energetically masterful Sinfonietta closes the program.

Sir Mark Elder, conductor 
Blaise Déjardin, cello 
Tanglewood Festival Chorus

Maurice RAVEL Mother Goose 
Elena LANGER The Dong with a Luminous Nose, for cello, chorus, and orchestra (American premiere; BSO co-commission)
Antonín DVOŘÁK The Noonday Witch
Leoš JANÁČEK Sinfonietta

Read Edward Lear's "The Dong with a Luminous Nose" at Poetry Foundation. [Emphasis added.]

For a preview of the program with Sir Mark Elder, use the player above, and read the transcript below:

TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Sir Mark Elder, and you are back with the Boston Symphony 

I recommend going to the BSO performance detail page and finding the link to the program notes, especially for the Langer and Dvořák pieces. Here's their overview of the show:

Sir Mark Elder, conductor 
Blaise Déjardin, cello 
Tanglewood Festival Chorus 
 James Burton, conductor 

RAVEL Mother Goose (complete) 
Elena LANGER The Dong with a Luminous Nose, for cello, chorus, and orchestra (American premiere; BSO co-commission) Commissioned by the Boston Symphony Orchestra, Andris Nelsons, Music Director, through the generous support of the Arthur P. Contas Commissioning Fund.
Intermission
DVOŘÁK The Noonday Witch 
JANÁČEK Sinfonietta

[…]

Eminent English conductor Sir Mark Elder returns to Symphony Hall for the first time since 2011 to lead a program full of whimsy, fantasy, and folklore. Opening the program, Maurice Ravel’s Mother Goose ballet score began as a suite of children’s piano pieces, each movement illustrating an iconic tale. Next is the American premiere of Elena Langer’s The Dong with a Luminous Nose, a setting of Edward Lear’s delightful “nonsense poem” written for the BSO and the London Philharmonic Orchestra, which gave the first performance in March 2023 featuring BSO principal cello Blaise Déjardin as soloist with the Tanglewood Festival Chorus. Antonín Dvořák’s The Noonday Witch is based on a much darker Czech folktale. Czech composer Leoš Janáček’s energetic, masterful Sinfonietta closes the concert.

The brief review in the Intelligencer is more descriptive than evaluative and contains a good description of the Langer piece. The Globe doesn't seem to have reviewed it yet.

I was there on Friday afternoon. I found the Ravel dull for the most part, but most people seem to like it. The Langer was amusing in the way the music, raucous at times and more gentle at times supported the taxt. The cellist did very well with his solos. After intermission, the Dvořák was interesting. Again, I recommend using the BSO's prograsm notes to get an idea of the action which the music represents. The Janáček is lively and fun, IMO.

All in all, it isn't must listen music, but I don't regret spending the time listening to it, and I'm looking forward to hearing it again this evening and on the 25th. Enjoy.

BSO — 2024/03/09

 This evening the BSO presents Grieg's music for Peer Gynt with actors performing scenes of the play, as WCRB informs us:

Saturday, March 9, 2024
8:00pm

Encore broadcast on Monday, March 18

In the second BSO concert of the Music of the Midnight Sun Festival, Dima Slobodeniouk leads a performance of Peer Gynt by Norwegian playwright Henrik Ibsen and composer Edvard Grieg, reimagined by playwright and director Bill Barclay. This fantastical epic tale follows Peer from his home village through the Hall of the Mountain King to Northern Africa and back. 

Dima Slobodeniouk, conductor 
Georgia Jarman, soprano
Actors from Concert Theatre Works 
Tanglewood Festival Chorus

Edvard GRIEG Peer Gynt

For notes and a synopsis, visit the BSO.

Hear producer, writer, and director Bill Barclay describe the unique challenges of adapting Peer Gynt in an interview with Jared Bowen on GBH's The Culture Show.

To hear a preview of Peer Gynt with conductor Dima Slobodeniouk, use the player above, and read the transcript below.

Brian McCreath I'm Brian McCreath at Symphony Hall with Dima Slobodeniouk, who's back in Boston for a presentation really, of Peer Gynt. I don't want to say performance. It's really a presentation, this theatrical adaptation

You can also read about it at the BSO's performance detail page:

Boston Symphony Orchestra

Symphony Hall, Boston, MA 

Dima Slobodeniouk, conductor 
Georgia Jarman, soprano 
Actors from Concert Theatre Works
Caleb Mayo (Peer Gynt) 
Bobbie Steinbach (Åse) 
Robert Walsh (Button Moulder / Father of the Groom) 
Will Lyman (Voice of The Boyg) 
Risher Reddick (The Mountain King / Mads Moen / Herr Trumpetterstrale / Hussein) 
Caroline Lawton (Woman in Green / Aslak’s Wife / Herr von Eberkopf) 
Daniel Berger-Jones (Aslak / Mr. Cotton / Begriffenfeldt) 
Kortney Adams (Ingrid / Monsieur Ballon / Anitra) 
Vidar Skrede (Hardanger fiddler) 
Tanglewood Festival Chorus 
 James Burton, conductor 

GRIEG Peer Gynt 
written and directed by Bill Barclay adapted from the play by Henrik Ibsen

Please note that there is no intermission in these concerts.

This week's performances by the Tanglewood Festival Chorus are supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

In the second of the Music of the Midnight Sun concerts, Finland-based Russian conductor Dima Slobodeniouk leads a staged performance of Peer Gynt, by Norwegian playwright Henrik Ibsen and composer Edvard Grieg. This fantastical, epic tale, theatrically reimagined by director-playwright Bill Barclay, follows Peer on his adventures from his home village through the Hall of the Mountain King, to Northern Africa, and back. 

Music of the Midnight Sun is supported, in part by the American Scandinavian Foundation.

Fun fact: Caleb Mayo, who plays Peer Gynt is from my home town.

I saw a performance when the show was first given, and he did very well. The show was enjoyable to watch. I'm not sure how well it will translate to radio, but having the dialogue to flesh out the music should add something to our understanding of what the music's all about.

The review in the Globe is long on description, but favorable to the performance and performers. The Intelligencer doesn't have a review of this perfomance, but the review from 2017 gives a very good description on the action that takes place (as well as "Egmont" which is not being given this time).

All in all, I recommend giving it a hearing this evening and/or on March 18.