%20(1).png)
"[A] strong-minded, entertainingly modernised adaptation of Ancient Greek theatre...The farcical twists that have the Athenian and Spartan women taking over the Acropolis has the high-traffic breeziness of Verdi's Falstaff though in urbane, versified Sondheim-esque words... [The] Overture is gleefully splintered with short motifs darting in and out... [and] sets the tone for what might be called a confetti score - lots of small, colourful motifs... all effective points of reference in the fast-moving plot... It all flows under conductor Gil Rose, whose Odyssey Opera and Boston Modern Orchestra Project forces reflect his keen musical comprehension and technical abilities. He's the saint of modern American opera... [The cast] are all singers onewould want to hear in the future... After the first hearing, one need not even follow the printed libretto, so easily does the opera reveal its charms."
American composer-librettist Mark Adamo’s latest opera, Becoming Santa Claus, was released on DVD/Blu-Ray in September 2017; it was commissioned and introduced by Dallas Opera in December 2015. The DVD release follows a new production in Boulder, Colorado, which Adamo directed, of a chamber version of The Gospel of Mary Magdalene, his third full-length opera, which was commissioned and introduced by San Francisco Opera in June 2013 and which itself followed a busy season of opera and chamber premières.
The singing and playing is nonpareil, and the sound quality can’t be beat.
Matthew Aubin and Mark Seto conduct a special, one-night-only performance of contemporary American works.
A three-part chamber music piece for baritone and string quartet based on Billy Collins' original poem. Premiered by Thomas Hampson and the Jupiter Quartet.
Last Year's four-movement narrative speaks to anxieties surrounding the ever-increasing threats of climate change, while also paying homage to Vivaldi's Four Seasons. Co-commissioned by American Composers Orchestra, New Century Chamber Orchestra, Manitoba Chamber Orchestra, and ROCO.
The enterprising recording company Pentatone, which is firmly committed to new American music, commissioned from me this setting of Wendy Cope’s lovely poem for chorus and chamber orchestra; San Francisco’s chamber choir Volti sang the premiere, which was released on disk that winter.
