This week, Osmo Vänskä leads the CSO in Orff’s Carmina burana featuring Joélle Harvey, Reginald Mobley, and Hugh Russell. Included in the program is Montgomery’s Banner and Rautavaara’s Cantus Arcticus, as well as Britten’s Young Person’s Guide to the Orchestra.
Alan Gilbert conducts two works by English composer Benjamin Britten in this program from 2013. The Serenade for Tenor, Horn, and Strings with Michael Slattery and Philip Myers as the soloists is followed by the Spring Symphony with soloists and chorus.
A lifelong pacifist, Britten used his music to advocate for peace. Baritone Benjamin Luxon, who created the title role of the composer’s pacifist opera Owen Wingrave, reflects on Britten’s legacy of music and pacifism.
“It has been said that a society can be judged by the way it treats its animals,” composer David T. Little says in the program notes for his chamber opera, Dog Days. Based on a short story by Judy Budnitz, the opera is set in a war-torn future that’s not too far away from our own time.
What makes a piece popular? How does a piece survive its first few performances? What makes something a warhorse, played over and over again, easily marketed from decade to decade? Who decides what’s good, anyway? Here are 18 underrated concertos – ones that don’t get played all that much, but maybe should be more widely known.
The opera house can be a scary place – and we’re not talking about all those crazy singers and their shenanigans backstage! Many operas contain ghastly ghouls, ghosts, goblins, witches, dragons, and all kinds of crazy creatures. Here are some of the most frightening pieces from the history of opera.