Reviews
CONCERT
Handel’s Messiah
Boston Globe
"An intimate, graceful Messiah."
"A large crowd turned out for the second of two annual performances by Boston Baroque.... The orchestral playing had an intimate quality, graceful on its feet, transparent in its textures, and trim in its proportions.... Pearlman [foregrounded] the superbly blended sound of his chorus and [support of] his four vocal soloists. He did both to fine effect."
CONCERT
Mozart’s Così fan tutte
OperaOnline.US
"This production...was executed with perfection...a
delight from start to finish, and a success by any
standard...That's what you get when you cast
enormously talented and young performers, with strong,
evocative voices, and the physical presence to draw
out a little lust and larceny from the most
dignified...I went to this production a skeptic. I've
seen this opera before and have never been terribly
impressed...Friday evening, however, I was not only
impressed, but drawn into the fun...As usual the
orchestra, under the music direction of Martin
Pearlman, rendered an even and deftly suportive
orchestral acocmpaniment...the chorus was as
captivating and talented as the cast...Once again,
Boston Baroque has taken something that in the wrong
hands could be stale and worn and delivered a very
lively newborn, in the form of a "Cosi fan Tutte" that
was very much a raucous delight, a little naughty and
an entirely enjoyable experience for its captivated
audience. Well done!"
recording
Cherubini, Requiem in C minor
Boston Globe
“This long-neglected masterpiece is a broad and noble work that was written more than two decades after Mozart’s Requiem but stands proudly in its company…Pearlman believes strongly in this work, and his interpretation does not skimp on expression but…stays true to the music’s sense of balanced, classical proportions. The chorus sounds marvelous, singing with a dark mahogany tone, and the period instrument orchestra plays with vibrancy and precision.”
Opera News
“A performance of great delicacy and textual immediacy…Boston Baroque’s twenty-three-voice-chorus is finely showcased, and conductor Martin Pearlman brings refinement and a careful sense of balance to the performance…Berlioz and others have commented on the extraordinarily powerful Agnus Dei, and Pearlman’s attention to dynamics reveals the movement’s stunning architecture…”
Deseret Morning News (Salt Lake City)
“Martin Pearlman and his Boston Baroque have released some wonderful CDs over the years. As the foremost period-instruments ensemble in the United States and one of the premier groups in the world, Boston Baroque is in the forefront when it comes to performing 18th and 19th century music. Free from academic intellectualism and pedantic musings, Pearlman brings a refreshing vitality to his readings. The music is vibrant and alive and just plain fun to listen to.
This is certainly the case with their recording of Cherubini’s seldom heard Requiem…it’s wonderful music…Boston Baroque’s performance is sincere and heartfelt. It brings out the best in the music and captures all the drama in lyrically phrased playing that is both expressive and eloquent.”
Early Music America
“Pearlman carefully guides his musicians and singers through all of the colors and dynamic nuances of the score…Listeners will find no better introduction to…this amazing choral interpretation of the Mass for the Dead…Cherubini’s March funèbre of 1820, with its dramatic use of percussion, rounds out this superb recording.”
Audiophile Audition
“Performed with…delicacy and conviction…Pearlman gets world-class performances from his choristers.”
CONCERT
Boston Baroque's Beethoven
May 4 and 5 in Jordan Hall
Boston Globe
"A fiery, exciting performance. [The] period instruments revealed subtle harmonies and echoes that disappear [in] modern orchestras...At times...the Fifth Symphony sounded new again."
CONCERT
Vivaldi, Juditha Triumphans
March 30 and 31 in Jordan Hall
Boston Globe
"Martin Pearlman has a nose for sniffing out music that flies a bit below the radar screen...performed rarely enough to perk up the ears. Last year was Cherubini's noble yet neglected C minor Requiem...this season it is Vivaldi's only surviving oratorio, "Juditha Triumphans," which the group performed vibrantly...It is a lovely work. The muisc is consistently imaginative--and occasionally breathtaking--in its use of orchestral color."
CONCERT
Mozart, Don Giovanni
October 13 and 14 in Jordan Hall
Boston Globe
"Boston Baroque uncorked its new season last night with a semi-staged production of Mozart's Don Giovanni in Jordan Hall...[T]his Giovanni was an enjoyable, well-sung evening that showed how monumental appetites can be given satisfying expression in a small, chamber-sized space...Boston Baroque [gave] the opera's first American performance on period instruments. That the performance took place as recently as 1986 makes one realize just how quickly and dramatically the early music movement as a whole has flourished over the last two decades. This ensemble's standards last night were certainly high, with the orchestra, under Pearlman's baton, giving Mozart's timeless score a crisp and vigorous reading...Pearlman and the orchestra made the music sound fresh and full of duly Giovannian brio."
Boston Herald
"In the hands of Boston Baroque's Martin Pearlman last night at Jordan Hall, performing the original Don with his excellent orchestra and a set of estimable soloists, this opera seemed...if not modern, then most certainly alive.
Stage direction by Sam Helfrich was excellent. Nathan Berg, as Don Giovanni, did the major work with aplomb, as well as his servant Leporello, Mark Schnaible. Its rare to hear both leads in the lower voices, but they served well.
Amy Burton (Donna Elvira) and Heidi Stober (Zerlina) both sang with distinction. Burton especially has a voice that has to be watched out for: forceful, emphatic, and full of life. It was a pleasure to hear her performance.
Pearlman as always makes an orchestra understand the demands of a great opera and he did here. This is no easy score, but Pearlman made it seem easy to understand....And Pearlman was a magician with the baton."
Patriot Ledger
"'Don Giovanni' will be heard many times in many styles during this 250th anniversary year of Mozart's birth but rarely with such insight and finesse as Martin Pearlman and his superb period-instrument orchestra achieved."
OperaOnline.us
"Boston Baroque opened its 2006-07 season Friday evening with a powerful, semi-staged production of Mozart's 1787 "Don Giovanni"... [T]he packed audience at Jordan Hall last night saw as near perfect a show as one is likely to see anywhere...
Boston Baroque...gave a solid rendition that was at times truly moving, as in the canzonetta, and at other times punctuated with dramatic bombast, as in Giovanni's final reckoning in the last scene. Moments such as this are what we go to opera for, and Boston Baroque packed its bag full of such treats for this show.
What made this performance even more enjoyable was that the music, delivered with sensitivity under the guidance of Maestro Pearlman, is truly enjoyable, the libretto by Lorenzo Du Ponte is believable and crisp, the stage direction by Sam Helfrich was economical and real, and performances from an outstanding ensemble cast that were uniformly superb throughout.
As with all good performances of "Don Giovanni", it is almost impossible to separate the Don, sung here by Nathan Berg from his reluctant sidekick, Leporello, sung by Mark Schnaible. Their performances were flawless, their acting and movements on stage precise and realistic, and their voices agile and strong throughout. Coupled with smart stage direction, it was hard not to get drawn into their conniving plots for conquest. Brilliant!
Gustav Andreassen, singing the part of the Commendatore, was hypnotic, especially in the final scenes where he returned from the dead to claim the Don for the devil. He had wonderful stage presence, and when his deep, clear bass voice beckoned the Don to join him for dinner the house fell into a deep hypnotic trance. Mesmerizing!
On the female side, there were uniformly solid performances... each delivered strong, believable performances in their respective roles, and each added just the right mixture beauty and strength to vocal performances that at times soared. Wonderful!
Boston Baroque's "Don Giovanni" was about as close as one can get to operatic perfection, and for the most part it reached that standard with great ease to the delight of an audience that was enthusiastically grateful and pleased with what it saw and heard.
Kudos, Mr. Pearlman."
CONCERT
Cherubini, Requiem in C minor
Beethoven, Eroica Symphony
May 5 and 6 in Jordan Hall
Boston Globe
“BOSTON BAROQUE GIVES A FORGOTTEN ROYAL REQUIEM NEW LIFE...Pearlman has kept Boston Baroque in the forefront of the historically-informed, early-instrument field not only by its standard of performance but by keeping ahead of the curve in programming. The Requiem is a darkly colored and emotionally powerful piece, somewhat unusually scored for chorus and orchestra without soloists. The writing for chorus is skillful and the orchestration is full of imaginative touches of color...[The orchestra displayed] some fine playing, and the chorus was splendid...This was an important rediscovery...The program ended with a spirited, even swaggering performance of Beethoven’s Eroica Symphony...The early instruments and Pearlman’s disposition of them onstage created many fresh and compelling sonorities and balances and revealed much detail in the inner life of a work that is full of it.” — Richard Dyer
Recording
Bach’s Magnificat and Vivaldi’s Gloria
Cleveland Plain Dealer
“The joyous music surges with energy. The brilliant players and the exuberant chamber chorus achieve near-perfect balance. Tempos are brisk, rhythms swingy, phrases crisply articulated, dynamics expressive...spirited interpretations.”
The Observer (London)
“This seraphic ensemble lavishes its celestial charms on Vivaldi’s wonderful Gloria...Rarely are performers and repertoire so perfectly matched; fine soloists and a large, vivacious orchestra bring out all the vivid charms of both works, icons of the choral repertoire.”
Copley News Service
“Only adds to the high reputation Boston Baroque enjoys as probably the best orchestra playing period instruments in the land.”
American Record Guide
“This release may be the find of the year.”
CONCERT
Purcell, The Fairy Queen
March 4 & 5 in Jordan Hall
Boston Globe
“A crowning achievement...Boston Baroque’s delightful performance...brought a full palette of pleasures.”
OperaOnline.us
“A fine example of the style, instruments and rhythm of a music period which has become the eminent domain and Trust of Boston Baroque and its fine conductor, Martin Pearlman...With a wonderfully resonant chorus (its rendition of ’Hush, no more’ was absolutely riveting), solid narration by former U.S. Poet Laureate Robert Pinsky, and delightful performances from five very talented singers, [the performance] easily captivated a full house and seduced its audience into entering a world of fairy queens and magical impossibilities—and it did so with great success.”
CONCERT
Handel’s Agrippina
October 21 and 22 in Jordan Hall
Boston Globe
“Boston Baroque’s semi-staged account of
Handel’s ’Agrippina’...was not just the best production in a week
crowded with opera, it was the finest local operatic performance in
several seasons...Guest director Sam Helfrich...is a smart, musical,
and theatrically savvy guy. He drew terrific performances and real
shadings of character out of his cast, while earning cascades of
laughter from the audience...The singing was mostly first-rate, even in
the small parts...Ravishing tone came from mezzo Margaret Lattimore,
who sang with a large, deep, and opulent sound. As Claudius, bass Kevin
Deas sang flexibly and resonantly...Soprano Sari Gruber’s coloratura
was as clean and bright as a whistle, and [she was] fun to
watch...Twyla Robinson, in the title role, offered vibrant, thrusting
tone...Michael Maniaci, as Nero, [sang] with a strikingly pure,
powerful, and beautiful voice...He can purl a long and eloquent line
and click off coloratura with virtuoso aplomb...Martin Pearlman
conducted with real vigor, style, and purpose; the Boston Baroque
orchestra and its continuo section played with uncommon vitality and
attention to detail...This production may have had no set and no real
costumes, but it had all the qualities that matter more.” —Richard Dyer
The Patriot Ledger
“An exhilarating semistaged performance by
Boston Baroque...With witty staging, brilliant singing and Pearlman’s
masterly leadership, this production proved that baroque opera can be
as vital and entertaining as any musical theater...Once again Boston
Baroque’s period-instrument specialists showed themselves to be among
the world’s finest with their precision and flexibility, including the
sinewy underpinning by the continuo players...’Agrippina’ is fairly
lengthy but didn’t seem so with Pearlman’s brisk pacing and instinct
for the right rhythmic pulse and expressive effect...With her vocal and
acting gifts, Twyla Robinson seems headed for an important
career...Making a spectacular debut, male soprano Michael Maniaci
[displayed] a voice of unusual clarity, size, scope and
beauty...Margaret Lattimore poured out seamless, velvety sound...with
gorgeous tone and affecting emotion...Soprano Sari Gruber vivaciously
flitted and trilled through a succession of would-be lovers and flighty
arias. With his resonant bass and spirited acting, Kevin Deas gave
Claudius a human face. Sumner Thompson, Eudora Brown, and Aaron
Engebreth made strong contributions in supporting roles.” —Peter M.
Knapp
CONCERT
Gluck’s Alceste
January 28 and 30, 2005 at Cutler Majestic Theatre
Boston Globe
“The joint production of Gluck’s Alceste by Opera
Boston and Boston Baroque moves this grave and beautiful opera out from under
the shadow of its historical importance...and reveals it as thrilling musical theater...The
16 singers from Boston Baroque’s chorus cover themselves with glory with clear,
focused singing; vivid acting; purposeful gesture; and even a bit of line
dancing...The playing is beautiful and stylish, and Pearlman leads with a fire
in his belly.”
Boston Herald
“With an outstanding cast under conductor Martin
Pearlman, a vivid musical experience was guaranteed. Gluck’s miraculously pure,
powerful score [was] rendered by Pearlman and company with Boston Baroque’s
trademark energized elegance.”
Bay Windows
“The Boston Baroque orchestra played
beautifully...the superb playing of all the sections was readily appreciated.
Martin Pearlman was in excellent form. With a fine recording of Gluck’s
‘Iphigénie en Tauride’ under his belt, he attacked the score to
‘Alceste’ with assurance and fervor, providing razor-sharp entrances
and cut-offs...The Boston Baroque chorus deserves special praise...”
Handel’s Messiah
December 17 and 18, 2004 at Jordan Hall
Boston Globe
“Pearlman really knows what he wants
to hear and how to get it, and that’s a lithe, fleet, transparent, ebullient,
dancing performance...Chorus and orchestra were fluent, accomplished, and
tireless over the long haul, which passed in a moment, the twinkling of an
eye.”
Recording
Bach, Orchestral Suites
Gramophone
“A fine new version of the Bach suites
and I warmly recommend it...Boston Baroque’s virtuosity and elan leaves little
to be desired...And how good to be welcoming a US-based period instrument
ensemble into a fold traditionally occupied by European ensembles.”
Amazon.com
“Rousing readings...goes right to the
top of the list of recommended performances...The recording is as fine as the
performances, which is to say, remarkable.”
Recording
Mozart, “Jupiter” Symphony & Flute Concerti
Amazon.com
“Jacques Zoon offers up both virtuosity
and charm...His tone is bright, his fast passage work impeccable, his legato
song-like...The Boston Baroque shine...This is a superbly balanced reading of
the glorious Jupiter syjmphony...The second movement unfolds with elegance and
the Menuetto swings...The famous finale is spotlessly played and
articulated...This recording is a wonderful hour-and-17 minutes of music.”
CONCERT
Monteverdi’s Vespers of 1610
May 7 and 8, 2004 at Jordan Hall
Boston Globe
“The Vespers displays a dazzling range of
sonorities, moods, methods, and forms....Over the years Boston
Baroque’s Martin Pearlman has become an expert [in this music]. Boston
Baroque has recorded his version and is preparing to take it to Los
Angeles, Chicago, and Tanglewood...The choral singing by a team of
all-stars was of a high standard, and so was the orchestral
playing...The greatest gifts Pearlman has to bring to Monteverdi are
insight and affection. The music made the spirit soar, as it was meant
to.”
Chicago Tribune
“An exultant reading by Martin
Pearlman...opulent...His chorus was a wonder, their singing combining an ethereal
purity of tone with expressive fervor.”
CONCERT
Handel’s Messiah
December 12 and 13, 2003 at Jordan Hall
Boston Globe
“Depth and refinement...vivid and
compelling...This was a Messiah about which one could sing Hallelujah.”
CONCERT
Handel’s Alcina
October 17 and 18, 2003 at Jordan Hall
Boston Globe
“Pearlman conducted with taste, style,
energy, and the Boston Baroque orchestra sounded splendid... The
performance was lively, well-played and well-sung, and it’s hard to
imagine how any three-hour stretch of music could be more varied and
more spellbinding.
These arias demand supersingers, and Pearlman assembled several...Margaret Lattimore sang with luscious tone and dashing coloratura...Amanda Forsythe was captivating...Stephen Salters is a major talent...Lauren Skuce [is] a vivacious stage personality with a creamy soprano...propelled by technique and imagination...Twyla Robinson has a fantastic voice, large and vibrant, and a fearless attack.”
Boston Herald
“Boston Baroque transformed Jordan Hall
into an opera house on Friday...and with a superb orchestra, chorus and
cast under the ever-dynamic leadership of Martin Pearlman...the
transformation was pure magic.
One of the world’s most promising young artists, soprano Twyla Robinson, in her Boston debut...made an enormously sympathetic Alcina. Her bright, silvery voice...draws you right to her...”
CONCERT
Beethoven’s Symphonies No. 1 & 2
February 27 and March 1, 2003 at Jordan Hall
Boston Globe
“An exhilarating program.... Performances that were
remarkable for their transparency, agility, and drama.... The
performances of both the Beethoven symphonies were revelatory...
Pearlman captured the vigor, the contrapuntal density, and Beethoven’s
ingenious exploitation of conventional forms.”
CONCERT
Monteverdi’s The
Return of Ulysses
October 25 and 26, 2002 at Jordan Hall
Opera News
“Boston Baroque [gave a] gripping, deeply moving
performance.... Pearlman [is] an inspired interpreter of
Monteverdi’s music.... Pearlman assembled a cast fully worthy of Boston
Baroque’s noble Monteverdi tradition.”
Boston Globe
“With the belated Boston premiere of Monteverdi’s The
Return of Ulysses.... Martin Pearlman and Boston Baroque completed
their triumphant turn around the cycle of the composer’s three
surviving operas... Pearlman’s [performing version] was informed,
tasteful and effective and so was the playing...”
Boston Herald
“The Jordan Hall stage was filled with a superb
group of musical artists...Two musicians in particular catapulted the
performance from the superior to the sublime: mezzo Phyllis
Pancella...and Music Director Martin Pearlman, who conducted his own,
brand-new edition of this nearly lost masterpiece.”
Boston Phoenix
“What an extraordinary act of scholarship and
imagination Boston Baroque’s Martin Pearlman has
achieved.... Pearlman[’s]...rhythmical vigor and dramatic contrasts of
timbre and tempo...made for a riveting three hours.”
CONCERT
Monteverdi’s L’Orfeo
October 26 and 27, 2001 at Jordan Hall
Boston Herald
“Pearlman and company — his ever-lovely
orchestra, expert chorus and a team of golden-throated soloists —
delivered the story exactly the way the composer surely intended,
through a gentle performance of exceptional beauty and poise.”