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  • December 11, 2014

    Messiah – Program Notes by Martin Pearlman

    PROGRAM NOTES By Martin Pearlman, Music Director Handel’s Messiah One of the special challenges in performing Messiah year after year is to keep the work sounding fresh, as if one had just discovered it. When Boston Baroque gave the first Boston period-instrument performances of the complete oratorio in 1981, the work was still normally heard […]

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  • November 5, 2014

    Monteverdi’s Vespers of 1610 – Program Notes

    Program notes by Martin Pearlman Even today, in an age which has heard Bach’s Mass in B minor, Beethoven’s Missa Solemnis, and the requiems of Berlioz and Verdi, the Monteverdi Vespers of 1610 is astonishing for the grandeur of its conception and the opulence of its sound. For its time, it was unprecedented. No other surviving […]

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  • May 5, 2014

    Reviews are in for Boston Baroque’s Ulisse

    The reviews are in and critics are raving about Boston Baroque’s last performance of the season, and Martin Pearlman’s new version of: Claudio Monteverdi’s  Il ritorno d’Ulisse in patria Click on each link to read the entire review: “The singing throughout was excellent…” – The Boston Globe   “There are few orchestras that could have rendered […]

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  • April 22, 2014

    Il ritorno d’Ulisse in patria – Program Notes

    By Martin Pearlman

    Program notes by Martin Pearlman Tonight’s opera is one of only three by Monteverdi that have come down to us. L’Orfeo from 1607, his very first, is generally acknowledged to be the first great opera in the repertoire. Then, after a gap of 33 years, during which Monteverdi wrote many operas that are tragically now […]

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  • February 17, 2014

    Boston Baroque serves up a French valentine – The Boston Globe

    by Jeffrey Gantz The main event of Boston Baroque’s Valentine’s Day concert Friday at Jordan Hall was an inspired choice: Jean-Philippe Rameau’s 1751 acte de ballet about shepherds in love, “La guirlande.” The opener, Marc-Antoine Charpentier’s festive Te Deum, was a less obvious salute to the holiday, but Martin Pearlman and the Boston Baroque chorus […]

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