LIVESTREAM: Handel opera at Boston Baroque
What do performing arts orgs do with their digital catalog from 2020 to now?
This weekend, Boston Baroque’s 52nd season ended with its spring opera and final performances of its founder, a titan in the music world, Martin Pearlman.
Since the 2021 Season, I’ve been honored to be in the live stream director’s chair at GBH Studios in Massachusetts, with their sublime artisans of camera and technical work.
Watch Handel's Ariodante on demand here through May 25
From Boston Baroque: “Set in medieval Scotland, Ariodante is a tale of love tested by deception. Prince Ariodante and Princess Ginevra’s happiness is torn apart by the jealous Duke Polinesso, who schemes to destroy their union with lies and manipulation. The drama unfolds through some of Handel’s most exquisite music, from deeply expressive arias of despair to triumphant moments of justice and reunion.
This production marks the culmination of Martin Pearlman’s extraordinary career leading Boston Baroque. For over five decades, he has shaped the ensemble’s artistic vision, championed historically informed performance, and brought Baroque opera to life with unparalleled depth and nuance. His final performance as Music Director is a celebration of that legacy—a fitting farewell wrapped in the grandeur of Handel’s music.”
Watch Handel's Ariodante on demand here through May 25
From The Boston Music Intelligencer, Michael Goetjen remarked the vocalists “dazzled us with both vocal pyrotechnics and heart-wrenching emotive singing.”
A.Z. Madonna from The Boston Globe stated in his review: “This “Ariodante” is an achievement to take pride in as Pearlman departs, and hopefully one to build on in the future. Jordan Hall is undeniably a better acoustic environment, but Calderwood offers the cast and crew the chance to get comfortable in the rehearsal space without needing to pack in and out so quickly. In the meantime, consider me convinced that future operas at Calderwood might not actually be the worst idea.”
Many performing arts organizations have returned to in-person performances, and have also diminished their support for digital programming. Logically, most of the digital support was a replacement for the in-person work, so that does make sense. It does lead me to ask several questions for arts administrators and how they’ve operated since:
Where does the pivot diminishing digital content leave those who embraced the accessibility of these options?
What have arts organizations leveraged their catalogs of content?
Have unions collaborated with companies to support digital endeavors?
What was the intention for the digital content during lockdown?
It’s taken me a few years of experiencing the connundrums facing arts organizations regarding this acclimation to provide both digital infrastructure and in-person/stage events. The answers to these questions require direct conversations with each company about their mission and vision for their business model. They also require clear technological investment and clarity on execution. That’s an investment that takes a while for a return and the return may not always be a direct financial gain.
I’ll continue with these musings as I parse out my own clearer understanding of the needs, as well as how organizations have been able to thrive in these areas.
Watch Handel's Ariodante on demand here through May 25
Featuring
Martin Pearlman, Conductor
Megan Moore, Ariodante
Amanda Forsythe, Ginevra
Ann McMahon Quintero, Polinesso
Richard Pittsinger, Lurcanio
Robin Johannsen, Dalinda
Brandon Cedel, King of Scotland
Jason Mcstoots, Odoardo
Creative Team
Eve Summer, Stage Director
Neil Fortin, Costume Designer
Camilla Tassi, Projection Designer
Kyle Stamm, Lighting Designer
Rachel Padula-Shufelt, Wig and Hair Designer
Matthew Principe, Livestream Director
Amanda O'Donnell, Fight Choreographer
Filmed at GBH Calderwood Studio, Boston