“Having established a tradition of uncovering worthwhile rarities of the operatic repertoire, Boston’s OdysseyOpera felt strongly enough about Pacini’s three-act, 1843 ‘Maria, Regina d’Inghilterra’ to include the work in its current season devoted to England’s historic ruling family, the Tudors. And their instincts were right on target… As always Gil Rose led an idiomatic performance, choosing just the right tempi, and allowing his singers to float those lyrical, bel canto phrases. Switching stylistic gears so often in the course of his Odyssey Opera seasons, Rose has distinguished himself as one of the most versatile conductors on the Boston scene.”
“It should go without saying that OdysseyOpera’s orchestra and chorus were in good form for this performance (and in fact, the chorus here was sounding the best I’ve ever heard it), but the leading players were all outstanding.”
“In this OdysseyOpera production it was easy to see why Pacini enjoyed considerable acclaim, at least for a time, and less easy to understand why his operas have so thoroughly disappeared. Once again Boston audiences are indebted to the questing imagination of Gil Rose in assembling a operatic season that provides one unique experience after another. This year’s focus on operas about the Tudor monarchs is a case in point. But the Pacini opera mounted here is strong enough that it does not by any means require thematic programming to justify its performance… Rose paced the drama most effectively and balanced the richly expressive orchestra in effects generally richer than those of many bel canto operas. Once again, Odyssey Opera opens up the long and varied history of the genre with a work that is definitely worth knowing, in a performance that contributes splendidly to Boston’s musical season.”
–The Boston Musical Intelligencer
“Conductor Gil Rose led at a brisk bounce that never sagged or overindulged in melodrama. Amy Shoremount-Obra reigned supreme as the titular queen…”
“Throughout the night, the orchestra offered a thoroughly professional reading of the rare score, their work often distinguished by clarity and tidy efficiency. The work of the Odyssey Opera Chorus was also refreshingly polished and well rehearsed, its members negotiating their complicated opening sequences with a confidence not often found in more established companies.”
