Apologies for the long, long silent stretch. Needless to say, a lot has happened since the last post, yet there's been precious little time to put fingers to keys for an update. Getting up to speed with new routines, technologies and terminologies at the Boston Globe has been a full-time occupation. And that's not to mention the search for a new home (now concluded, we think), the continuing renovations on our Queens apartment (now meant to make it habitable for a tenant), and the condition of a family separated in three places: me in Boston, Lara and Annina in Jackson Heights and the pups in Clifton, NJ, vacationing with Lara's parents to spare them from chaos on the home front.
Originally I'd told myself that I'd pass the time during this period of isolation by plunging headlong into Boston's music and art scenes. Instead, I've managed to find time for just one performance – the world premiere of Gallo, a provocative and engaging chamber opera by Ken Ueno, produced by Boston indie company Guerilla Opera. Having lacked the opportunity to write anything about that commendable experience, I'll point your attention toward the superb review by Matthew Guerrieri that I had the privilege to edit for the Globe. Anything I might have said, I can assure you that Matthew said far more incisively and eloquently than I could have done under the circumstances.
There's more opera on the horizon, as Boston's newest company, Odyssey Opera, presents its first two staged productions – three, really, since one is a double bill of one-acts – next week. I'm also thinking about running out to catch Parquet Courts and Protomartyr at TT the Bear's Place next Tuesday. But curiously, there's nothing on my agenda for this week. So if you've got any suggestions for what I ought to catch on Monday, Tuesday or Wednesday night…well, I'm all ears.