Music and theater arts

Boston Globe reporter A.Z. Madonna spotlights “The Thrilling Adventures of Lovelace and Babbage,” an opera with music by MIT lecturer Elena Ruehr, presented by the MIT Center for Art, Science and Technology, MIT Music and Theater Arts, and Guerilla Opera. Madonna writes that the show “may be the rarest of rare birds in modern opera: an actual comedy!”

Collage New Music, Boston’s longest-running contemporary music group, will be performing at MIT’s Killian Hall on March 12, 2023, reports Lloyd Schwartz for WBUR. Schwartz also notes that Professor Emerita Ellen Harris will be introducing the Boston Camerata production of “Dido and Aeneas” on March 18 at Pickman Hall.

Writing for The New York Times, Prof. Emily Richmond Pollock and University of Michigan Prof. Kira Thurman explore how the idea that performing or listening to classical music is an apolitical act flourished in the wake of World War II due to the process of denazification. “In moments of war and violence, it can be tempting to either downplay classical music’s involvement in global events or emphasize music’s power only when it is used as a force for what a given observer perceives as good,” they write.

Gramophone contributor Laurence Vittes spotlights Prof. Tod Machover’s “Death and the Powers,” an opera about robots and humans that has recently been released as an “electrifying surround-sound thriller.” Vittes writes that “Machover’s arsenal of music stands triumphantly on its own, fusing and defusing technoflash from the composer’s MIT Media Lab with rich writing for Gil Rose’s Boston Modern Orchestra ensemble.”

Boston Globe reporter Don Aucoin spotlights the virtual MTA Playwrights Lab, an annual festival led by senior lecturer Ken Urban that features “staged readings resulting from collaborations between MIT students and professional theater artists.”

Prof. Evan Ziporyn and his colleagues have created a multimedia, interactive performance that allows viewers to tour a spider’s web, reports Erin Blakemore for The Washington Post. “The group took laser-scanned images of the spider’s web, then associated different parts of the web with different sounds,” Blakemore explains. “They were inspired by the intricate, yet tough protein fibers that make up spider webs.”

Boston Globe reporter Zoë Madonna spotlights a performance by the Arneis Quartet at MIT, which included pieces by Prof. John Harbison and lecturer Elena Ruehr. Madonna writes that, “With high risks came high reward, and the Arneis Quartet offered an intense, indelible experience to the small crowd in Killian Hall.”

Reporting for WBUR, Amelia Mason spotlights a collaboration between graduate student Ben Bloomberg and Jacob Collier, a singer and former MIT artist-in-residence. Bloomberg explains that he and Collier aim to use technology as a means to augment human capabilities, explaining that, “technology should do things that technology is good at, and the people should do things that people are good at.”

Boston Magazine’s Matthew Reed Baker highlights Prof. Tod Machover’s new opera, “Schoenberg in Hollywood.” Baker writes that “in typically Machoverian fashion, the production uses mixed media and time jumps” as it explores composer Arnold Schoenberg’s flight from Nazi Germany to California.

Keith Powers highlights Prof. Tod Machover’s new opera, Schoenberg in Hollywood,” in WBUR’s guide to the most innovative operas being performed in Boston this fall. Powers writes that in the opera, Machover “investigates the improbable but true story of Schoenberg, the leader of the Second Viennese School, who actually did flee to Hollywood to escape the Nazis.”

Boston Globe reporter Jeremy Eichler spotlights Prof. Tod Machover’s new opera, “Schoenberg in Hollywood,” which looks at the life and work of the composer Arnold Schoenberg. Eichler writes that the opera is “at once an earnestly admiring tribute and an unconventional biographic fantasia.”

Boston magazine highlights Prof. Tod Machover’s new opera “Schoenberg in Hollywood” in their fall guide to the arts in Boston. Boston magazine notes that the opera is “about a brilliant composer fleeing the Nazis and landing in 1930s L.A.—you’ve never seen opera like this.”

Developed by MIT researchers, ConcertCue, an app that provides real-time program notes during live classical music performances, has received a $50,000 grant from the Knight Foundation’s Prototype Fund, reports Melissa Locker for Fast Company. The foundation awarded 12 grants to “innovative tech organizations and cultural institutions” that use technology to make the arts more accessible in the digital age.

Boston Globe reporter David Weininger highlights a recording of three new works by Prof. Peter Child. Weininger writes that the new pieces, “demonstrate the MIT composer’s remarkable stylistic diversity.”