Friday, June 16, 2006 | 8:00pm
Saturday, June 17, 2006 | 3:00pm
Saturday, June 17, 2006 | 8:00pm
Tuesday, June 20, 2006 | 8:00pm
Saturday, June 24, 2006 | 6:00pm
Calderwood Pavilion
Peter Eötvös Angels in America (2004)

Based on the play by Tony Kushner
Libretto by Mari Mezei
North American Premiere

Carole Charnow and Catherine Stephan, Producers
Gil Rose, Music Director

Steven Maler, Director
Gil Rose, Conductor

Co-Presented by Boston Modern Orchestra Project and Opera Boston

SCHEDULE

June 16 at 8pm (opening night benefit)
June 17, 3-4pm (performance of one person operas)
June 17 at 8pm
June 20, 6-7pm (Talk with AIDS Action Committee of Massachusetts)
June 20 at 8pm
June 24 at 3pm
June 24, 6-7pm (Talk with cast of Angels in America)
June 24, 9-10pm (BMOP Club Concert and Cast Party)

TICKETS

617.933.8600
TTY 617.424.0694
www.bostontheatrescene.com

MORE INFORMATION

For complete festival information, including a synopsis, program notes, and biographies, visit www.operaunlimited.org.

For more information about the opening night benefit, contact Robin Bayne Morgan, Director of Annual Giving, at 617.363.0396 or rmorgan@bmop.org.

Press contact:
Joyce Linehan
Ashmont Media/Ashmont Records
Public Relations, Management and Consulting
10A Burt Street, Dorchester, MA 02124
T 617.282.2510
www.ashmontmedia.com - www.ashmontrecords.com
Current press releases: www.ashmontmedia.com

Buy tickets

News and Press

[Concert Review] Angels in America

By calling his drama Angels in America “a Gay Fantasia on National Themes,” Tony Kushner implies that his two-part, seven-hour saga about America’s response to Aids operates like a musical work; perhaps he even envisioned that it might one day be turned into an opera. That day came in 2004 when the Hungarian composer Peter Eötvös’s opera had its premiere at the Châtelet in Paris. That a long play had been transformed into a shortish opera (2? hours) provoked little dissent, but critics held that Eötvös’s music lacked a strong profile.

The Financial Times Full review
[Concert Review] Some Angels: Opera Unlimited does Tony Kushner

Whatever anyone thinks of the actual opera, congratulations are again in order to Opera Unlimited, the collaboration between music director Gil Rose’s Opera Boston and his Boston Modern Orchestra Project, this time for bringing to Boston the American premiere of Hungarian composer Peter Eötvös’s attempt to make an opera out of Tony Kushner’s Angels in America, his Pulitzer-winning play about the AIDS epidemic and the collapse of public and personal values under Reagan (one remaining performance, June 24 at the Majestic Theatre).

The Boston Phoenix Full review
[Concert Review] "Angels in America," already operatic, is now presented as an opera

Much of life is spent thinking about death. Primary in our thoughts are the rate of its approach and hour of its arrival. It is a little like driving a car whose accelerator and brakes are out of our control. This idea may explain the public’s hideous and enduring fascination with executions and suicides, for in both cases time races and the date is set. People are in control.

The New York Times Full review
[Concert Review] Soul-searching fills musical "Angels"

Tony Kushner’s Angels in America is an epic, historical, political, personal , and apocalyptic drama that is also an opera waiting to happen. It is full of larger-than-life characters who deliver long aria-speeches of interior questioning; characters meet each other in dream landscapes and there are interwoven, simultaneous episodes that resemble operatic ensembles. There is even a grand death scene.

The Boston Globe Full review
[News Coverage] Voices of "Angels"

Of all the works of art that arose out of the AIDS epidemic, none has so completely transcended its origins as Tony Kushner’s Angels in America. Somewhere between its first productions in the early 1990s and now, Kushner’s epic play ceased being a work about AIDS and became one of the great American dramas of the last 50 years.

The Boston Globe Full review
[News Coverage] Troupe to premiere "Angels"

To write a concerto for an indigenous instrument may be an obvious way to create a multicultural piece, but it is not the easiest. Most folk instruments don’t have the power to compete with an orchestra, although electronics can help; most also involve tunings that can’t mesh with the compromises of the well-tempered Western scale.

The Boston Globe Full review