Saturday, November 16, 2013 | 8:00pm
Pre-concert talk hosted by The Score Board at 7:00pm
Virgil Thomson Four Saints in Three Acts (1928)
Aaron Engebreth, baritone
Gigi Mitchell-Velasco, mezzo-soprano
Deborah Selig, soprano
Lynn Torgove, mezzo-soprano

Concert performance

Gil Rose, conductor

Program notes (opens in new window)

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News and Press

[Concert Review] Four saints, three acts, one crazy libretto

Like almost everyone else (I'd bet), I went to the recent Boston Modern Orchestra Project production of Four Saints in Three Acts out of pure curiosity. Could Virgil Thomson and Gertrude Stein's freak success of the 30's really be the unique marriage of fetching music and confounding text that everyone claims it is?

The Hub Review Full review
[Concert Review] BMOP's Four Saints as Good as it Gets

On Saturday the Boston Modern Orchestra Project (BMOP) presented a concert performance of Virgil Thomson’s Four Saints in Three Acts (1928) in Jordan Hall at the New England Conservatory.

The Boston Musical Intelligencer Full review
[Concert Review] Pigeons on the grass, 'Saints' in Jordan Hall

“But stories are only stories,” Gertrude Stein once put it as only she could, in other words: Who needs them? Certainly not, in Stein’s world, a modern opera!

The Boston Globe Full review
[Concert Review] BMOP launches Thomson opera cycle with a bracing "Four Saints"

Virgil Thomson’s Four Saints in Three Acts plays upon theatrical conventions, beginning with its title. Four sixteenth-century saints—St. Ignatius, St. Chavez, St. Settlement, and St. Teresa (split into two roles)—stand out from a sea of about twenty others. The singers explicitly cue the scenes, sometimes out of order, in each directionless act. And by the way, there are actually four of them.

Boston Classical Review Full review