Gil Rose

Gil Rose is the founder and conductor of the Boston Modern Orchestra Project (BMOP),[1] founder and General-Artistic Director of Odyssey Opera, Artistic Director of Monadnock Music Festival, Professor of Practice at Northeastern University, and Executive Producer of the record label "BMOP/sound."[2]

Early life and education

Rose was born in Pittsburgh, Pennsylvania, and received his Bachelor of Music from the University of Cincinnati – College Conservatory of Music. He later studied at Carnegie Mellon University, where he received his Master of Fine Arts degree and Artist Diploma.

Boston Modern Orchestra Project

Rose founded the Boston Modern Orchestra Project (BMOP) in 1996 and has since then served as the artistic director of a group lauded as "one of the country's leading contemporary music ensembles."[3] Under Rose's leadership, BMOP has received two John S. Edwards Awards for Strongest Commitment to New American Music and has won eleven ASCAP awards for adventurous orchestral programming.[4][5] In 2015 it was named Musical America's 2016 Ensemble of the Year.[6] Composer John Harbison has said that "No other city has anything resembling BMOP — with that level of activity, with that sustained productivity ... There's really been no new-music organization with a wider range of inclusion."[1] Paul Griffiths has also praised the ensemble, writing in The New York Times in 2000 that "Mr. Rose and his team filled the music with rich, decisive ensemble colors and magnificent solos ... These musicians were rapturous ... superb instrumentalists at work and play."[7]

Odyssey Opera

Rose founded Odyssey Opera in 2013 in order to bring audiences "on a journey, maybe to ports of call they haven't been to before";[8] the company has gained an "enthusiastic following"[9] for its productions of rarely performed works under his artistic and musical direction – from large, grand concert operas to fully staged contemporary chamber operas.[10] The inaugural season began with a performance of Wagner's Rienzi, while 2014 saw a "triumphal"[11] concert performance (and Boston premiere) of Korngold's Die tote Stadt.[12] In 2015 the group performed the "enthusiastically cheered"[13] Boston premiere of Massenet's "Le Cid" under Rose's baton at the New England Conservatory of Music's Jordan Hall.[14][15]

Opera Boston

From 2003 to its closure in 2012, Rose served as the artistic director of Opera Boston. His performances with the ensemble included Verdi's Luisa Miller, Beethoven's Fidelio,[16] John Adams's Nixon in China, Gluck's Alceste (featuring Dawn Upshaw), Shostakovich's The Nose, Weber's Der Freischütz, Smetana's The Bartered Bride, Rossini's Tancredi (featuring Ewa Podleś), and the world premiere of Madame White Snake (with music by Zhou Long).

Other performances

Rose has curated the Fromm Concert Series at Harvard University and served as the Artistic Director of the 2008 Ditson Festival of Contemporary Music at the Institute of Contemporary Art, Boston.[17] He also directed the Voice of America Festival, a six-concert, three-day event, featuring BMOP in partnership with the Florestan Recital Project and the Tufts University Department of Music.

Rose has also made numerous appearances as a guest conductor, including with the American Composers Orchestra, the Warsaw Philharmonic Orchestra, the National Symphony Orchestra of the Ukraine, the Cleveland Chamber Symphony, the Orchestra della Svizzera Italiana and the National Orchestra of Porto, as well as several appearances with the Boston Symphony Chamber Players. He made his Tanglewood Music Festival debut in 2002 and in 2003 he debuted with the Netherlands Radio Symphony as part of the Holland Festival.[18]

From 2003 to 2006, he was the artistic director of the Opera Unlimited Festival, a collaboration between BMOP and Opera Boston resulting in staged contemporary chamber operas. He led world premieres of Elena Ruehr's Toussaint Before the Spirits, the New England premiere of Thomas Adès's Powder Her Face, and John Harbison's Full Moon in March. In 2006 he conducted an acclaimed North American premiere of Peter Eötvös's Angels in America with Opera Unlimited.[19]

As an educator, Rose was the director of Orchestral Activities at Tufts University for five years. In 2013, he joined the faculty of Northeastern University as a Professor of Practice of Music.[20]

Rose conducted performances of Death and the Powers, an opera by Tod Machover featuring new performance technologies developed by the MIT Media Lab, in collaboration with the American Repertory Theater. The world premiere took place at the Grimaldi Forum Monaco in Monte Carlo, Monaco in September 2010. The North American premiere took place in Boston with the American Repertory Theater in 2011, followed by a performance at the Chicago Opera Theater later that year.[21]

Rose serves as executive producer of BMOP/sound, a recipient of 2009, 2010, and 2011 Grammy Award nomations. He is also a recipient of an ASCAP Concert Music award and in 2007, received Columbia University's Ditson Conductor's Award for his commitment to the performance of American music. His recordings have appeared on the year-end "Best of" lists of The New York Times, Time Out New York, The Boston Globe, Chicago Tribune, American Record Guide, National Public Radio, and Downbeat Magazine.[22][23]

gollark: Hmm..••••...
gollark: Idea: a fancy minimal "calculus" thing which is imperative programming somehow.
gollark: G calculus.
gollark: Apioformic calculus.
gollark: Differential calculus.

See also

References
  1. Weininger, David (2015-10-15). "Gil Rose, BMOP celebrate 20 years of audacity, excellence". Boston Globe. Retrieved 2015-10-15.
  2. Sutherland, Amy (2015-05-14). "Conductor Gil Rose reads more when rehearsals are intense". Boston Globe. Retrieved 2015-10-15.
  3. Coombs, Daniel (20 May 2014). "Notes from the Underground; You Have the Right to Remain Silent; Wayang V – J.D. Parran, clarinet/Earl Howard, Kurzweil keyboard/Anthony Davis, p./Boston Modern Orch. Project/Gil Rose – BMOP". Audiophile Audition. Gil Rose and the Boston Modern Orchestra Project once again prove why they are one of the country's leading contemporary music ensembles.
  4. "ASCAP ANNOUNCES YEAR 2009 ORCHESTRA AWARDS FOR "ADVENTUROUS PROGRAMMING" AT LEAGUE OF AMERICAN ORCHESTRAS CONFERENCE IN CHICAGO". Ascap.com. Retrieved 4 January 2019.
  5. "ASCAP Announces Year 2010 Orchestra Awards For "Adventurous Programming" at League of American Orchestras Conference in Atlanta". Ascap.com. Retrieved 4 January 2019.
  6. Elliott, Susan (2015-10-14). "Musical America announces 2016 Artists of the Year". Musical America Worldwide. Retrieved 2015-10-15.
  7. Griffiths, Paul (30 March 2000). "Poetry in Songs Reflecting Sun and Moon". The New York Times. Retrieved 16 October 2015. The Boston Modern Orchestra Project...is extremely able and musical...Mr. Rose and his team filled the music with rich, decisive ensemble colors and magnificent solos. In scores whose dominant expressive position is one of rapture, these musicians were rapturous.
  8. Shea, Andrea (2013-09-13). "With A Bold Choice, Boston Upstart Steps Into The Risky Opera Business". 90.9 WBUR: Boston's NPR News Station. Boston. Retrieved 2015-10-16. 'The reason I called it Odyssey Opera was because I wanted to project that we were going to go on a journey, and I wanted to take the audience on a journey, maybe to ports of call they haven't been to before,' (Gil Rose said)
  9. Schwartz, Lloyd (2015-05-11). "Odyssey Opera Rounds Out Second Season With A 'British Invasion'". 90.9 WBUR: Boston's NPR News Station. Boston. Retrieved 2015-10-16. From the ashes of the sadly departed Opera Boston has arisen an exciting new company that has been winning an increasingly enthusiastic following. Odyssey Opera completes its unconventional second season, which began last September with a sold-out and widely admired concert version of Korngold's lush romantic masterpiece "Die Tote Stadt" ("The Dead City"), with what it's calling "British Invasion."
  10. Rosenberg, Marion (2013-09-12). "Boston Opera? It's Wicked Good, Says Odyssey Opera Founder". WQXR. Retrieved 2015-10-16. Ideally, every September I'd like to do something like Rienzi: a large concert opera that nobody in Boston could stage. Then we'd turn to staged operas but on a more intimate scale and in a festival format: three or four titles presented over the course of several weeks in May or June, representing a cross-section of styles, from early music to contemporary.
  11. Smith, Steve (2014-09-21). "An agile newcomer tests uncharted waters". Boston Globe. Retrieved 16 October 2015. Just over a year later, the upstart organization has notched further triumphs: an ambitious, satisfying trifecta of underexposed Italian operas by Verdi, Mascagni, and Wolf-Ferrari, fully staged in June, and a triumphal concert rendition of Korngold's grandly gorgeous, melancholy masterpiece, "Die Tote Stadt", presented to rapturous response at a sold-out Jordan Hall earlier this month.
  12. Schwartz, Lloyd (2015-09-14). "Welcome Back, Odyssey Opera: Massenet's 'Le Cid' In Concert At Jordan Hall". 90.9 WBUR: Boston's NPR News Station. Boston. Retrieved 2015-10-16. Two years ago, Rose inaugurated Odyssey Opera with Wagner's early epic "Rienzi." Last year it was Korngold's gorgeous romance "Die tote Stadt" ("The Dead City"). That performance justifiably sold out. And this year's rarity is a major work by the French composer Jules Massenet, "Le Cid."
  13. Ledbetter, Steven (2013-09-21). "Machismo and Passion in Grand Opera Style". The Boston Musical Intelligencer. Boston. Retrieved 2015-10-16. Those who packed Jordan Hall enthusiastically cheered this welcome encounter with a production of such skill and energy.
  14. Wright, David (2015-09-19). "Odyssey Opera goes long and large with Massenet's "Le Cid"". Boston Classical Review. Boston. Retrieved 2015-10-15. Conductor Gil Rose was something of a Cid himself on the podium Friday, marshaling his large forces in the seemingly-endless series of crashing climaxes typical of this genre.
  15. Eichler, Jeremy (2015-09-21). "A local premiere for Massenet's 'Le Cid'". Boston Globe. Retrieved 2015-10-15. Massenet's opera, introduced in 1885, enjoyed decades of success but seems to have summarily disappeared after 1919. It has been heard in just a small handful of modern performances in this country. Friday was its Boston premiere.
  16. Eichler, Jeremy (2010-09-21). "Classical Music: Critic's Picks". Boston Globe. Retrieved 2015-10-15. OPERA BOSTON: Christine Goerke sings Leonore and Michael Hendrick is Florestan in Thaddeus Strassberger's new production of Beethoven's "Fidelio. Gil Rose conducts.
  17. "The Ditson Festival of Contemporary Music at the ICA Boston - Hudson-Housatonic Arts". Hudson-housatonic.-arts.org. Retrieved 4 January 2019.
  18. "Archived copy". Archived from the original on 2011-07-19. Retrieved 2010-09-23.CS1 maint: archived copy as title (link)
  19. Holland, Bernard (2006-06-19). "'Angels in America,' Already Operatic, Is Now Presented as an Opera". The New York Times. Retrieved 2015-10-15. Gil Rose conducted with admirable command.
  20. "Gil Rose and Odyssey Opera's "British Invasion"". 2015-05-13. Retrieved 2015-10-16.
  21. Porter, Andrew (2010). "Monte-Carlo: Death and the Powers". Opera Magazine. Retrieved 2015-10-15. The band of only 15, the Boston Modern Orchestra Project, conducted by Gil Rose (September 25), could fill the theatre with rich 'grand-opera' sound when appropriate.
  22. Schweitzer, Vivien; Oestreich, James R.; Tommasini, Anthony; Kozinn, Allan. "Best Classical CDs - NYTimes.com". Archive.nytimes.com. Retrieved 4 January 2019.
  23. "Time Out New York". Time Out New York. Retrieved 4 January 2019.
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