Oedipus, complex

Boston Globe: BSO brings full drama to ‘Oedipus’. The Globe generally liked our performance; Richard Dyer was kind enough to note that “the men of the Tanglewood Festival Chorus sang with excellent intonation and driving rhythm”—and not to mention that we sang with scores, a first in recent memory for a non-Pops concert.

Behind the scenes, what happened? I can only say that when a work with a lengthy unfamiliar Latin text meets a conductor who doesn’t believe in singing from memory, something has to give. It actually helped: most of us were singing from memory anyway, but being able to check the scores periodically to confirm the words in some of the lengthier passages really helped.

And I still have the thing stuck in my brain, in spite of every single piece of music I’ve listened to in the last day.

(Oh, confidentially to Keith Powers at the Herald: you write really well. How on earth did you write the following two sentences together: “Dohnanyi’s conducting was precise and erudite. The orchestra sounded like it actually liked playing for the guy.” Is that the job of an editor at the Herald: to dumb down a review by inserting random sentences in dumb-guy talk?)