Boston Modern Orchestra Project

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BMOP's greatest strength is the artistic distinction of its musicians and performances. Each season, Artistic Director Gil Rose gathers together an outstanding orchestra of dynamic and talented young performers, and presents some of the world's top vocal and instrumental soloists. The Boston Globe claims, "Gil Rose is some kind of genius; his concerts are wildly entertaining, intellectually rigorous, and meaningful." Of BMOP performances, The New York Times says: "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."

News and Press

[News Coverage] Bottom's Up in 'Midsummer' Musical Revamp
Martin Brody writes music, he says, in the decidedly modern idiomatic zone of composers like Igor Stravinsky, Olivier Messiaen, and Elliott Carter. But, though he doesn’t know exactly why, Brody, a music theory and composition professor at Wellesley College since 1979, has always had a fondness for Felix Mendelssohn.
The Chronicle of Higher Education Full coverage
[News Coverage] Genius, Explained: Firing Up the Canon
Back in 1996, conductor Gil Rose felt that "95 percent of what orchestras were playing had been written by people who’d been dead for more than 100 years." Looking for a niche amid Boston's crowded classical scene, he launched the Boston Modern Orchestra Project, devoted to contemporary music. More than 80 concerts later, BMOP has become the Hub's most dynamic classical troupe. Its tag line: The Music Formerly Known as Classical. "We stole that from Prince, of course," Rose says.  THE MISSION
Boston Magazine Full coverage
[News Coverage] Gil Rose talks to Michael Miller about contemporary music, BMOP, and the Opera Boston premiere of Madame White Snake
Gil Rose is best known for his leadership of two high-profile Boston organizations, the Boston Modern Orchestra Project (BMOP), one of the major supporters of contemporary music in America, and Opera Boston, which specializes in musically outstanding performances of operatic masterpieces which have been neglected by the mainstream houses. I know I'll be eternally grateful to him and Opera Boston for my first opportunity to see Weber's Der Freischütz, universally regarded as a seminal work in the history of opera and a great one, but rarely performed today.
The Berkshire Review Full coverage
[News Coverage] CD sales for contemporary classical music are the exception to flat sales in other categories
The news sounds like a broken record: No one is buying CDs. Au contraire. Those who appreciate contemporary classical music are spending their money on new recordings, released by several independent labels. And, the dedicated owners of these CD indies are inundated with submissions from composers and performers. Music writer Joseph Dalton surveys the contemporary classical music scene in an online piece. Neva Pilgrim, a co-founder of the Society for New Music, took time from her busy schedule assisting with Cazenovia Counterpoint to comment on the article. Here's what she had to say:
Syracuse Post Full coverage
[News Coverage] On Record – An Overview of the State of Contemporary Music Recording Part 1: Still Spinning
"I am distressed about my CD sales, which have completely tanked. I talked to the head of my label about this, and he told me, 'No one's buying CDs.' In effect, he said, 'What makes you think you’re special?' Everybody's collapsing." - composer John Adams, Newsweek, February 5, 2009 "The recording industry is kaput." - violinist Nadja Salerno-Sonnenberg, Times Union (Albany, NY), February 8, 2007
NewMusicBox Full coverage