© Susan Wilson
Martin Pearlman is the founder, music director, and conductor of both the orchestra and chorus which make up Boston Baroque. Highlights of his work in opera include the complete Monteverdi opera cycle, with his own new performing editions of L’incoronazione di Poppea and Il ritorno d’Ulisse; operas of Rameau (Zoroastre, Les Indes galantes) and of Gluck (Iphigénie en Tauride, Alceste, Orfeo); a series of Handel operas (Alcina, Agrippina, and Giulio Cesare, among others); and a series of Mozart operas (The Abduction from the Seraglio, The Magic Flute, Marriage of Figaro, Così fan tutte, The Impresario, Don Giovanni, and others). His recording of Iphigénie en Tauride has won particular attention: ‘Pearlman gave the work an exquisite impetus, his sense of shape and timing superb … An excellent addition to Pearlman’s roster of consistently fresh, illuminating interpretations of baroque and classical masterpieces’ (Opera News). Amazon.com wrote of his Bach Orchestral Suites: ‘The recording is as fine as the performances, which is to say, remarkable.’ And Fanfare has written; ‘Martin Pearlman produces sonorous and spirited results imbued with the soul of the composer.’
Martin Pearlman’s Kennedy Center debut with the Washington Opera in Handel’s Semele was hailed by the Washington Post for his ‘beautifully calculated pacing’ while the Washington Times saluted his direction as ‘wonderfully expressive … crisp and clearly stamped with his personal vision.’ Other guest conducting highlights include the Monteverdi Vespers with the National Arts Centre Orchestra of Ottawa, and performances with the Utah Opera, Opera Columbus, Boston Lyric Opera, Minnesota Orchestra, San Antonio Symphony and the New World Symphony.
Mr. Pearlman is the only conductor from the period-instrument field to have performed live on the internationally televised Grammy Awards show. He serves as Professor of Music at the Boston University School of Music.
Martin Pearlman is also a composer. Recent works include The Creation according to Orpheus for piano, harp and percussion with string orchestra, commissioned music for three plays of Samuel Beckett premiered at New York’s 92nd Street Y, and a work based on Finnegans Wake. Writing in the Boston Globe, Anthony Tommasini said: ‘If fans of Boston Baroque wonder why Pearlman’s conducting is so insightful, it’s because he knows, as only a composer can, how music goes.’