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Boston University College of Fine Arts

Boston University is one of the leading private research and teaching institutions in the world today, with two primary campuses in the heart of Boston and programs around the world. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University's vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intellectual activity.

• At-a-
  Glance

  • Contact Info

    Boston University College of Fine Arts

    855 Commonwealth Avenue
    Boston, MA 02215

    Phone: 617.353.3350   |   Fax: 617.353.5331   |   Email   |   Official Website

  • Current Events

    There are no current events available for this organization at this time.

  • Upcoming Events

    There are no upcoming events available for this organization at this time.

• Current &
  Upcoming Events

  • Current Events

    There are no current events available for this organization at this time.

  • Upcoming Events

    There are no upcoming events available for this organization at this time.

• Past
  Events

  • Past Events

    05/04/12- 05/10/12	Assassins Boston University Theatre, Mainstage
    04/19/12- 04/22/12	Dialogues of the Carmelites Boston University Theatre, Mainstage
    02/23/12	Il Matrimonio Segreto Boston University Theatre, Mainstage
    02/17/12- 02/23/12	Execution of Justice Virginia Wimberly Theatre
    02/09/11- 02/25/11	Monster Boston University Theatre, Lane-Comley Studio 210
    12/09/10- 12/16/10	Imaginary Invalid Calderwood Pavilion at the BCA
    11/09/10- 11/17/10	House Boston University Theatre, Lane-Comley Studio 210

• Media
  Reviews

  • Media Reviews

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• Member
  Reviews

  • Member Reviews

    • Event Name: Dialogues of the Carmelites
      "Dialogues of the Carmelites - pt. 4"
      Review posted by: Opera Aficionado from Boston, MA, Apr 21, 2012
      

      At the Prioress's death (more like a mad scene), we are introduced to Mother Marie of the Incarnation. Mezzo-soprano Lauren Lyles takes on this role with a high level of energy but unfortunately... Expand

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      At the Prioress's death (more like a mad scene), we are introduced to Mother Marie of the Incarnation. Mezzo-soprano Lauren Lyles takes on this role with a high level of energy but unfortunately falls vocally flat. The weakest of the singers in technique and vocal clarity, Lyles often displayed muddy diction, overly darkened low notes and shrill high notes that were often painful. Within genuinely lies a vocal talent but Lyles has a long path of development ahead of her. After the Prioress's death, a new mother is appointed to care for the nuns. Meredith Kelly assumes this position as Madame Lidoine with ease and confidence. Sung as if Poulenc wrote the music for her, she conquered the sweeping melodies. Intruding in on the nuns, Commissioner Jason Berger walks onto the stage with a strong vocal presence. Later condemned by the jailor, baritone Christiaan Smith-Kotlarek plays a heartless man quite well. It is unfortunate that he was completely inaudible in his powerful scene Collapse

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    • Event Name: Dialogues of the Carmelites
      "Dialogues of the Carmelites - pt. 3"
      Review posted by: Opera Aficionado from Boston, MA, Apr 21, 2012
      

      Moving to the convent, Blanche seeks to join sisters of Carmel. Greeted by the Old Prioress (played by mezzo-soprano Amanda Tarver), Blanche's intentions are tested before admittance. Though the... Expand

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      Moving to the convent, Blanche seeks to join sisters of Carmel. Greeted by the Old Prioress (played by mezzo-soprano Amanda Tarver), Blanche's intentions are tested before admittance. Though the part of the Old Prioress is noted as a contralto, opera buffs will know how rare true contraltos are. Though the role was taken on by Tarver well, her seemingly lyric soprano voice did not help to portray an ailing old woman. Nothing short of a casting mishap under duress, Tarver deserves recognition for her work. Transforming to the future, where Blanche has been admitted to the convent, is the introduction of bubbly Sister Constance. Played by Sonja Krenek, Sister Constance's high lying tessitura was no challenge to this talented soprano. Just as quickly as the audience steps in, the story shifts back to the ailing Prioress who is on her death bed. Collapse

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    • Event Name: Dialogues of the Carmelites
      "Dialogues of the Carmelites - pt. 2"
      Review posted by: Opera Aficionado from Boston, MA, Apr 21, 2012
      

      [cont] The Opera Institute is fortunate to have tall, handsome male singers. With a warm, booming voice, Adrian Smith played the father figure well with a solid vocal foundation, though his voice... Expand

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      [cont] The Opera Institute is fortunate to have tall, handsome male singers. With a warm, booming voice, Adrian Smith played the father figure well with a solid vocal foundation, though his voice was often covered during Poulenc's percussive motifs. As a young tenor well on his way, John Irvin presented the concerned Chevalier with audible, clear diction and a strong vocal technique. Stumbling onto stage with exhaustion is Blanche de la Force, played by soprano Celeste Fraser. A marvelous addition to the Opera Institute, Fraser's electrifying voice embodied Blanche with ease. Though vocally present, Fraser's diction was unfortunately muddy at times. In a comprimario role that is easily overlooked, Erik Van Heyningen solidly landed his part with a vocal gift beyond expectation. Collapse

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    • Event Name: Dialogues of the Carmelites
      "Dialogues of the Carmelites - pt. 1"
      Review posted by: Opera Aficionado from Boston, MA, Apr 21, 2012
      

      A huge undertaking, Dialogues of the Carmelites is not for the faint of heart. Boston University's School of Music Opera Institute and School of Theatre, under the leadership of Sharon Daniels, took... Expand

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      A huge undertaking, Dialogues of the Carmelites is not for the faint of heart. Boston University's School of Music Opera Institute and School of Theatre, under the leadership of Sharon Daniels, took on this emotional task and presented it well. Following the College of Fine Arts Keyword Initiative of "Violence", the audience witnesses the journey of Blanche de la Force and a convent of Carmelite nuns who [spoiler alert] resist France's famous Reign of Terror and find themselves marching to the guillotine. Opening with what appears to be a "minimalist-looking" set, this is not your Euro-trash production. With floor-to-ceiling columns shape- shifting to create each of the events that unfold, the audience is easily taken from one locale to the next. Starting in the library of the Marquis de la force, bass-baritone Adrian Smith is rudely interrupted by his all too careless son, the Chevalier de la Force, played by tenor John Irvin. Collapse

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