Reviews for The Chronicle of Nine

Boston Classical Review

“Saturday’s performance featured a stellar cast of singers.”


The Boston Globe

“As I entered Jordan Hall, I overheard chatter to the tune of ‘I’ve never heard of Arnold Rosner;’ by intermission, those had changed to ‘Why have I never heard of Arnold Rosner?’ Thanks to BMOP and Odyssey Opera, and Gil Rose’s penchant for recording, Arnold Rosner might be set to reach a larger set of listeners than ever.”



“…it is always the mark of a successful opera when you walk away having such a strong emotional attachment to a character. This was admittedly helped a lot by the incredibly strong cast of singers… [The Chronicle of Nine] is a worthy addition to the Odyssey Opera season, and I have the feeling it will have a very strong afterlife after this performance.”


The Arts Fuse

“The night’s uniformly strong cast was headlined by Megan Pachecano, Soprano, as Lady Jane Grey. She’s got a lovely, silver-toned voice and her singing on Saturday was equally precise in intonation and diction… [Gil Rose] drew playing of atmosphere and character…in each of the searching preludes that begins each act as well as the ‘Wedding Ballet’ that falls in the middle of Act 1. Balances with the vocalists were, generally, carefully calibrated and the score’s high-intensity moments – Jane’s Act 2 presentation to the council and the potent Act 3 duet between Jane and Mary, accompanied only by orchestral cellos – spoke powerfully.”



“Gil Rose split first and second violins looping the double basses behind the firsts and massing the six cellos in front of the podium, The harp and celesta, significant voices in the score, sat side-by-side next to the first violins. The seating allowed Rose to approximate the textures and clarity of a Baroque ensemble and gave the six cellos the prominence required to carry Mary’s Act 3 confrontation with Jane. By turns imperious and sororal, Stephanie Kacoyanis’ contralto stood out like a pliant seventh cello. Megan Pachecano, Soprano, an angelic vision of white and gold down to her blonde hair and pallor, responded with quiet resolve and sincerity her voice pure and silvery. Her ability to float a long line fixed her Act 1 prayer as a companion vocal highlight. James Demler’s sonorous schemer, Arundel, rode the orchestra with ease…”

Berkshire Fine Arts