Born in Haifa, Israel, 1979, Osnat Netzer attended the Israel Arts and Science Academy in Jerusalem, and earned her Bachelor of Music degree in piano and composition from the Jerusalem Music Academy and her Master of Music degree in composition and theory from Mannes College of Music, New York. She is currently studying composition with Professor John Heiss at the New England Conservatory Doctor of Musical Arts program. Ms. Netzer's works have been performed at the Jerusalem Music Center, Israel's "Sounds in the Desert" festival, Bowdoin International Music Festival, Boston's Jordan Hall, and broadcasted on Israeli National Radio. Winner of the Felix Saltzer Techniques of Music Award and the Israel-America Cultural Foundation Scholarship for studies abroad, her recent works include Tanso for full orchestra, Light Night Songs for voice and ensemble, and numerous arrangements of Israeli folk songs for various instruments.


Jordan Hall at New England Conservatory | January 25, 2008

News and Press

[Concert Review] Country for old men

BMOP has become so popular, you have to look hard in the program to find its full name: Boston Modern Orchestra Project. Founder Gil Rose and his outstanding ensemble celebrated their 10th season at the New England Conservatory on Friday with their annual concert devoted to Boston composers. An enthusiastic and diverse audience (diverse especially in age) cheered, whistled, and hooted its approval for pieces, including two world premieres, by five composers also diverse in age. All the pieces were lively and (unlike Gerontius) fun.

Full review
[Concert Review] BMOP explores many faces of modern music

Friday’s wide-ranging Boston Modern Orchestra Project concert demonstrated how unhelpfully vague the umbrella term “modern music” can be. Some New England Conservatory link was the only correspondence among the disparate works, gathered under the title “Boston ConNECtion” (and performed under Jordan Hall’s architecturally ill-mannered “New England Conservatory” signboard, which continues to intrude on the season’s concert experience like a dinner-time telemarketer).

The Boston Globe Full review