Lynn Torgove, mezzo soprano has performed in and directed productions with the Boston Modern Orchestra Project over the last decade. Most recently, she sang in BMOP's concert of Sir Michael Tippett's Midsummer Marriage and was also the stage director and a member of the cast of BMOP's production of Lucas Foss' opera Griffelkin. She was also the stage director of John Harbison's Full Moon in March in collaboration with Opera Boston.
She is well known to Boston audiences as both a singer and a director. She is a regular soloist with both Emmanuel Music and the Cantata Singers and this past September, she was the alto soloist in Bach's Cantata BWV 72 in the first concert of the Cantata Singers 50th Anniversary Season. Last season, she was also the alto soloist in Frank Martin's Et la vie l'emporta and Zelenka's Missa Votiva. She can be heard as the mezzo soloist on the Cantata Singers' recording of John Harbison's Four Psalms. With Emmanuel Music, this past summer, Ms. Torgove was the stage director of and sang the role of the Tango Singer in John Harbison's The Great Gatsby, both at Jordan Hall and Ozawa Hall. This season, with Emmanuel Music, Ms. Torgove will be the stage director and will be singing the role of Desiree Armfeldt in Stephen Sondheim's A Little Night Music to be performed at the Boston Conservatory Theater.

This coming spring she will be performing a full recital of Mr. Harbison's songs for mezzo, piano and ensemble, The Songs of John Harbison, with readings by Lloyd Schwartz, at Williams College. Recent performances include the Boston Jewish Music Festival's concert Fathers and Sons: the Music of Adler and Weiner, Aston Magna’s 40th Anniversary Concert, performing the roles of the Sorceress in Purcell’s Dido and Aeneas and Truth in Handel’s oratorio The Triumph of Time and Truth in Seiji Ozawa Hall at Tanglewood. She has been a featured soloist with Opera Boston, St. Louis Symphony, the Portland Symphony, and the Tallahassee Symphony. Ms. Torgove has toured internationally with the Boston Camerata and can be heard on their recording The Sacred Bridge on the Erato label. As a stage director, Ms. Torgove has directed Menotti’s Amahl and the Night Visitors for MIT, and Stravinsky’s The Rake’s Progress, Britten’s The Little Sweep, Hans Krása’s opera Brundibár, A Kurt Weill Cabaret, and Britten’s Noye’s Fludde for the Cantata Singers. She has been on the faculty of the Opera Institute at Boston University, New England Conservatory, Boston Conservatory, and the Walnut Hill School for the Arts. She currently teaches at the Longy School of Music and Hebrew College, where she is the Head of Vocal Arts. Ms. Torgove recently received her Masters in Jewish Studies and was ordained as a Cantor in June 2012 from Hebrew College in Newton, Massachusetts.


Jordan Hall at New England Conservatory | November 16, 2013
Jordan Hall at New England Conservatory | November 10, 2012

News and Press

[Concert Review] Michael Tippett's Midsummer madness

The first American production of any of Michael Tippett's five operas was Sarah Caldwell's The Ice Break for the Opera Company of Boston in 1979. In 1991, BU students did The Knot Garden. This year, Opera Boston scheduled the first Boston production of The Midsummer Marriage, Tippett's first opera (completed in 1952, after six years of work). But Opera Boston folded.

The Boston Phoenix Full review
[Concert Review] BMOP proceeds with Tippett's 'Midsummer Marriage'

Before a note was played, Saturday night’s Boston Modern Orchestra Project performance of Michael Tippett’s first mature opera, “The Midsummer Marriage,” generated more good will and broader public curiosity than the average season-opener. That’s because the now-defunct Opera Boston had this rarely spotted Tippett opera on its agenda long before the company abruptly folded last December.

The Boston Globe Full review
[Concert Review] BMOP gives worthy advocacy to Tippett's unwieldy "Midsummer Marriage'

One door closes, another opens. With the demise of the ambitious company Opera Boston last year, director Gil Rose lost a chance to explore some of the gems in the outermost reaches of the stage repertory.

Fear not. Rose simply brought one such rarity, Michael Tippett’s The Midsummer Marriage—slated last season for Opera Boston but left unperformed—to his other adventurous ensemble, the Boston Modern Orchestra Project. BMOP performed a semi-staged version of the mid-20th century opera Saturday evening at Jordan Hall.

Boston Classical Review Full review