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REVIEW: Midwinter Revels brilliant ‘The Feast of Fools’ blends hope and laughter in the darkest of times

Posted on December 23 by The Sleepless Critic

Dragon battles! Reindeers dance! Kings and Fools! Hope in darkness.

This year’s annual Midwinter Revels is titled The Feast of Fools: A Medieval Celebration of the Solstice, and though fools may be onstage, not even a fool would miss this production.

Showing fresh ingenuity and as immersive as ever, The Feast of Fools delivers as much reveling as insightfulness into medieval hierarchy, the contemporary world we live in, and and the importance of eternal peace in this unpredictable world.

L to R: Vincent Ernest Siders (The King), Laurel Swift (Boney), René Collins (Folly), Eliza Rose Fichter (Fiasco), Roger Reed (Flop), and members of the Midwinter Revels Solstice Chorus Photo by Paul Buckley

Directed cleverly by Patrick Swanson and Debra Wise while seamlessly musically directed by Elijah Botkin, Midwinter Revels joyfully presents The Feast of Fools: A Medieval Celebration of the Solstice through December 28 live and in person at Sanders Theatre in Cambridge, Massachusetts. The December 16^th performance was dedicated to ‘GBH’s legendary and beloved Brian O’Donovan who passed away this year. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

An apt and enthusiastic master of ceremonies, veteran reveler David Coffin grandly declared, ‘We are all here to sing!’ He vigorously prepares the audience pre-production for an afternoon of sing-along carols and interactive fun in the spirit of the season.

David Coffin and the cast of Midwinter Revels: The Feast of Fools Photo by Paul Buckley

Accompanied by lively fiddle and horn-infused rhythms performed by the onstage Sting and Buzzy Walking Band, scenic designer Jeremy Barnett warmly sets the stage with an inviting red glowing wooden fireplace festively adorned with garland and pewter mugs hanging on both sides of the mantel. The Yule Log and a Christmas Star are pivotal pieces in this exciting tale and keys to a bright New Year.

Costumes Supervisor Dexter Wadsworth and costume designer Heidi Hermiller deliver a splendid and kaleidoscopic vision of medieval and festive garb from villager to soldier and jester to royalty in gold embroidered velvet, silver and gold detailed armor, shiny red and black scales, a blue-hued pair of enormous ethereal wings, and much more.

This particular production featured Jeff Adelberg’s gorgeous and luminous lighting for a moonlit night, in a glowing red fire, gleaming lanterns, a haunting twilight on a vastly creative voyage, and in a dazzling solstice flame. Illuminated by gleaming lanterns, Gabriel’s Message is a moving and glorious moment in this touching production.

L to R: René Collins (Folly), Athéna-Gwendolyn Baptiste (Angel), and Laurel Swift (Boney) Photo by Paul Buckley

Rene Collins as Folly, Eliza Rose Fichter as Fiasco, and Roger Reed as Flop form a comical and jovial trio of fools with affable camaraderie who declare they must present The Feast of Fools celebration much to the King’s accommodating dismay. Where love, joy, peace and hope metaphorically take center stage, the trio wears bright, distinctive, and zany costumes as they navigate this symbolic and exciting tale with juggling and more.

L to R: Eliza Rose Fichter (Fiasco), Vincent Ernest Siders (The King), René Collins (Folly), and Roger Reed (Flop) Photo by Paul Buckley

The talented Evergreen Children have a larger role in this tale as their angelic falsetto voices partake in carols, games, puppetry and more. Some of the particular highlights include a beautiful rendition of Lees Wais’ Wassail with David Coffin on recorder and Karen Burciaga on rebec. Roger Reed not only portrays dimwitted and mustachioed Fop, but pops up in additional roles including a mischievous and expressive participant in a children’s game of Old Roger is Dead before taking on a silent, silly, yet fascinating role later in the production. Charismatic Rene Collins later demonstrates some unique skills and magnificent courage facing an intriguing domestic beast.

L to R: René Collins (Folly) and Heather Koerber Nunes (Dragon) Photo by Paul Buckley

Wearing animal hats including crow, cow, and sheep, The Evergreen Children chime for an adorable rendition of There was a Pig Went out to Dig and a significant illuminating shadow puppet show for the King, portrayed with a charismatic baritone laugh by Vincent Ernest Siders. His regal, playful and natural gravitas is a bit scene stealing, even without a crown. His poignant yet hopeful recitation of the Shortest Day was delivered with full throated gracefulness and one of the most memorable parts of this production.

Accompanied by a concertina, The Pinewoods Morris Men literally revel with bells on in an interactive Morris Dance, an intricate and rhythmic Upton stick dance, and the traditional Mummers Carol.

Andrew Conant, Ewan Swanson, and the cast of Midwinter Revels: The Feast of Fools Photo by Paul Buckley

Soloist Barbara Allen Hill provided rich vocals in various parts of the production including O Cruor Sanguinis chant, the instrumental hymn Dies Irae and in a stirring arrangement by John Fleagle’s Winter Wakeneth.

Having never been swept up in the moment of the production, it was exhilarating to participate in the interactive and traditional Lord of the Dance as revelers and audience members joined arms in the halls dancing jubilantly into intermission and in the lobby of the Sanders Theatre.

The Midwinter Revels Solstice Dancers Photo by Paul Buckley

From Sing We Noel to the Peasant Dance to the Traveler’s Prayer to the Village Bransle Ding Dong Merrily on High to the marvelous Lord of the Dance dynamically choreographed by Susan Dibble, the Midwinter Revels will have everyone on their feet to ring in a wondrous New Year.

Directed cleverly by Patrick Swanson and Debra Wise while seamlessly musically directed by Elijah Botkin, Midwinter Revels joyfully presents The Feast of Fools: A Medieval Celebration of the Solstice through December 28 live and in person at Sanders Theatre in Cambridge, Massachusetts. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

REVIEW: With a mix of joy, reflection, and sweet surprises, The Holiday Pops’ milestone 50th year continues to make the season bright

Posted on December 22 by The Sleepless Critic

From hymnal to classical to Santa to the Grinch, The Holiday Pops offers something for everyone and makes it easy to alleviate the stress of the season and happily embrace what truly matters.

Celebrating a milestone 50^th year and the welcome return of the all-volunteer Tanglewood Festival Chorus, The Holidays Pops delivers a tapestry of classical and beloved Christmas carols, spiritual hymns, as well as holiday traditions through art and illustrations which always includes an annual visit from a surprisingly innovative and always jolly Santa Claus. Boston Pops conductor and host, Keith Lockhart garners warmth and reflective holiday cheer weaving in a certain classic Grinch quote by Dr. Seuss, a highly anticipated sing-along, and maybe even a dancing Maestro.

12.1.23 Keith Lockhart conducts Holiday Pops 2023 (Hilary Scott)

Sponsored by Fidelity Investments, led by Keith Lockhart, and ideal for the whole family, The Holiday Pops continues at Boston Symphony Hall through Christmas Eve. The show runs two hours including an intermission. Click here for more information and tickets.

Elegantly adorning the intrinsically-detailed gold balconies with twinkling lights on thick, festive wreaths is just a sampling of the stunning surroundings inside Symphony Hall. The stage spontaneously comes to life from illuminated gifts to lighted Christmas trees to glimmering dancing snowflakes.

12.1.23 Baritone Andrew Garland performs Vaughan Williams’ Fantasia on Christmas Carols with the Holiday Pops (Hilary Scott)

This beautiful performance delivered equal doses of contemplative material and lightheartedness with the first half fanciful and spiritual. Among the many highlights, Baritone Andrew Garland grandly delivered an eloquent and soaring rendition of Fantasia on Christmas Carols by Ralph Vaughan Williams.

12.1.23 12 Days of Christmas with the Tanglewood Festival Chorus (Hilary Scott)

With a generation bombarded with CGI and AI, The Holiday Pops thrilled audiences with author Jan Brett’s colorful, authentic and imaginative illustrations. Accompanied by seamless orchestration by the Boston Pops, the audience absorbed themselves in a Jan Brett children’s book that offers a rich new vision of Tchaikovsky’s classic, The Nutcracker. Among the memorable images was a fire breathing dragon, reindeers that have antlers with lighted candlesticks, dancing bears, and Santa in a headstand wearing a bucket hat.

12.1.23 Tribute to Harry Belafonte at Holiday Pops (Hilary Scott)

The evening also contained a moving tribute to EGOT Winner, activist, and musician Harry Belafonte not only honoring Belafonte’s calypso-inspired classic tunes, but his impressive activism featuring various pictures and video of his part in the March on Washington, supporting Martin Luther King Jr, and his work with UNICEF.

The Pops delivered a captivating gospel tribute in Swahili called The Good News Voyage arranged by David Coleman which contained Go Tell it on the Mountain. In the second half of the show, The Holidays Pops presented a Jewish song sung in Hebrew, Tikkun Olan (Heal the World), a riveting rendition expressing the yearning and urgency to heal and repair the world ‘Pray for peace and justice/For the sake of peace/heal the world’ as the tempo accelerated into a powerful crescendo.

12.1.23 Santa Claus with Keith Lockhart (Hilary Scott)

Brimming with beloved classic Christmas carols and guest appearances by Santa and more, the second half of Holiday Pops was a vibrant, yuletide spectacle joyfully kicking off with Sebesky’s Frosty All the Way, a jazz-infused medley featuring Jingle Bells, Frosty the Snowman and more. The brass ensemble spinning their instruments was among the playful sights as they performed this catchy and airy collection of carols.

12 Days of Christmas

Boston Pops’ charming signature versions of Sleigh Ride are always clever, cheeky, and increasingly full of madcap high jinks and the 12 Days of Christmas show that anything can happen among illuminated dancing snowflakes. The Holiday Pops also presented a special annual reading of Clement Clarke Moore’s Twas the Night before Christmas, read briskly by enthusiastic special guest WBZ News journalist Matt Shearer to mark its publication nearly 200 years ago before Santa arrived. While bulbs glow to the beat, the jolly Tanglewood Festival Chorus delivered A Merry Little Singalong in Santa hats and ears which included Rudolf the Red-Nosed Reindeer, Walking in a Winter Wonderland, and more.

Holiday Pops concluded with the tender Let There Be Peace on Earth, as Earth shone overhead, brilliantly conveying the quiet hope for the coming New Year.

REVIEW: Fitz and the Tantrums groovily beat the heat and a storm at Indian Ranch

Posted on August 18 by The Sleepless Critic

No one can make people forget an unforgiving and sweltering heat quite like indie pop neo soul band Fitz and the Tantrums. Though the day called for storms, nothing was going to stop their positive vibes until after these multi-platinum artists finished their set. Their performance was politics-free, but no less personal and full of encouragement with a repertoire of groovy and upbeat sounds that make even those determined not to dance in this heat, bob and sway, get up and get down.

Fitz of Fitz and the Tantrums Photo credit Adam Klein

Fitz and the Tantrums appeared at Indian Ranch in Webster, MA on July 29 and it was one stop on a national tour that continues through October 1…so far. Click here for more information on upcoming Indian Ranch performances and click here for more information on Fitz and the Tantrums latest national tour.

Indian Ranch is an outdoor concert venue and more which features a lakeside view and beach. A portion of the seats do have a cover for rain and the shows are mostly rain or shine. The VIP pre-concert experience that day started at 11:30 am and featured barbeque with a choice of hamburgers, hotdogs, or veggie burgers, baked beans, corn, salads, and an array of desserts. Fitz and the Tantrums took the stage at 1:30pm for an almost 2 hour set including an encore.

Noelle from Fitz and the Tantrums Photo credit Adam Klein

Fitz and the Tantrums took the stage for a feel good set featuring an array of hit tunes and some songs off their new album, Let Yourself Free. Despite the heat, the group remained dedicated to their unique and classy style in dark pants and converse sneakers as the band heated up with horn –infused rhythms and flashing, multi-colored lights.

Most of the songs were infectious, lighthearted, and boasted wild rhythms. The enthusiastic band made the best of the heat as they encouraged the audience to dance and sing-along. A few of the highlights included a tune that lead singer Michael Fitzgerald or ‘Fitz’ wrote for his wife, Silver Platter. It’s a breezy, flirty and snappy single off their new album as he exclaimed, ‘Gimme-gimme that love-that love-that love.’ They also revved the audience up with the inspirational number, 123456 as the audience sang along, ‘Count it out! Shout it out!’

Noelle and Fitz from Fitz and the Tantrums Photo credit Adam Klein

Featuring an amazing saxophone solo by James King and Noelle Scaggs’s rhythmic tambourine, Fitz and the Tantrums grooved to Out of my League’s reverberating synth rhythms before delving into the knock down, get up workday struggle with Living for the Weekend.

Fitz and the Tantrums at Indian Ranch Photo credit Adam Klein

Fitz and the Tantrums kept the party going with their brief, but endlessly catchy title track, Let Yourself Free, the story of a dream with AHHHH! and didn’t leave out their biggest hits such as The Walker to the crowd’s delight.

REVIEW: The 52nd annual ‘Midwinter Revels: A Solstice Celebration Tales from Ellis Island’ shares solace and warmth into a tapestry of traditions from around the world

Posted on December 24, 2022 by The Sleepless Critic

After a half century, the Midwinter Revels can not only still create fresh and concise storytelling while weaving in various cultures and traditions with a balance of joy and poignancy, but this year recalls a miraculous event in history that is not shared enough during the holiday season.

Innovatively written and directed by Patrick Swanson and guided by Carolyn Saxon as the Immortal Spirit of Place, Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15. Each performance pays tribute to Revels supporters and this particular performance was dedicated to the The Rioff Family in honor of WGBH’s Brian O’Donovan. This show is translated in ASL and is approximately two hours with one intermission. Click here for more information and tickets.

The Ensemble of The Christmas Revels Photo by Roger Ide

Veteran reveler David Coffin’s enthusiasm reflected the same from the audience as he vigorously prepared them pre-production for the Revels live and interactive sing-along that features a vast array of carols and cultural songs. Meticulously musically directed by Elijah Botkin and led by Keith Murphy of A Saint Patrick’s Day Celtic Sojourn, an intimate onstage band returns as the Liberty Band performing carols to folk to war songs from around the world right alongside the cast. The joy and gratitude in singing in front of an audience again is as uplifting as ever and the cast’s a cappella harmonies are a glorious treat.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island does not just take place on Ellis Island, but provides the foundation for each of the tales shared during the production. The tales of hardship and strife seem so different, but are somehow tied into shared experiences as immigrants from all over the world find themselves stranded together on Christmas Eve in 1924. The spirit of the season is exemplified in several tales including a fiddle that needs mending featuring Maeve Leahy as Bridget and Ewan Swanson as Isaac.

From Left to Right Carolyn Saxon, Maeve Leahy and Ewan Swanson and the Revels Ensemble Photo by Paul Buckley

Adorned in a glimmering gown and gold wreathed crown, Carolyn Saxon makes a warm and welcome return to Revels this time as the Immortal Spirit of Place. Her subtle charm and light humor enhance each aspect of the production as she guides the audience through various tales and periods in history in Nikes. Saxon is clearly enjoying this enigmatic role becoming invisible when she wishes and popping up at felicitous and spontaneous moments.

While last year’s show focused on saving a bar by venturing into the past, family is much more prevalent as members of the cast tie in pieces of their own cultural holiday memories into the production. Irish and Jewish Dramaturg Nicole Galland contributed by drawing on her own experiences and upbringing. With frank and humorous inflections, Reveler Stephanie Clayman is an amiable and avid storyteller as she brings some of those tales to life such as two well staged pieces of morally centered Jewish folklore and several Chanukah traditions.

Stephanie Clayman, Ewan Swanson, The Ellis Island Children, and the Midwinter Revels Adult Chorus Photo by Paul Buckley

David Coffin as Conor Riley revealed a miraculous event during World War I that took place on Christmas Eve in 1914. For a brief time, soldiers showed camaraderie with their enemies as they joined together in song, games, and friendship. It is a historical event that needs to be shared with as much frequency as annual holiday traditions such How the Grinch Stole Christmas, A Christmas Carol, or It’s a Wonderful Life. That brief interlude of peace made such a significant impact on the world and Midwinter Revels depicts that moving period of time with Christmas in the Trenches, O Tannenbaum and Stile Nacht as the production spread itself beyond the Sanders Theatre stage.

The children are always a joy to watch and this year as the Ellis Island Children, they share upbeat, jumping rope rhythm for There’s a Big Ship Sailing and later with Las Posadas as Mary rides on a donkey. It is just one example of the many endearing appearances they make in song and tale.

A brilliant performance comes from Ricardo Holguin who passionately performs a wondrous rendition of Mexican love song La Malgeuna followed by striking number El Relampago featuring women in gorgeous floral headdresses and sun drenched gowns by Heidi Hermiller. Kelli Edwards’ multifaceted choreography is on full display throughout as well as for a tricky and intricate sword dance accompanied by an onstage accordion and drummer for The Straw Folk Mummers Play and Rogue’s Delight.

Maeve Leahy (left), Ewan Swanson (center), and dancers from Great Meadows Morris & Sword Photo by Paul Buckley

Though the show lulled a bit on occasion, Midwinter Revels: A Solstice Celebration Tales from Ellis Island’s engaging tales bring unity and light and depicts how sharing different traditions can bring a new understanding and warmth into the darkest of times.

Midwinter Revels: A Solstice Celebration Tales from Ellis Island continues live and in person at the Sanders Theatre in Cambridge, MA through December 28 and then will be available virtually December 29 through January 15. Click here for more information and tickets.

REVIEW: Spectacular and uplifting, the world premiere of ‘The Neil Diamond Musical: A Beautiful Noise’ is anything but a song sung blue

Posted on July 15, 2022 by The Sleepless Critic

After watching The Neil Diamond Musical: A Beautiful Noise, one thing is clear. Every story should be told with brilliant swing backup dancers.

Directed shrewdly by Michael Mayer, The world premiere of The Neil Diamond Musical: A Beautiful Noise continues its pre-Broadway run at Emerson Colonial Theatre in Boston, MA live and in person through August 7. The show is two hours and 30 minutes including an intermission. Click here for more information and tickets.

Tony Award® nominee Will Swenson as Neil Diamond – Then and the Swings Photo credit to DCM O & M/Emerson Colonial Theatre

Kicking off with surprising, self-deprecating humor, A Beautiful Noise might have been just what one would expect from a musical biopic, but Neil Diamond takes it to the next level. Diamond’s music beginnings are a bit reminiscent of Carole King’s journey from creative songwriter delivering hits such as I’m a Believer to songwriter solo act. Part riveting, sing-along concert within a musical, part dive into Diamond’s past, but yet there is so much more to this solitary man. Even if Neil Diamond’s songs aren’t at the top of your playlist, this wonderful musical helmed by Will Swenson’s stellar performance as then Neil Diamond just might end up being music to your ears.

Tony Award® nominee Will Swenson as Neil Diamond – Then Photo credit to DKC O & M/Emerson Colonial Theatre

One of the best selling musicians of all time and yet Neil Diamond is not what one might expect. Now Diamond, portrayed with pensive fortitude by Mark Jacoby, is a rather gruff and unassuming man who does not like to talk about himself. Many deep thinking individuals steeped in the pressures for success seem to also have what Neil Diamond calls ‘clouds’ and the show does not shy away from that, but this musical is much more of a celebration.

Neil Diamond’s hit songs are explored, but on a more comprehensive and personal level. Much of the production is a luminous foray into how songs like catchy Cherry, Cherry, Song Sung Blue, America which delves into Diamond’s Polish heritage, traditional Boston Red Sox song Sweet Caroline met with rousing applause and many others factor into this revered songwriter’s remarkable journey.

Tony Award® nominee Will Swenson as Neil Diamond – Then and Tony award nominee Robyn Hurder as Marcia Photo credit to DKC O & M/Emerson Colonial Theatre

Charismatic and charming, it is difficult to imagine a better Then Diamond than Will Swenson. A compelling singer with a dry sense of humor, Swenson has an indelible stage presence from the moment he first appears with his guitar. He and Jessie Fisher as optimistic and sympathetic Jayne Posner have endearing chemistry and deliver a powerful and tense duet for Love on the Rocks. Robyn Hurder gives an electrifying performance of Forever in Blue Jeans as charming and soulful Marcia Murphey. Bri Sudia in a dual role is comic gold as outspoken and caring record producer Ellie Greenwich from her very first line with Swenson as Then Diamond. Their snappy chemistry creates some of the production’s funniest and most inspiring moments.

Tony Award® nominee Will Swenson as Neil Diamond – Then with Swings Photo credit to DKC O & M/Emerson Colonial Theatre

Whether soaked in beautiful shadows or in a multi-colored glow on a concert stage, lighting designer Kevin Adams exacts each mood-induced scene masterfully. Emilio Sosa’s lively and glittering costumes have a retro feel delving into the wild, vibrant patterns of the late 60’s and onward while Diamond’s progressive stage presence flaunt his signature fringe, suede, leather, and glittering sequins. David Rockwell’s inviting and eye-catching set design enhances this dazzling musical experience which includes dynamic hanging light fixtures and a stunning, innovative multi-tiered, spot-lit band richly conducted by Sonny Paladino and Sinai Tabak.

Tony Award nominee Mark Jacoby as Neil Diamond – Now, Linda Powell as Doctor, and the Swings Photo credit to DCM O & M/Emerson Colonial Theatre

A Beautiful Noise is a clever, eloquent, and illuminating look at Diamond without taking itself too seriously. Now to those incredible swing dancers that accompany Diamond on his journey. Fueled by Ste v en Hoggett’s upbeat, athletic, and era-driven choreography, the Swings brightened each scene even its darker moments to make this effervescent musical journey feel so good.

The world premiere of The Neil Diamond Musical: A Beautiful Noise continues at Emerson Colonial Theatre in Boston, MA live and in person through August 7. Click here for more information and tickets.

REVIEW: Magnificent and visually-stunning, Holiday Pops offers flawless holiday cheer

Posted on December 31, 2016 by The Sleepless Critic

Woven into a wide spectrum of Christmas carols, spiritual hymns, and holiday music capped off with a rousing sing-along, is the stuff that makes the Holiday Pops so appealing each year. Whether it’s through the excitement of the all volunteer Tanglewood Festival Chorus or maestro Keith Lockhart sharing his own Christmas memories, The Boston Pops adds their own unique, personal flair to each heartfelt performance, making it easy to alleviate the stress of the season and happily embrace what truly matters each year. In its 21^st season, The Holiday Pops at Boston Symphony Hall continues through December 31. The Boston Pops also offers special presentations of the film, “Back to the Future” with live orchestra and New Year’s Eve led by acclaimed bandleader, Bo Winiker. Click here for more information and for tickets.

Elegantly adorning the intrinsically-detailed gold balconies are white, twinkling lights and multi-colored bulbs on thick, festive wreaths, just a sampling of the stunning, festive surroundings inside Symphony Hall. The hall also offers its share of playful, humorous decor including orchestra harps topped off with Santa hats. During the show, the stage spontaneously came to life with a variety of scenery reflected above the stage, from flickering candles to sweeping, dancing snowflakes. Holiday Pops also featured a stirring presentation of winter scenes created by visual artist and astronomer Jose Francisco Salgado, PhD. With a lit sky swirling violet with chiming bells, the presentation’s depiction the Northern lights to the song, The Adoration of the Magi from Three Botticelli Pictures lent a mystical, peaceful tone.

This powerful performance of Holiday Pops offered equal doses of reflective material and lightheartedness, the first half insightful and striking. A Christmas prelude that included Hark the Harold Angels Sing, kicked off a reflective, wondrous first half woven in with maestro Keith Lockhart’s personal reflections of the holiday season such as a wonderful story about his father. A lullaby sounding Christmas oratorio, Break Forth O Beauteous Heavenly Light followed by the Hanukkah song, Light One Candle depicted sacrifice, unity, and hope. Holiday Pops also offered a jubilant calypso of Mary’s Little Boy Child, as the Tanglewood Festival Chorus, dressed splendidly in black and white, playfully swayed to the beat.

Brimming with beloved classic Christmas carols and guest appearances by Santa and more, the second half of Holiday Pops was a vibrant, yuletide spectacle of Christmas cheer. While old fashioned Christmas bulbs glowed to the beat, The jolly Tanglewood Festival Chorus delivered a string of Christmas waltzes, singalongs, and more including the annual reading of Clement Charke Moore’s Twas The Night Before Christmas by special guest, NBC Boston’s Melody Mendez. Boston’s delightful, signature versions of Sleigh Ride and the incredible and amusing 12 Days of Christmas were welcome additions to the mix as Santa Claus expertly conducted the rousing Chorus. Holiday Pops gave a final encore of Let There Be Peace on Earth, as Earth shone overhead, brilliantly conveyed the quiet hope for the upcoming New Year.

The Boston Symphony Orchestra has a tremendous lineup in the New Year! All performances take place at Boston Symphony Hall, 301 Massachusetts Ave in Boston, Massachusetts. Click here for tickets to any of BSO’s upcoming performances, through SymphonyCharge at 888-266-1200, and at the Symphony Hall Box Office, 301 Massachusetts Ave, Boston, Massachusetts. Listen to the Holiday Pops at home with “A Boston Pops Christmas: Live from Symphony Hall” album available through ITunes, Amazon, and Amazon MP3.