Andris Nelsons
Andris Nelsons’s conception of Strauss’s Tod und Verklärung was impressive, marked by strong contrasts of character, flexibility of phrasing, and a commendable grasp of musical space.
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Interpretively, this installment in the BSO’s cycle of Dmitri Shostakovich’s fifteen symphonies is occasionally (and a bit surprisingly) spotty.
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The orchestra’s summer home is operating at reduced capacity this season, but it’s wonderful to have the BSO and its public reunited.
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One can only hope that Gail Samuel’s hiring means that the BSO’s welcome-but-fitful efforts at expanding its repertoire and engaging the community of late will become central to its post-pandemic mission.
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A collection that provides a fascinating bit of context for how Andris Nelsons has developed as a conductor over the last decade-plus, and an honest, mostly flattering, tribute to a much-loved conductor, the late Mariss Jansons.
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Terrific, fiery playing from George Li, one of the most compelling young pianists on the scene; Mariss Jansons’ recording of Shostakovich’s Tenth trudges from start to finish; irrefutable proof of Andris Nelsons’ excellence as a new-music conductor.
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In the right hands, Shostakovich’s Twelfth can come off as nothing less than an intriguing, lively symphonic essay.
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Arguably, the strongest entry in the BSO’s complete Shostakovich symphony cycle thus far; Esa-Pekka Salonen’s 2016 Cello Concerto is emotionally direct and, at times, simply gorgeous; the resurgence of interest in the music of Boston-educated composer Florence Price is a good thing.
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The final two concerts of the BSO’s season were in the orchestra’s sweet spot.
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Classical Music Commentary: The Boston Symphony Orchestra’s 2020-21 Season Announcement
If ever there was a season the BSO needed to put its right foot forward — balancing the core repertory with some strong steps outside of it — this is the one.
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