Benjamin-Zander
Conductor Benjamin Zander put the Boston Philharmonic Youth Orchestra to challenging work at Symphony Hall, while, on record, Isabelle Faust delivers a vital, urgent, and engrossing traversal of the Britten Violin Concerto.
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The Boston Philharmonic Orchestra was violinist Liza Ferschtman’s equal partner for much of the performance, imbuing Alban Berg’s dense orchestral writing with warmth and shapeliness
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An admiring review of the latest disc from Hermitage Trio and praise for Boston Philharmonic and Boston Philharmonic Youth Orchestra concerts earlier this month at Symphony Hall.
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The concert, which along with the Elgar Violin Concerto also includes Rossini’s William Tell Overture and Beethoven’s Symphony No. 7, promises to be a momentous occasion for the ensemble.
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In both performances tempos are fleet but not rushed. The big moments – from the hellish apex of the first movement’s development to the screaming climax of the Scherzo and the cathartic resolution of the finale – pack heavy punches.
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Few conductors in Boston have a feel for late Mahler the way Benjamin Zander does.
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The season-long celebration of the fiftieth anniversary of Benjamin Zander’s debut as a conductor, which gets underway later this month when the Boston Philharmonic Orchestra (BPO) returns to the stage, doesn’t stint on festive spirit.
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This was an epic performance of an epic piece, steeped in Brucknerian character.
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For Benjamin Zander and his musicians – as for all of us – it was a strange, even desperate, several months.
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Classical Critic’s Notebook: Sergei Rachmaninoff’s Symphony No. 2
Whatever Rachmaninoff’s conflicted feelings about writing symphonies were, there’s nothing ambiguous about the content of his Second Symphony. From start to finish, it’s a marvel of melodic freshness and brilliant instrumentation.
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