Aaron Keebaugh
Through fresh new works and a welcome toss-up of pieces commissioned during Koussevitzky’s historic tenure, the BSO’s coming season will honor the fullness of the Russian-born conductor’s legacy.
If Andris Nelsons’s direction revealed one thing, it’s that violinist Anne-Sophie Mutter and composer Thomas Adès make a stellar musical pairing.
By Aaron Keebaugh Lithe and economical, Boston Baroque’s superb production of Iphigénie en Tauride proved the old adage that less can be more. Iphigénie en Tauride, an opera in four acts. Libretto by Nicolas-François Guillard. Music by Christoph Willibald Gluck. Performed by Boston Baroque. Martin Pearlman, conductor. Mo Zhou, stage director. At GBH’s Calderwood Studio,…
Andris Nelsons has a fine feel for colorful musical canvases, a talent once again displayed in performances of Thierry Escaich’s Cello Concerto and Rachmaninoff’s Symphony No. 2.
Few conductors in Boston have a feel for late Mahler the way Benjamin Zander does.
The combined concert and gallery experience made one reconsider old clichés — E.M. Forster’s advice that art “only connect” took on an amplified resonance.
Earl Lee, the BSO’s assistant conductor, pulled off a memorable debut. Let’s have him back in the subscription series again, and soon.
Conductor and composer Thomas Adès brought more of his intriguing music to Symphony Hall this weekend with two selections from his recent ballet, The Dante Project.
What emerged was a lithe, almost Shakespearean rendition, complete with moments of unexpected humor and an infectious dramatic vitality.
Under the baton of Andris Nelsons, a listless Boston Symphony Orchestra delivered flat renditions of works by Shostakovich and Brahms.
Recent Comments