Jonathan Blumhofer
There was new music, of which Nelsons’s an uncommonly gifted interpreter; old music that mostly sounded lively; and a big, loud, late-Romantic warhorse that let him and the BSO show off.
Saturday’s was the most electrifying, exciting, spontaneous-sounding, inevitable performance of this warhorse (Beethoven’s Violin Concerto) I’ve heard.
Ascending Light is, by far, the most serious orchestral score of Gandolfi’s I’ve heard and it succeeds to a considerable extent thanks to its expressive honesty.
New England’s oldest continuously-active opera company brings to Boston a rare performance of one of Tchaikovsky’s less-familiar operatic scores.
Pianist Simone Dinnerstein’s new album, Broadway-Lafayette, features her on three pieces, all written since 1924, that celebrate musical ties between France and the United States.
The opportunity to hear Leoš Janáček’s magnificent score live ultimately trumps any reservations I have about the production as a whole.
Julia Fischer’s account of Brahms’s Violin Concerto with the Boston Symphony Orchestra (BSO) this weekend was nothing if not dynamic and impressive.
The main takeaway from this first BSO album under new music director Andris Nelsons is the excellent, exciting Sibelius performance.
Evaluations of a number of intriguing new albums, including praise for a disc of string trios by Eastern European composers performed by Ensemble Epomeo.
After several years in the wilderness, it seems that, on the conducting front at last, the BSO is again in good hands.
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