Classical Music
The Finnish conductor’s welcome return to the Boston Symphony Orchestra heralds the kick-off of a two-week festival of Nordic music.
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Mass in D was Ethel Smyth’s first large-scale score and, according to Cappella Clausura conductor Amelia LeClair, the composition expressed her yearning for hope and redemption.
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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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Kellen Gray and the Royal Scottish National Orchestra continue its mission of bringing vital music to life; the Neave Trio releases an album of gems, a survey of piano trios by four women.
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Pianist Yunchan Lim struck an arresting balance between thunderous drama and filigreed lyricism as he tackled Rachmaninoff’s knuckle-busting score.
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Franz Peter Zimmermann’s rendition of Stravinsky’s Violin Concerto overflows with style and character; James Ehnes’ version is generally warmer and more relaxed, though it doesn’t lack for rhythmic zip.
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Violist Timothy Ridout’s new double-album “A Lionel Tertis Celebration” is heartily recommended; soprano Asmik Grigorian’s “Laws of Solitude” not so much.
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The performance conveyed the essence of the Du Bois Orchestra’s mission: when played with exuberance, long-neglected and little-played works can generate as much excitement as they do wonder that they were ever overlooked.
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Even without international-caliber singers and players, Giovanni Piaisello’s “Amor vendicato” works much magic.
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Karina Canellakis’s tour through Bartók’s “Bluebeard’s Castle” showed why she remains a conductor who continues to exercise a remarkable interpretive power.
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