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While I’m not necessarily sold on this particular interpretation of Mahler Symphony no. 1, it was a thoughtful reading led with conviction; conductor Ludovic Morlot drew a committed performance from the BSO, and that counts for something.
To judge from the all-around energetic playing of the BSO, it seems conductor Jaap van Zweden has struck a good rapport with the players and I, for one, look forward to hearing more from him in coming seasons.
Fine recordings of symphonies by neglected American composers Florence Price and George Antheil; and a curious album from Cornelius Meister and the ORF Radio-Sinfonieorchester Wien.
Max Bruch’s music is smart, strong, crafty, and, often, quite endearing.
BSO’s conductor emeritus Bernard Haitink may be best known for his interpretations of Austro-German repertoire, but, on Saturday night, he channeled his inner Francophile.
Pianist Daniil Trifonov’s no stranger to playing Rachmaninoff with Nelsons and the BSO—they delivered a memorable outing of this very piano concerto in 2019—and, while Saturday’s traversal was periodically rusty, it built in spirit and tightness as the evening proceeded.
That rarest of Opening Nights: a program that was mostly fun and entertaining, but also substantive and artistically satisfying.
So, is the “Gaelic” Symphony an unalloyed masterpiece? I’d argue in the affirmative.
Arts Commentary: The Kennedy Center and the Boston Symphony Orchestra — A Tale of Two Crises
A court-ordered reset in Washington and a self-inflicted rupture in Boston expose deeper failures of leadership, transparency, and trust.
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