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One can only hope that Gail Samuel’s hiring means that the BSO’s welcome-but-fitful efforts at expanding its repertoire and engaging the community of late will become central to its post-pandemic mission.
These are tough, feisty, devastating pieces — easily among the 20th century’s finest symphonies — and they receive ferocious readings from Antonio Pappano and the LSO.
Denis Kozhukin is an inspired guide to music geared toward young players by Sergei Prokofiev and Tchaikovsky; Cleveland Orchestra and Franz Welser-Möst serve up mixed rewards in performances of symphonies by Julius Eastman and Tchaikovsky.
On the whole, this BSO Opening Night was a welcome overview Leonard Bernstein’s larger output and of his versatility as a composer.
For at least the last decade, the LAPO has set the bar in creative programming, commissioning new works, and integrating itself into its community.
Andris Nelsons possesses a clear fondness for Slavic music and his Tchaikovsky performances in Boston have become can’t-miss events.
Sir Simon Rattle and Bavarian Radio Symphony Orchestra solve the riddle of Gustav Mahler’s Symphony No. 7. The conductor and the London Symphony Orchestra also offer a refreshingly impish, characterful traversal of music by Kurt Weill.
Things are going well with Monadnock Music: before Saturday’s concert kicked off, managing director Christopher Sink announced that the festival had cleared its financial debts as it heads into next year’s 50th anniversary season.
Fuse Commentary: The Boston Symphony Orchestra’s 2016-17 Season Announcement
On the whole, 2016-17 is shaping up to be one of the liveliest Boston Symphony Orchestra seasons since the first years of James Levine’s tenure.
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