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This weekend’s soloist, Joshua Bell, is a performer who perhaps best approximates Leonard Bernstein’s charismatic personality in performance: a fully engaged interpreter, he does not shy away from physically expressing the emotional content of what he’s playing.
One can’t really go wrong with any of the individual concerts, but below are a few highlights released between August 1st and September 2nd. All are available for purchase on the Boston Symphony Orchestra’s website.
Languid sameness dominated the Wang concert at times, though the acoustic strings and subtly submerged horns and percussion made the sonic scope of Sigur Rós’ music more delicate and human.
Far more impressive than pianist Martha Argerich’s impeccable mechanical abilities are her interpretive chops. Here, she’s truly in a league of her own.
It’s a pity Witold Lutoslawski’s music isn’t turning up on more orchestral programs in the U.S. this season and next – Benjamin Britten seems to be the centennial birthday boy of choice.
The BBC Scottish Symphony Orchestra gives sold readings of two Michael Tippett symphonies.
The BSO’s captivating performances of King Roger received unanimous rave reviews from the local press, to which I add mine.
Next summer promises to be a safe one, musically, at Tanglewood.
The big news was the well-deserved Grammy for best orchestral performance that the BSO and current music director Andris Nelsons won .
It’s Beethoven’s 250th birthday year: reviews of four sets of the complete piano concertos from, respectively, Paul Lewis, Stewart Goodyear, Inon Barnatan, and Stephen Hough.
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