Arguably, the strongest entry in the BSO’s complete Shostakovich symphony cycle thus far; Esa-Pekka Salonen’s 2016 Cello Concerto is emotionally direct and, at times, simply gorgeous; the resurgence of interest in the music of Boston-educated composer Florence Price is a good thing.
The final two concerts of the BSO’s season were in the orchestra’s sweet spot.
The fact is, the BSO’s 2019-20 season doesn’t risk enough and lacks a true spirit of adventure.
Conducting Lumina, Andris Nelsons was entirely in his element, capably drawing out the music’s shimmering gestures — string flourishes, brass fanfares, woodwind filigrees, and the like – from a locked-in BSO.
As good an interpreter of large-scale forms as he’s becoming, Andris Nelsons has always been a terrific conductor of new music.
Andris Nelsons presided over an interpretation of Mahler’s Symphony #2 that was both tightly controlled and emotionally cathartic.
Nearly three decades after he left us, Bernstein’s music seems to be in good hands and anything but forgotten. And his larger musical influence strongly endures.
Four new albums: the standouts include the finest Andris Nelsons/BSO Shostakovich collaboration to date and the Neave Trio’s wonderful new French Moments.
Andrew Manze and the RLPO have turned in one of the year’s great albums: potent, lyrical, haunting, and timely.
Variations and fugues are the overriding themes of pianist/composer Michael Brown’s captivating new album. If you’re an Andris Nelsons fan, this Deutsche Grammophon album won’t disappoint, and a disc that features three pieces by composer Ferdinand Ries, who was friendly with Beethoven, is worth hearing.