Andris Nelsons
Through fresh new works and a welcome toss-up of pieces commissioned during Koussevitzky’s historic tenure, the BSO’s coming season will honor the fullness of the Russian-born conductor’s legacy.
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If Andris Nelsons’s direction revealed one thing, it’s that violinist Anne-Sophie Mutter and composer Thomas Adès make a stellar musical pairing.
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Andris Nelsons has a fine feel for colorful musical canvases, a talent once again displayed in performances of Thierry Escaich’s Cello Concerto and Rachmaninoff’s Symphony No. 2.
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Under the baton of Andris Nelsons, a listless Boston Symphony Orchestra delivered flat renditions of works by Shostakovich and Brahms.
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Jessie Montgomery’s Rounds is a testament to her impressive compositional chops. Let’s have more from her here, and often.
This is a release that showcases many of Andris Nelsons’ strengths, including his strong sensitivity for instrumental colors, blends, and balances. At the same time, it also demonstrates the conductor’s hit-or-miss nature with the core repertoire.
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Andris Nelsons’s conception of Strauss’s Tod und Verklärung was impressive, marked by strong contrasts of character, flexibility of phrasing, and a commendable grasp of musical space.
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Interpretively, this installment in the BSO’s cycle of Dmitri Shostakovich’s fifteen symphonies is occasionally (and a bit surprisingly) spotty.
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The orchestra’s summer home is operating at reduced capacity this season, but it’s wonderful to have the BSO and its public reunited.
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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.
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Arts Remembrance: In Memoriam — Tom Stoppard