Andris Nelsons
Given its considerable strength and vitality, Ethel Smyth’s music deserves its newfound place in the limelight. Let’s hope the BSO programs more of her music again soon.
The final installment in the Boston Symphony Orchestra’ s Shostakovich symphonies series is not nearly as overwhelming as its kick-off disc.
A concert whose music served as a prayerful elegy for a world spinning out of control.
Ten years on, Andris Nelsons’s retains his remarkable gifts for expressing the raw power of music with dazzling panache.
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.
If Andris Nelsons’s direction revealed one thing, it’s that violinist Anne-Sophie Mutter and composer Thomas Adès make a stellar musical pairing.
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.
Under the baton of Andris Nelsons, a listless Boston Symphony Orchestra delivered flat renditions of works by Shostakovich and Brahms.
Jessie Montgomery’s Rounds is a testament to her impressive compositional chops. Let’s have more from her here, and often.
Classical Concert Commentary: The Boston Symphony Orchestra Takes On the Contemporary
It is only a month into the current season, and the Boston Symphony Orchestra has offered three pieces that have either been heard for the first time in Symphony Hall or given that more rare honor that evades most premieres — the deuxième performance.
Read More about Classical Concert Commentary: The Boston Symphony Orchestra Takes On the Contemporary