Andris Nelsons
A collection that provides a fascinating bit of context for how Andris Nelsons has developed as a conductor over the last decade-plus, and an honest, mostly flattering, tribute to a much-loved conductor, the late Mariss Jansons.
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Terrific, fiery playing from George Li, one of the most compelling young pianists on the scene; Mariss Jansons’ recording of Shostakovich’s Tenth trudges from start to finish; irrefutable proof of Andris Nelsons’ excellence as a new-music conductor.
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In the right hands, Shostakovich’s Twelfth can come off as nothing less than an intriguing, lively symphonic essay.
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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.
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The final two concerts of the BSO’s season were in the orchestra’s sweet spot.
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The fact is, the BSO’s 2019-20 season doesn’t risk enough and lacks a true spirit of adventure.
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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.
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As good an interpreter of large-scale forms as he’s becoming, Andris Nelsons has always been a terrific conductor of new music.
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Andris Nelsons presided over an interpretation of Mahler’s Symphony #2 that was both tightly controlled and emotionally cathartic.
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Classical Music Commentary: The Boston Symphony Orchestra’s 2020-21 Season Announcement
If ever there was a season the BSO needed to put its right foot forward — balancing the core repertory with some strong steps outside of it — this is the one.
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