Boston Symphony Orchestra
Kevin Puts’s mesmerizing song cycle probes the passion, loss, and resignation in the relationship between the artists Georgia O’Keeffe and Alfred Stieglitz.
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The music of Icelandic composer Anna Thorvaldsdottir embraces the elemental, and the Boston Symphony Orchestra skillfully waded into its searching mystery.
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The Finnish conductor’s welcome return to the Boston Symphony Orchestra heralds the kick-off of a two-week festival of Nordic music.
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Pianist Yunchan Lim struck an arresting balance between thunderous drama and filigreed lyricism as he tackled Rachmaninoff’s knuckle-busting score.
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Karina Canellakis’s tour through Bartók’s “Bluebeard’s Castle” showed why she remains a conductor who continues to exercise a remarkable interpretive power.
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Taking in the totality of Seiji Ozawa’s life and career, it seems clear that Boston got him in his prime and that he largely returned the favor, ingratiating himself with the community, at times truly elevating the BSO while conveying a lot of joy and energy in the process.
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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.
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The final installment in the Boston Symphony Orchestra’ s Shostakovich symphonies series is not nearly as overwhelming as its kick-off disc.
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A concert whose music served as a prayerful elegy for a world spinning out of control.
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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.
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