In the right hands, Shostakovich’s Twelfth can come off as nothing less than an intriguing, lively symphonic essay.
Boston Symphony Orchestra
That rarest of Opening Nights: a program that was mostly fun and entertaining, but also substantive and artistically satisfying.
I’ve compiled a list of twelve concerts (or concert series) that I think will stand among the future season’s highlights.
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.
Whom can we thank at the Boston Symphony Orchestra for choosing James Carter to be the featured saxophone soloist in March 23’s concert at Symphony Hall?
The BSO recently announced an extension to artistic partner Thomas Adès’s contract. It is lucky to have him. So are the rest of us.
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.
Next summer promises to be a safe one, musically, at Tanglewood.