It behooves audiences to be aware of how workers in the arts organizations they frequent are treated and whether management is operating in good faith.
Boston Symphony Orchestra
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.
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.
In the right hands, Shostakovich’s Twelfth can come off as nothing less than an intriguing, lively symphonic essay.
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?