Boston Symphony Orchestra
If “Salome” was a harbinger for what’s to come, we may be on the cusp of a golden era, indeed.
Pianist Murray Perahia’s return this weekend, with Schumann’s A minor Concerto, seemed tailor-made on paper: he’s one of the world’s great chamber musicians and this concerto plays to all his strengths.
BSO’s conductor emeritus Bernard Haitink may be best known for his interpretations of Austro-German repertoire, but, on Saturday night, he channeled his inner Francophile.
Saturday’s reading of Lutoslawski’s Piano Concerto greatly benefited from pianist Garrick Ohlsson’s steely yet sensitive account of the solo part.
There’s much in “La Pasión” to like. Composer Osvaldo Golijov’s use of Latin and South American musical forms has been well documented: the piece offers a striking compendium of idioms covering a huge geographical range.
In sum, this was one of those rare concerts in which everything clicked, musically and dramatically.
Charles Dutoit, one of the Boston Symphony Orchestra’s favorite guest conductors, drew playing of high energy and vivid color.
Saturday’s pairing demonstrated exactly the kind of risky programming the Boston Symphony Orchestra shouldn’t be afraid to explore, even when it doesn’t all quite come together.
The Boston Symphony Orchestra lacks a composer-in-residence. There are many local composers the orchestra might draw on were it to establish such a position, but few have the international reputation of someone like Thomas Adés.
Classical Music Commentary: Boston Symphony Orchestra Season 2014-15 — A Jolt of Energy and Stability
Most of the programs during BSO conductor Andris Nelsons’ ten subscription weeks look fresh and, if not outright adventurous, on paper they at least look more exciting than not.
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