Boston Symphony Orchestra
To my ears, the Boston Symphony Orchestra—supplemented by saxophones, guitar, and mandolin—sounded overblown and unbalanced, oddly tinny at times (perhaps because of the amplification), glorious at others.
The selection of Andris Nelsons, 34, as the BSO’s next chief is an inspired choice and bold, and not just because of his age.
The return to the standard repertoire, which, since January, has been the orchestra’s primary focus, is safe, unassuming, and (potentially, at least) creatively stifling.
Next season’s stale programming certainly derives from the BSO’s lack of a music director guiding and shaping the overall course of the season.
Daniele Gatti’s management of the orchestra – the unfolding of melodic lines and instrumental textures – was particularly noteworthy, matched here with a keen sensitivity to the music’s expressive detail: this was a riveting performance.
Julian Rachlin is a Romantic violinist in the best sense: he has technique to burn, but isn’t overly showy. His tone is pure, his intonation impeccable, and in his playing the melodic line is – even in the busiest solo textures – given pride of place.
If the BSO wanted to make a statement about where it might be headed based on the strong artistic results of the current season, it certainly could have. That it didn’t is a missed opportunity and hopefully not a sign of things to come.
Saariaho’s music is often lush and vibrant, to be sure, but it also can lose track of its musical purpose and meander excessively from time to time. Not so in “Circle Map.”
That Symphony Hall was probably a third empty is inexplicable, but, if you missed any of these concerts, it’s truly your loss. These were among the BSO’s benchmark performances of the last decade.
Fuse Commentary: 2013-1014 Orchestral Season Preview
So, even though certain pieces by Mendelssohn and Beethoven seem to be turning up with greater frequency than perhaps may be healthy, there is still much to admire and look forward to in the upcoming orchestral season.
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