Boston Symphony Orchestra
Guest conductor Giancarlo Guerrero, music director of the Nashville Symphony Orchestra, is a big man who conducts with big gestures. In the first half of “The Rite of Spring” I wasn’t quite sure if his podium mannerisms (which culminated in jumping jacks during the concluding “Dance of the Earth”) were helpful or distracting.
While I’m not necessarily sold on this particular interpretation of Mahler Symphony no. 1, it was a thoughtful reading led with conviction; conductor Ludovic Morlot drew a committed performance from the BSO, and that counts for something.
It was clear from the moment Ludovic Morlot mounted the podium that he and the Boston Symphony Orchestra possess a strong chemistry: the players clearly respect him and they responded to his leadership with precision, energy, and feeling.
It’s “Mahler Unleashed” month at the New England Conservatory. I heartily recommend all of the “Mahler Unleashed” events.
Throughout his career, conductor Kurt Masur has focused primarily on conducting the standard German repertoire, and now, at age 84, his mastery and understanding of this music is unmatched.
Despite some interpretive shortcomings, Sean Newhouse, the orchestra’s 30-year-old assistant conductor has solid technique, and a major orchestra whose players, management, and audience believe in him.
October offers an embarrassment of musical riches. The Boston Symphony Orchestra, without a music director, is still putting on impressive programs, including several this month.
A busy month in New England, with at least two classical music traditions kicking off the season in Boston: Longy School of Music’s free SeptemberFest and Fenwick Smith’s 35th annual flute recital at Jordan Hall (Sept 4 @ 3p.m.).
An alternative to the New York Times’ review of “Porgy and Bess” at the Tanglewood Festival.
Concert Review: Yo-Yo Ma Elevates a Dispiriting Boston Symphony Orchestra Opening Night