Boston Symphony Orchestra
Given its considerable strength and vitality, Ethel Smyth’s music deserves its newfound place in the limelight. Let’s hope the BSO programs more of her music again soon.
The final installment in the Boston Symphony Orchestra’ s Shostakovich symphonies series is not nearly as overwhelming as its kick-off disc.
A concert whose music served as a prayerful elegy for a world spinning out of control.
Ten years on, Andris Nelsons’s retains his remarkable gifts for expressing the raw power of music with dazzling panache.
Through fresh new works and a welcome toss-up of pieces commissioned during Koussevitzky’s historic tenure, the BSO’s coming season will honor the fullness of the Russian-born conductor’s legacy.
If Andris Nelsons’s direction revealed one thing, it’s that violinist Anne-Sophie Mutter and composer Thomas Adès make a stellar musical pairing.
Andris Nelsons has a fine feel for colorful musical canvases, a talent once again displayed in performances of Thierry Escaich’s Cello Concerto and Rachmaninoff’s Symphony No. 2.
Earl Lee, the BSO’s assistant conductor, pulled off a memorable debut. Let’s have him back in the subscription series again, and soon.
Conductor and composer Thomas Adès brought more of his intriguing music to Symphony Hall this weekend with two selections from his recent ballet, The Dante Project.
Brimming with edge-of-seat intensity and fist-waving theatricality, Julia Wolfe’s oratorio “Her Story” is the unequivocal highlight of the current BSO season.
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