One of Andris Nelsons’ great gifts as an interpreter is his ability to shape and develop large-scale musical forms.
Boston Symphony Orchestra
On the whole, this BSO Opening Night was a welcome overview Leonard Bernstein’s larger output and of his versatility as a composer.
Some institutions’ offerings aren’t as challenging as they could be, but there’s a healthy balance between the familiar and new.
The BSO’s Brahms’ sounds as robust and responsive as they do when they’re on their best behavior at Symphony Hall.
For all the surface-y beauty of the BSO’s playing, it’s a dull interpretation of Anton Bruckner’s Symphony no. 3.
Violinist Anne-Sophie Mutter gave a searing, intense reading of the solo part in Nostalghia (In Memory of Andrei Tarkovskij).
Mitsuko Uchida is quite possibly the finest Mozart pianist around today, at least among non-period specialists.
On paper, at least, the upcoming season of the BSO is a bit of a letdown: cautious, unthreatening, comfortable.
No orchestra in this country embraces the challenges of Charles Wuorinen’s hyper-intellectual style better than the Boston Symphony Orchestra.
In the Piano Concerto, Ferruccio Busoni seemed to want to have the final word in the tradition of the Romantic concerto.