While these dramatic sections constitute the more celebrated musical attributes of Berlioz’s furious conception of Judgment Day, it is actually in the quieter, mostly contemplative sections that the writing generates a just as impressive visionary reflectiveness.
I’ve been going to BSO Open Rehearsal for some 50 years at Tanglewood and can’t remember ever having as alienating an experience as I and over one thousand other attendees had Wednesday night at Symphony Hall.
By Helen Epstein July 30 featured a Russian warhorse program at Tanglewood: Glinka’s “Overture to Ruslan and Ludmila”; Tchaikovsky’s Piano Concerto No. 1 in B-flat minor, and Prokofiev’s Music from the ballet Romeo and Juliet. These are familiar (some might say over-familiar) works for orchestra, but, of course, there’s a reason they’re still being programmed. […]
By Helen Epstein It isn’t often that you get to hear the same conductor, same composer, and two different orchestras but that unusual experience was offered at Tanglewood as Michael Tilson Thomas (filling in for James Levine) conducted the Boston Symphony Orchestra (BSO) in Mahler’s Second Symphony last week and the Tanglewood Music Center Orchestra […]