After all these many decades I am still deeply moved by Yo-Yo Ma’s playing, which combines irresistible charisma and generosity of spirit.
Charles Dutoit
Concert Review: Charles Dutoit conducts Ravel and Javier Perianes plays Manuel de Falla
Javier Perianes proved himself one of the elite pianists of our day, playing with such deep, inward focus.
Concert Review: Charles Dutoit and the Boston Symphony Orchestra Triumph with “King Roger”
The BSO’s captivating performances of King Roger received unanimous rave reviews from the local press, to which I add mine.
Concert Review: Violinist Julia Fischer and the Boston Symphony Orchestra
Julia Fischer’s account of Brahms’s Violin Concerto with the Boston Symphony Orchestra (BSO) this weekend was nothing if not dynamic and impressive.
Fuse Concert Review: Conductor Charles Dutoit and the Boston Symphony Orchestra Perform Mozart and Mahler
Conductor Charles Dutoit seems to have little affinity for Mahler’s distinctive style.
Fuse Concert Review: The Boston Symphony Orchestra — A Searing Rendition of Benjamin Britten’s “War Requiem”
In sum, this was one of those rare concerts in which everything clicked, musically and dramatically.
Fuse Concert Review: Charles Dutoit conducts Ravel, Penderecki, and Elgar
Charles Dutoit, one of the Boston Symphony Orchestra’s favorite guest conductors, drew playing of high energy and vivid color.
Fuse Concert Review: Stravinsky and Ravel Operas by the Boston Symphony Orchestra/Charles Dutoit
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.
Classical Music Sampler: July 2012
The Boston Symphony Orchestra’s (BSO) residency at Tanglewood begins with an all-Beethoven concert on July 6th and runs through August 26th (when it concludes with a John Harbison premiere and more Beethoven –- the Ninth).
Classical Music Review: The Berlioz Requiem Opens Tanglewood In Style
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.