Giancarlo Guerrero
Paul Jacobs, the day’s reigning organ virtuoso, has assayed a fascinating assortment of Americana that showcases the King of Instruments against an orchestra.
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.
My Father Knew Charles Ives and Harmonielehre make an excellent pairing on the Nashville Symphony Orchestra’s new, all-Adams album led by music director Giancarlo Guerrero.
John Nelson’s La Damnation de Faust is a triumph; you will rarely encounter Villa-Lobos played with greater understanding or in better sound than here; Paavo Järvi and his orchestra’s survey of Messiaen orchestral works early and late is resplendent.
This symphony is the finest synthesis of Leonard Bernstein’s considerable theatrical instincts within a concert framework, idiosyncratic and singular.
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.
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