This symphony is the finest synthesis of Leonard Bernstein’s considerable theatrical instincts within a concert framework, idiosyncratic and singular.
Tanglewood Festival Chorus
In the Piano Concerto, Ferruccio Busoni seemed to want to have the final word in the tradition of the Romantic concerto.
The intellectual and emotional intelligence of the docket stands as a conspicuous example of exemplary programmatic creativity.
In sum, this was one of those rare concerts in which everything clicked, musically and dramatically.
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.
One can’t really go wrong with any of the individual concerts, but below are a few highlights released between August 1st and September 2nd. All are available for purchase on the Boston Symphony Orchestra’s website.
Beethoven’s Symphony No. 9 is a piece the BSO trots out with greater regularity of late than most orchestras (as Tanglewood aficionados are aware, it’s been the traditional summer closer each August for about a decade now) and, while such familiarity may not exactly breed complacency, it certainly runs the risk of so doing.
Every single player and singer seemed thrilled to be performing this music, absorbed in it, attentive to their masterful conductor and having a good time. It made me think how often that is not the case at symphony concerts. By Helen Epstein There were no star soloists or conductors around on Friday night and since […]
Another extraordinary evening at Tanglewood. No bones to pick. Just appreciation and delight. At Tanglewood: James Levine conducts BSO and Tanglewood Festival Chorus, John Oliver, Conductor; Hei-Kyung Hong, Soprano; Matthias Goerne, Baritone. (Photo Credit: Hilary Scott) by Helen Epstein It’s time that some cultural reporter with a budget explored what makes the Tanglewood Festival Chorus […]