Tag Archive: BSO

The Year that Was: Boston Classical Music in 2015

Andris Nelsons

The major news from Boston was the ascendancy of Andris Nelsons, firming up his place as music director of the Boston Symphony Orchestra, which included a quickly agreed upon three-year extension of his contract into the 2020-2021 season. This announcement was soon followed by the less happy surprise for Bostonians of Nelsons also accepting an offer from the eminent Leipzig Gewandhaus, the orchestra whose music director was once no less than Felix Mendelssohn, to take on that very position, beginning in the 2017-2018 season, thus dividing the loyalties of the young maestro (who just turned 37), though evidently with the possibility of collaborations between the two orchestras. (Remember when some people were complaining about James Levine dividing his time between the BSO and the Metropolitan Opera?)

Good Times, Bum Times: Last Year in Boston

Stephen Sondheim’s lyric from Follies seems especially suitable for this past year in Boston, and for the classical music world in general. There was a lot of terrible news: the folding of the New York City Opera, the cancellation of Minnesota Orchestra concerts and the ensuing resignation of Osmo Vanskä, the music director who put it on the map (even George Mitchell couldn’t make peace between labor and management). The worst thing to happen to Boston, especially for the arts, was the sudden shutdown of its most important weekly newspaper, The Boston Phoenix (I’m biased, of course, having written for the Phoenix for some 35 years). With only a day’s notice, some wonderful writers were suddenly out on the street, and the go-to place for listings and reviews became the sound of silence.

Recent Orchestral Performances in Boston, above all Oliver Knussen and the BSO

Sunday evening, April 14th, the night before the fateful Boston Marathon, British composer/conductor Oliver Knussen was honored by the Boston Modern Orchestra Project and the New England Conservatory at a concert at Jordan Hall. NEC officials awarded Knussen an honorary…
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Vasily Petrenko and Joshua Bell in a Russo-English Program with the SF Symphony: Shostakovich, Tchaikovsky, Glazunov, and Elgar

Vasily Petrenko. Photo Mark McNulty.

Hats off, ladies and Gentlemen! A conductor! And a great symphony!

Vasily Petrenko’s recent electrifying week with the San Francisco Symphony reminds the listener that Gustavo Dudamel is not the sole “conducting animal” to be found on the musical circuit these days. Esa-Pekka Salonen coined the term a while back, with the impassioned Venezuelan in mind. And indeed, Dudamel is the sort of refreshing performer who has the winds jumping to their feet like jazz musicians and bass players twirling their instruments. He is all about emotion as vitality. But physically, apart from the energy with which he beats time, his manner is unremarkable.

The fascination of Petrenko, by contrast, is his ability to reflect every quivering moment of the music somewhere on his face or body, as though he were a disembodied hologram. We joke about people who are “double-jointed.” But Vasily Petrenko might as well be quadruple-sprung and then some…this is a man who’d have no trouble tapping three heads, rubbing five tummies and signalling with numerous eyebrows at the same time!

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