Schoenberg in the opera often mentions Mahler, and we see his name projected on the back screen—a great Austrian Jewish composer who preceded Schoenberg in coming to America. Since James Levine’s day, the Boston Symphony has not given us Schoenberg (though Verklärte Nacht or the Five Pieces for Orchestra, or Gurrelieder might seem a good fit for Music Director Andris Nelsons). But the BSO does consistently perform Mahler, and in recent weeks gave us the huge, choral Second (Resurrection) Symphony and the tuneful and popular Fifth (whose Adagietto for strings is used so poignantly in Luchino Visconti’s film Death in Venice).
Boston Symphony Orchestra
Rome’s Santa Cecilia Orchestra, led by Sir Antonio Pappano, with guest soloist Martha Argerich, visited Symphony Hall on Sunday, October 22nd, performing at the rather unusual hour of 5 p.m. Going into the concert, I was overtaken by the suggestion of my title for this review. Thinking of Lorca and Hemingway, who between them immortalized the phrase “Five in the Afternoon,” in connection with bullfighting, I wondered if we concert goers were in for a strong flavor of doom, transcended through ritual and magnificence. No such thing. The concert was all beauty and vitality, though certainly with magnificence about it. This stunning event was the best orchestral concert of the fall in Boston.
Even the most independent of us can't hear everything one might like to. In New York, choices must be made, usually based on what one thinks is most important, and often enough what is important has nothing to do with music. Family obligations kept me away from Rattle and the Berlin Philharmonic, although he was in his prime repertory for his final US appearances with the orchestra, and sheer surfeit diluted my enthusiasm for Gergiev. He is not the only friend of Vladimir Putin's to be accused of spending too much time on the golf course, and it shows in his wayward performances. What I did manage to hear brought discovery in conductors of exceptional ability I hadn't heard before and some new music, as well as measures of excitement, admiration, and boredom.
The Boston Symphony Orchestra’s 2017 Tanglewood Music Festival, very successful by many reports, has just concluded, with the new season in Boston to begin very soon. I offer here the perspective of a look back at the preceding season in Boston, commenting mostly on BSO, but also a few other events. I was able to attend only one Tanglewood concert this summer: the impressive concert performance of Wagner’s Das Rheingold, conducted by BSO Music Director Andris Nelsons, with a large, excellent cast. A good sign for the future.
After the stunning concert with Simon Rattle leading the Berliner Philharmoniker at Boston’s Symphony Hall—Pierre Boulez’s scintillating Éclat followed (without intermission) by Mahler’s black sheep Symphony No. 7—I couldn’t stop shaking. There’s a lot of good music in Boston, but this was different—on a whole other level. And the audience knew it, felt it. Wasn’t it just what we needed to hear after the bruising election? People were not only cheering but weeping and hugging each other.
Boston has had a very good music season since the first of the year. Notably, Andris Nelsons has established himself ever more fully as leader of the Boston Symphony Orchestra. After a triumphant concert performance of Strauss’s Elektra in the fall, Nelsons came back with especially strong accounts of three large-scale symphonies: the Shostakovich Eighth in March, and the Bruckner Third and Mahler Ninth in April. All were brilliantly played by the orchestra, which seems to have accommodated itself to Nelsons very well.
The Boston Symphony Orchestra started the new year well with two programs under the direction of guest conductor François-Xavier Roth, who hails now from Cologne and is very active in Europe, much sought after. Conducting without baton, vigorous and engaged, Roth holds the players’ attention and gets what he wants. Orchestra and audience alike feel caught up in an unusually tense and purposeful address to the music at hand.
The fall 2015 orchestral season at Carnegie Hall was dominated by the Boston Symphony Orchestra's traditional three-concert visit, this time in October, and a five-concert traversal of Beethoven's symphonies by the Berlin Philharmonic under their outgoing principle conductor/artistic director, Simon Rattle. Both had their joys and peculiarities, but only Berlin confronted us with any actual disappointments.