Saturday, November 6, 2021

BSO — 2021/11/06

Two "warhorses" make up this evening's concert. Before intermission we have Tchaikovsky's Piano Concerto No. 1. The reviewer in the Globe says the soloist, Beatrice Rana, takes a somewhat different approach to it than most performers. In the interview on the WCRB she says she likes to look at the score without assuming the way other people have performed it — she wants to fet as close to Tchaikovsky as possible without the filter of others' interpretations. After the intermission, they give us the Seventh Symphony by Dvořák. Here are the basics, along with the interview, from WCRB:

Saturday, November 6, 2021
8:00 PM

The Italian pianist is the soloist in the sweeping epic of Tchaikovsky’s Piano Concerto No. 1, and Dima Slobodeniouk leads the Boston Symphony Orchestra in Dvořák’s Symphony No. 7, Saturday night at 8pm.

Dima Slobodeniouk, conductor
Beatrice Rana, piano

TCHAIKOVSKY Piano Concerto No. 1
DVOŘÁK Symphony No. 7

To hear Beatrice Rana describe her experiences with Tchaikovsky's First Piano Concerto, as well as what Chopin's music has meant to her during the pandemic, click on the player above.

Transcript:

Brian McCreath I'm Brian McCreath from WCRB at Symphony Hall with Beatrice Rana, 

The BSO's performance detail page has been completely reworked. It;s going to take me a while to get used to it. But it seems that the usual links are still there if you look for them.   It gives us the following:

Exciting Italian pianist Beatrice Rana plays the towering Piano Concerto No. 1 in her BSO debut in concerts led by Russian conductor Dima Slobodeniouk. One of the most popular and evergreen concertos in the repertoire, Tchaikovsky’s piece never fails to please with its combination of virtuoso fireworks and soaring melody. The concert concludes with Dvořák’s darkly majestic Symphony No. 7, which reveals both his love for his native Bohemia and the influence of his mentor, Johannes Brahms.

I wasn't there on Thursday, so you'll have to take the word of the reviewers in the Globe and the Musical Intelligencer. They think it's worth hearing: a fresh take on the familiar works.

Enjoy.

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