Saturday, May 20, 2023

BSO/Classical New England — 2023/05/20

 Another Tanglewood concert is this evening's rebroadcast on WCRB:

Saturday, May 20, 2023
8:00 PM

In a concert by the Tanglewood Music Center Orchestra, Andris Nelsons leads Gustav Mahler’s meditation on grief and triumph, and soprano Christine Goerke sings a rarely heard work by Berlioz.

Tanglewood Music Center Orchestra 
Andris Nelsons, conductor 
Christine Goerke, soprano 

Hector BERLIOZ The Death of Cleopatra
Gustav MAHLER Symphony No. 5

This concert was originally broadcast on July 23, 2022 and is no longer available on demand.


This concert took place the day after the one they rebroadcast last week, so my comments from that weekend still apply, and the link to the BSO performance detail page still works. The portion of the Globe review of the weekend dealing with the Saturday concert is favorable, noting that it was a student orchestra, the Tanglewood Music Center Orchestra. The reviewer singled out the principal trumpet and the principal horn for well played solos in the Mahler. Again, no review in the Intelligencer.

So it should be a good evening.


Saturday, May 13, 2023

BSO/Classical New England — 2023/05/13

Now that the regular BSO season is ended, WCRB is giving us "encore broadcasts." This evening's is from last July at Tanglewood, as they tell us here:

Saturday, May 13, 2023
8:00 PM

Karina Canellakis returns to the Berkshires to lead the Boston Symphony in Rachmaninoff’s “Symphonic Dances,” and Emanuel Ax is the soloist in Chopin’s dramatic Piano Concerto No. 2.

Karina Canellakis, conductor 
Emanuel Ax, piano

Richard WAGNER Prelude to Lohengrin, Act 1
Frédéric CHOPIN Piano Concerto No. 2
RACHMANINOFF Symphonic Dances

This concert was originally broadcast on July 22, 2022 and is no longer available on demand.

I posted about it at the time, and the BSO performance detail page is still available.

There was no review in the Intelligencer, but the Globe had a review of the whole weekend, and the reviewer liked the show on the 22nd.

Bottom line: it's worth listening to, IMO.

Saturday, May 6, 2023

BSO — 2023/05/06

 WCRB gives us the basics.

Saturday, May 6, 2023
8:00 PM

Encore broadcast on Monday, May 15

In the final program of the 2022-2023 season, the Boston Symphony and Music Director Andris Nelsons traverse the devastating landscape of Shostakovich’s Symphony No. 13, Babi Yar, and Augustin Hadelich is the soloist in Britten’s deeply emotional Violin Concerto.

Andris Nelsons, conductor
Augustin Hadelich, violin
Matthias Goerne, bass-baritone
Tanglewood Festival Chorus, James Burton, conductor
New England Conservatory Symphonic Choir, Erica J. Washburn, conductor

BRITTEN Violin Concerto
SHOSTAKOVICH Symphony No. 13, Babi Yar 

BSO program notes

Read translations of the texts sung in Shostakovich's Symphony No. 13 (courtesy of BSO Archives)

To hear an interview with The Boston Globe's Jeremy Eichler about Shostakovich's Symphony No. 13 – which Eichler recently wrote an article about, and which plays a central role in his forthcoming book Time's Echo – use the player above, and read the transcript below.

TRANSCRIPT (edited for clarity):

Brian McCreath I'm Brian McCreath at WCRB with Jeremy Eichler of the Boston Globe. Jeremy, thank you for coming to the studio today. I appreciate it.

Jeremy Eichler Thanks for having me, Brian.

Brian McCreath You recently wrote an article in The Boston Globe about Shostakovich's 13th Symphony and

Note that the page has links both to the program notes and to the English translqtion of the texts of the symphony.

There is also this from the BS)O performance detail page:

The BSO and Andris Nelsons complete their multi-season survey of Dmitri Shostakovich’s symphonies with No. 13, Babi Yar, based on poems by Yevgeny Yevteshenko. The title poem condemns Soviet revisionist history and antisemitism surrounding a Nazi massacre of Ukrainian Jews. The outstanding German bass-baritone Matthias Goerne is soloist. Opening the program, frequent BSO guest Augustin Hadelich plays Benjamin Britten’s early, lyrical and poignant Violin Concerto, the composer’s reaction to the tragedy of the Spanish Civil War. 

This week’s performances by the Tanglewood Festival Chorus are supported by the Alan. J. and Suzanne W. Dworsky Fund for Voice and Chorus.


Andris Nelsons, conductor
Augustin Hadelich, violin
Matthias Goerne, bass

Tenors and Basses of the Tanglewood Festival Chorus
 James Burton, conductor
Tenors and Basses of the New England Conservatory Symphonic Choir
 Erica J. Washburn, conductor

BRITTEN Violin Concerto
Intermission
SHOSTAKOVICH Symphony No. 13, Babi Yar

The review in the Globe was extensive and very favorable, as is the one in the Intelligencer.

Hadelich was amazing in the Britten (and amazingly pale). The Shostakovich was powerful. Neither piece was pretty music, but it was fascinating. I recommend giving it a listen.


BTW this is the final concert of the season, Between now and Tanglewood, I expect reruns from WCRB as usual, while the Pops takes over Symphony Hall.

Saturday, April 29, 2023

BSO — 2023/04/29

WCRB gives us the basics, along with access to an interview with the soloist:

Saturday, April 29, 2023
8:00 PM

Encore broadcast on Monday, May 8

Renowned South Korean pianist Seong-Jin Cho is the soloist in Maurice Ravel’s Piano Concerto in G, and Andris Nelsons leads the Boston Symphony in Caroline Shaw’s meditative Punctum and Stravinsky’s Petrushka.

Andris Nelsons, conductor
Seong-Jin Cho, piano

Caroline SHAW Punctum
RAVEL Piano Concerto in G
STRAVINSKY Petrushka (1947 version)

To hear a preview of Ravel's Piano Concerto in G with Seong-Jin Cho, use the player above, and read the transcript below:

Brian McCreath I'm Brian McCreath at Symphony Hall with Seong-Jin Cho, the pianist who's back in Boston after a few years, it turns out that you were here in 2020, just before everything got locked down for the pandemic. Seong-Jin Cho, thank you so much for a little bit of your time today.

Seong-Jin Cho My pleasure. It's really great to be back

For more information, we can visit the BSO's performance detail page, and from there we can follow links to the program notes for each piece.

Acclaimed South Korean pianist Seong-Jin Cho returns to Symphony Hall for Maurice Ravel’s Concerto in G, one of the composer’s final works, which ranges from jazzy energy to poignant lyricism. Pulitzer Prize-winning American composer Caroline Shaw’s Punctum, is a meditation on a moment from J.S. Bach. Igor Stravinsky’s 1911 ballet Petrushka, the second of his great trilogy for the Ballets Russes company, depicts the hapless living puppet title character in gloriously scored scenes from a carnival fair.

Saturday evening’s performance by Seong-Jin Cho is supported by the Roberta M. Strang Memorial Fund.


Andris Nelsons, conductor
Seong-Jin Cho, piano

Caroline SHAW Punctum
RAVEL Piano Concerto in G
Intermission
STRAVINSKY Petrushka (1947 version)

This wasn't part of my subscription, so I'll be hearing it for the first time along with you. Of course, I've heard the Ravel and Stravinsky on other occasions, and I can recommend them. As for "Punctum," I see it was premiered last summer on July 30 at Tanglewood, but I have no memory of it. The program note doesn't tell us a lot either. There is no review of this concert in either the Globe or the Intelligencer, but a Globe review from last summer has this to say:

Shaw describes her “Punctum,” originally a string quartet but presented on Saturday in a new incarnation for orchestra, as “an exercise in nostalgia” inspired by a moving passage from Roland Barthes’s “Camera Lucida,” in which the author finds a photo of his deceased mother as a child and discovers in its smallest details the essence of her entire adult being. “Punctum” was also inspired by Bach’s “St. Matthew Passion,” and Shaw plays ingeniously with the idea of tonal harmony as a kind of found object, a photograph of a loved one who has been lost, an artifact that may be savored on its own terms but cannot be separated from the ravages of time. Robust chords drift in and out of focus. Seemingly unified gestures are fractured over the orchestra as a whole. In order to actually see history, Barthes writes, we must stand apart from it. Shaw’s work seems by turns to flout and accentuate that distance from an idealized classical past.

It should be a good concert. Enjoy.

Saturday, April 22, 2023

BSO — 2023/04/22

 This evening it's Sibelius, Mozart, Adès, and Sibelius live from Symphony Hall. Here's what we read on WCRB's page about it:

Saturday, April 22, 2023
8:00 PM

Encore broadcast on Monday, May 1

Anne-Sophie Mutter is the soloist in Mozart’s Violin Concerto No. 1 and Thomas Adès’s Air, a work inspired by Sibelius, and Andris Nelsons leads the BSO in Sibelius’s Luonnotar, with soprano Golda Schultz, and Symphony No. 5.

Andris Nelsons, conductor
Golda Schultz, soprano
Anne-Sophie Mutter, violin

SIBELIUS Luonnotar (translation)
MOZART Violin Concerto No. 1
Thomas ADÈS Air, for violin and orchestra
SIBELIUS Symphony No. 5

To hear a preview of Thomas Adès's Air with Anne-Sophie Mutter, use the player above, and read the transcript below.

INTERVIEW TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall with Anne-Sophie Mutter, who is back with the Boston Symphony with a couple of pieces. Anne-Sophie, thanks a lot for your time today. I appreciate it.

Anne-Sophie Mutter Great pleasure, Brian.

Brian McCreath We're going to talk about Thomas Adès's Air, this new piece. But first, I want to ask you about Mozart and whether this concerto number one, the Violin Concerto No. 1, is a specific choice to accompany Thomas's piece, or if there's any other particular reason you chose it for this concert.

Anne-Sophie Mutter Yeah. This is a very good question, actually. 

TO go a bit more in depth, here's what you get at the BSO performance detail page (with links to the program notes):

Andris Nelsons leads superstar violinist Anne-Sophie Mutter in the American premiere of English composer Thomas Adès’ new Sibelius-inspired Air for violin and orchestra, a BSO co-commission written for Mutter. In her BSO debut, the young South African soprano Golda Schultz sings Jean Sibelius’ Luonnotar, a dramatic tone poem with voice based on Finnish creation myth. Though his Fifth Symphony was an enormous success at its 1915 premiere, Sibelius extensively revised the original four-movement work, completing the final three-movement version in 1919.

Friday afternoon's performance by the vocal soloist is supported by a generous gift from the Ethan Ayer Vocal Soloist Fund.


Andris Nelsons, conductor
Anne-Sophie Mutter, violin
Golda Schultz, soprano

SIBELIUS Luonnotar
MOZART Violin Concerto No. 1
Intermission
Thomas ADÈS Air, for violin and orchestra (American premiere; co-commissioned by the Boston Symphony Orchestra, Andris Nelsons, Music Director, through the generous support of the New Works Fund established by the Massachusetts Cultural Council, a state agency and the Arthur P. Contas Commissioning Fund.)
SIBELIUS Symphony No. 5

There is a favorable review in the Globe and a very favorable and detailed one in the Intelligencer.

I enjoyed my evening in Symphony Hall on Thursday. Jeffrey Gantz in the Intelligencer put it very well when he wrote, "Air (think also “Aria” and perhaps Shakespeare’s Ariel) is 15 minutes of slow spirals and concentric circles." There was nothing offensive in any of it, and I thought the soprano did very well in Luonnotar.

So give it a listen, and don't forget the rebroadcast.

Saturday, April 15, 2023

BSO — 2023/04/15

 This week we're back to live music from Symphony Hall. WCRB, which will be broadcasting the concert, gives us the essentials:

Saturday, April 15, 2023
8:00 PM

Encore broadcast on Monday, April 24

French cellist Gautier Capuçon takes center stage with the Boston Symphony for the American premiere of Thierry Escaich’s new work for cello and orchestra, and Andris Nelsons conducts Ravel’s Alborada del gracioso and Rachmaninoff’s romantic Symphony No. 2.

Andris Nelsons, conductor
Gautier Capuçon, cello

RAVEL Alborada del gracioso
Thierry ESCAICH Les Chants de l’Aube, for cello and orchestra
RACHMANINOFF Symphony No. 2

To hear a preview of Thierry Escaich's Les Chants de l’Aube with cellist Gautier Capuçon, use the player above, and read the transcript below.

TRANSCRIPT:

Brian McCreath I'm Brian McCreath at Symphony Hall

You can listen to the interview via a link on their page or read the transcript there, if you wish.

And here's the BSO's own performance detail page, with iits customary links to program notes etc.:

Music Director Andris Nelsons leads the American premiere of a new work for cello and orchestra by French organist-composer Thierry Escaich, written for soloist Gautier Capuçon. Maurice Ravel’s exuberantly orchestrated Alborada del gracioso is tinged with Flamenco rhythms and Spanish flavors. Sergei Rachmaninoff’s by turns lush and exuberant Symphony No. 2 closes the program.


Andris Nelsons, conductor
Gautier Capuçon, cello

RAVEL Alborada del gracioso
Thierry ESCAICH Les Chants de l'aube, for cello and orchestra (American premiere; co-commissioned by the Gewandhausorchester Leipzig and by the Boston Symphony Orchestra, Andris Nelsons, Music Director, through the generous support of Catherine and Paul Buttenwieser.)
Intermission
RACHMANINOFF Symphony No. 2

The Boston Musical Intelligencer gives a highly favorable review of the concert. The Boston Globe's review concentrates on the cello concerto, and +is similaryly favorable.

I was there for the Thursday evening performance, and thought it was all very okay. The Ravel was snappy. The Escaich was pleasant enough. I noticed that at many points the flute was echoing the cello, and szo was the clarinet. I didn't really catch the elements which the composer and program annotator referred to as represented in the music (dtained glass, dance, etc.) but it wasn't hard to listen to. And the Rachmaninoff symphony, for all its length, didn't seem over-long. In other words, this wasn't a piece where I found myslef thinking, "Enough, already!" Still, none of it struck me as "must listen" music. I will try to catch the cello conceerto again during the rebroadcast (my brother's phone call will be when it's being played this evening) and I'll have the radio on this evening.

So you might as well tune in, if you're free.

P.S. I was busy last Saturday and never posted about the concert that evening. I'll see if I can pull something together before the rebroadcast onApril 17.

Saturday, April 1, 2023

B BSO/Classical New England — 2023/04/01

 This evening we get an "encore broadcast" from WCRB, the concert performed on February 12, 2022. Herewith their blurb:

Saturday, April 1, 2023
8:00 PM

In an encore Boston Symphony broadcast, Philippe Jordan makes his BSO debut conducting an all-Russian program of Borodin, a suite from Prokofiev’s "Romeo and Juliet," and Rachmaninoff’s Piano Concerto No. 3 with soloist Yefim Bronfman.

Philippe Jordan, conductor
Yefim Bronfman, piano

BORODIN Overture to Prince Igor
RACHMANINOFF Piano Concerto No. 3
PROKOFIEV Suite from Romeo and Juliet

This concert was originally broadcast on February 12, 2022 and is no longer available on demand.

Hear Philippe Jordan describe his own suite from Prokofiev's Romeo and Juliet, the differences between conducting ballet music for a ballet and in concert, and the complicated history of Borodin's Prince Igor Overture with the audio player above, or in the tab below. Read the transcript in the tab below.

Hear Yefim Bronfman describe the challenge of returning to Rachmaninoff's Third Piano Concerto after being away from it for many years, the value of hearing the composer play it, and the mysteries of choosing the right instrument to play it on, using the audio player in the tab below. Read the transcript in the tab below.

I posted about it back then. I hope the links to the reviews and performance detail page still work. As you see, there are links on the WCRB page to interviews with the pianist and the conductor. It's all pretty standard stuff. So enjoy.

Since this is an "encore" there apparently won't be a chance to hear it again on April 10.

Saturday, March 25, 2023

BSO — 2023/03/25

 This evening's concert could be "challenging." Here's the word from WCRB:

Saturday, March 25, 2023
8:00 PM

Encore broadcast on Monday, April 3

Thomas Adès returns to the Boston Symphony to conduct Igor Stravinsky’s dreamy retelling of Perséphone and two of his own works inspired by Dante Alighieri’s 14th-century Italian epic poem Commedia.

Thomas Adès, conductor
Edgaras Montvidas, tenor
Danielle de Niese, narrator
Tanglewood Festival Chorus, James Burton, conductor

STRAVINSKY Perséphone (libretto and translation)
Thomas ADÈS Inferno Suite
ADÈS Paradiso

To hear a preview of Inferno Suite and Paradiso with Thomas Adès, use the player above or the tab below. For a preview of Stravinsky's Perséphone with Danielle de Niese, use tab below:

And here's the BSO performance detail page:

English composer Thomas Adès returns to lead two works from The Dante Project, a three-part ballet score from 2021 based on Dante Alighieri’s 14th-century Italian epic poem Commedia. The piece was written to mark the 700th anniversary of the poet’s death. Igor Stravinsky’s mythology-based Perséphone for narrator, tenor, chorus, and orchestra is a magically surreal neoclassical retelling of the goddess Persephone’s abduction by Hades, god of the underworld.

Sung in French with English supertitles

Friday afternoon’s appearance by Edgaras Montvidas is supported by a gift in loving memory of Alan J. Dworsky.


Thomas Adès, conductor
Edgaras Montvidas, tenor
Danielle de Niese, narrator
Tanglewood Festival Chorus
 James Burton, conductor
The Boys of the St. Paul’s Choir School
 James Kennerly, director

STRAVINSKY Perséphone
Intermission
Thomas ADÈS Inferno Suite
Thomas ADÈS Paradiso

The reviews are in. The Globe's is a rave, while in the Intelligencer we are exhorted to listen even though music of these styles may not be our cup of tea.

I didn't hear it, but Stravinsky is Stravinsky, it seems, and, if nothing else, Adès is apparently loud. So maybe give it a try, but don't be surprised if you don't like it.

Saturday, March 18, 2023

BSO — 2023/03/18

 The third concert in the BSO's series “Voices of Loss, Reckoning, and Hope” is being given this evening. Here's WCRB's synopsis:

Saturday, March 18, 2023
8:00 PM

Encore broadcast on Monday, March 27

In the third program of “Voices of Loss, Reckoning, and Hope,” the women’s vocal ensemble joins the BSO in composer Julia Wolfe’s commemoration of the fight for women’s suffrage, and Giancarlo Guerrero conducts Górecki’s Symphony of Sorrowful Songs, with soprano Aleksandra Kurzak.

Giancarlo Guerrero, conductor
Aleksandra Kurzak, soprano
Lorelei Ensemble (Beth Willer, Artistic Director)

Henryk GÓRECKI Symphony No. 3, Symphony of Sorrowful Songs
Julia WOLFE Her Story, for vocal ensemble and orchestra

To hear an interview with Beth Willer, founder and Artistic Director of Lorelei Ensemble, listen with the player above, and read the transcript below.

To hear an interview with Giancarlo Guerrero, listen with the player below and read the transcript in the tab below.

Note that there are two interviews available.

Here's what the BSO says on their performance detail page:

In this third concert in a series exploring complex social issues, frequent guest Giancarlo Guerrero leads American composer Julia Wolfe’s BSO co-commissioned Her Story, featuring the Lorelei Ensemble women’s vocal group. Originally commissioned to commemorate the centenary of women’s right to vote in the U.S., the piece broadly speaks of the continuing struggle for women’s rights. The three movements of Polish composer Henryk Górecki’s Symphony of Sorrowful Songsmovingly contemplates the anguish of the separation of a mother from her child.

Festival: Voices of Loss, Reckoning, and Hope is supported by the generosity of the Elinor V. Crawford Living Trust, the National Endowment for the Arts, and the Richard Saltonstall Charitable Foundation.

GÓRECKI performed with English supertitles 


Giancarlo Guerrero, conductor
Aleksandra Kurzak, soprano
Lorelei Ensemble
Beth Willer, conductor
Eliza Bagg, soprano
Taylor Boykins, alto
Sarah Brailey, soprano
Meg Dudley, soprano
Christina English, alto
Stephanie Kacoyanis, alto
Michele Kennedy, soprano
Emily Marvosh, alto
Sophie Michaux, alto
Sonja DuToit Tengblad, soprano
Anne Kauffman, stage director
Jeff Sugg, scenic, lighting, and production designer
Márion Talán De La Rosa, costume designer
Andrew Cotton, sound designer

GÓRECKI Symphony No. 3, Symphony of Sorrowful Songs
Intermission
Julia WOLFE Her Story, for vocal ensemble and orchestra (Co-commissioned by the Boston Symphony Orchestra, Andris Nelsons, Music Director; the Chicago Symphony Orchestra, the Nashville Symphony, the National Symphony, and the San Francisco Symphony. The Boston Symphony Orchestra commission is through the generous support of the New Works Fund established by the Massachusetts Cultural Council, a state agency, and the Morton Margolis Fund.)

Neither the Globe nor the Intelligencer has published a review that I can find, so for further information about the music, you'll need to look at the BSO website for the program notes and/or listen to the interviews on the WCRB page. All I can say is that the Lorelei Ensemble is good, and so's the BSO.

See what you think.

Saturday, March 11, 2023

BSO — 2023/03/11

 Sorry. I've been preoccupied. Here are the usual links.

https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2022-11-11/wilkins-the-bso-and-voices-of-loss-reckoning-and-hope

https://www.bso.org/events/bonds-davis-dawson

https://www.classical-scene.com/2023/03/10/reckoning-hope/

https://www.bostonglobe.com/2023/03/10/arts/clarinets-right-remain-silent-speak-out/

Should be interesting.