Andris Nelsons has garnered a lot of attention during his first season as Music Director of the Boston Symphony Orchestra—much coverage in the local and even national press; receptions for the public and an exhibition with a talking hologram at Symphony Hall; placards on buses around Boston and in the subway. He threw out a ball for the Boston Red Sox at Fenway Park. The BSO organization wants him talked about by the man and woman on the street—especially the younger set. It remains to be seen whether a new younger audience will be drawn to the BSO. Eventually, it’s the music that will matter, not publicity.
The Metropolitan Opera has released the following announcement, which comes as no surprise. What struck me above all is that Fabio Luisi was not able to conduct the last two performances of Siegfried and Götterdämmerung on May 9 and May 12 matinee. I very much hope that the responsible parties will consider Jonas Alber for these dates. Former Music Director of the Braunschweig Orchestra, he filled in for Mr. Luisi when he withdrew from his commitment, as Music Director of the Dresden Staatskapelle, to conduct theRing at the Semperoper in Dresden. I had the good fortune to attend Mr. Albers’ second performance of Das Rheingold and this only performance of Götterdämmerung. This he conducted without rehearsal, and it was nonetheless superb. The Rheingold was the most compelling I have heard in live performance. He was in fact invited to conduct these performances at the behest of the members of the Staatskapelle, who were delighted with his work in their first Rheingold. Albers’ approach to Wagner is grounded in his enthusiasm for 20th century and contemporary music. Textures were transparent and full of finely-wrought detail. See my review of the Dresden Ring for more. I know Mr. Alber is interested in conducting in the U. S., and American audiences should have the opportunity to hear the work of this extraordinary conductor.
Shakespeare and Company’s touring production of Hamlet was swift and sharp. It had something of the intransigence of youth about it. The focus was sharply on Katherine Abbruzzese’s performance in the title role. All other roles were ably, nimbly taken by several actors who needed to be able to move quickly. This necessarily pushed the play toward melodrama. This was not bad. Ms. Abbruzzese was well-able to provide us with the energy and the virtuosity made necessary by the fleet, never-stopping direction. She seemed to be able to inhabit a world between genders without effort, like Hamlet seems to. This made me see Ophelia as more female than female, and that had a knife-edge tenderness.
The winter music season in Boston made a strong beginning with James Levine leading the Boston Symphony Orchestra in what turned out to be his last set of concerts with the orchestra for the year—and perhaps forever. Levine’s spring BSO concerts were cancelled for health reasons, and, of course he has resigned as Music Director. […] The notion is creeping up on one that Boston has become a remarkably good place for opera. —How about some Wagner?
This preview of this year’s Tanglewood season has been revised twice already, and here come James Levine’s cancellations of all his Tanglewood engagements. The Pelléas et Mélisande will be replaced by a TMC Orchestra concert. The other programs will proceed as scheduled. Levine’s replacements will be announced in June. I’ll discuss the wider implications of this later in The Boston Musical Intelligencer. In the last version of this preview I introduced the following paragraph to mitigate the peevish tone in which I began. It still holds true, I think.
BSO Managing Director Mark Volpe announced today that as of September 1, 2011, James Levine will step down from his current role as Music Director of the Boston Symphony Orchestra, a position he has held since 2004. Discussions between the BSO and Maestro Levine are underway to define an ongoing new role for Mr. Levine. Mr. Volpe has also announced that the BSO will immediately form a search committee to begin the process of appointing the next Boston Symphony Music Director.
In recent weeks the Boston Symphony Orchestra has celebrated the 200th anniversary of Robert Schumann’s birth with performances of the four Symphonies and the Piano Concerto, with mixed, eventually quite good, results.
The Boston musical season is now rolling along, with almost too many good things occurring to keep up with. The best news, and a great relief, has been the return of music director James Levine to the Boston Symphony Orchestra after many months off for back surgery and recuperation. Levine looks older, with more loose flesh around the face, and he walks onstage and off carefully with a cane (though at moments he just rests it on his shoulder and goes securely on). He seems to feel good, and once seated and starting to conduct shows great animation and involvement, indeed passionate involvement, in the work at hand. He has the orchestra playing spectacularly. He has really taken them beyond themselves, and they know it and seem to feel proud of it, as they should.