Thomas Adès leads the BSO in the suite to his opera, Powder Her Face, 7.22.18. Photo Hilary Scott.

More Strength Than Mystery—the Musical Spaces of Adès and Sibelius

Thomas Adès’ affinity for the music of Sibelius was manifest last summer when he led the TMC Orchestra in a program that included the Symphony no. 7.  In my review of that performance, I called attention to the relationship between mystery and space that is evident in this music and is also a factor in Adès’s own works.  These parameters were present in the current program but not as prominently: mystery was eclipsed by performances that were energetic even to the point of aggressiveness.  This might have been a function of the need to project into the cavernous reaches of the shed; both Adès and Tetzlaff, the soloist in the Sibelius Violin Concerto, favored large gestures, emotional intensity, and the upper end of the dynamic spectrum.  The results were musically clear and impressive, appropriate for Adès’s own music but sometimes less so for Sibelius.

Five in the Afternoon, and more…the Boston Classical Season, So Far

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.

Ups and Downs of the Boston Music Season, mostly Boston Symphony with Andris Nelsons, 2016-2017

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.

Vinay Parameswaran leads Festival of Contemporary Music cocurator Jacob Greenberg and Tanglewood Music Center Fellows in Nathan Davis’s “The Sand Reckoner”. Photo Hilary Scott.

Festival of Contemporary Music, August 10-14, 2017

Curated programs were a new and determining feature of Tanglewood’s 2017 Festival of Contemporary Music. In three of the five concerts, repertory and performers were chosen by a performer-curator who selected works by composers with whom they had worked extensively.  Each of the curators, pianist Jacob Greenberg, cellist Kathryn Bates, and violist Nadia Sirota had been at Tanglewood (as part of the New Fromm players) and had developed a significant career in playing and promoting new compositions. The result was a concentration of works by composers of varied backgrounds who are living and working in the United States, and of an age that can be described as “mid-career.” Each curator got to choose one work to be included on the final TMC Orchestra concert.

Thomas Ades leads the TMC Orchestra. Photo Hilary Scott.

Sounding the Mysteries: Nature, Music, and the Human Soul

TMC orchestra performances tend to be somewhat haphazard assortments of repertory, mostly of high quality, but diverse rather than coherent as programs. Monday night’s concert was different: there were resonances among the works that indicated a triangle of influences and artistic interests with the apex being in the music of British composer Thomas Adès, who conducted half of the program.

Colin Balzer as Ulisse in BEMF's production of Monteverdi's "Il ritorno di Ulisse in patria." Photo Frank Siteman.

Opera Boom: Lots of opera in Boston, but how much was really good?

I need more than two hands to count the number of operas I’ve attended in Boston so far this year. Two productions by the Boston Lyric Opera, our leading company; nine (four fully staged) by our newest company, Odyssey Opera; a brilliant concert version by the BSO of Szymanowski’s disturbing and mesmerizing King Rogerall three of Monteverdi’s surviving operas presented by the Boston Early Music Festival, performed in repertory for possibly the very first time; a rarely produced Mozart masterpiece, Die Entführung aus dem Serail, in a solid and often eloquently sung concert version by Emmanuel Music; the world premiere of Crossing25-year-old Matthew Aucoin’s one-act opera about Whitman in the Civil War, presented by A.R.T.; and the first local production of Hulak-Artemovsky’s Cossack Beyond the Danube, the Ukrainian national opera, by Commonwealth Lyric Theatre (imaginatively staged and magnificently sung). Not to mention several smaller production I couldn’t actually get to—including an adventurous new work, Per Bloland’s Pedr Solis, by the heroic Guerrilla Opera, which I got to watch only on-line, and Boston Opera Collaborative’s Ned Rorem Our Town (music I’m not crazy about, but friends I trust liked the production).

A lot of opera! But how full is the cup?

The Emerson Quartet. Photo Lisa-Marie Mazzucco.

The Emerson Quartet at Tanglewood: Mozart, Adès, and Late Beethoven, the B Flat Op. 130 with the Große Fuge

The Emerson Quartet have been among Tanglewood’s most admired attractions for many years now. A cloud of nostalgia is beginning to gather over them right now, since it has been announced that cellist David Finckel will be leaving the group at the end of 2012-13. He will be replaced by Paul Watkins, so it is clear that the quartet has no intention of disbanding. However, it will be the end of what is not quite the founding members.

Looking Back at the Boston Winter and Spring Music Season, 2010-11

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?

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