Aston Magna Music Festival 2017 – A Preview(Comments Off on Aston Magna Music Festival 2017 – A Preview)
The Aston Magna season, the 45th(!), is almost upon us. We can look forward to an extended schedule, adding fifth and sixth weekends at the Brandeis and Great Barrington venues, which is no longer on the Simon’s Rock campus, but at the recently renovated Saint James Place.
If advance gossip is any indicator, this year’s Bard Festival, devoted to Giacomo Puccini and his World, was one of the most controversial. “Puccini! Controversial!” You say, “There’s not really enough in him to have a controversy about, is there? Those sappy tear-jerkers speak for themselves.” In fact there was a lot of grumbling. Some festival regulars stayed away, or dragged themselves to only one concert, the one that included pieces by Dallapiccola, Pizzetti, and Petrassi. Even with these absentees the Festival sold out, or came close to selling out. Most of the concerts and the panel discussions were packed.
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.
Openings: Boston Musica Viva plays Boulez, Marteau sans maître, and Nelsons and the BSO present Richard Strauss, Der Rosenkavalier
One hoped and expected there would be performances of Pierre Boulez pieces in Boston this season to honor this great musician who died last winter. The Berlin Philharmonic, hardly a local group, will play one piece on its visit here in November. I don’t see anything else on the horizon. So, many thanks to Boston Musica Viva, our fine contemporary music ensemble now in its 48th year, for opening its season with Boulez’s perhaps most significant work, Le Marteau sans maître (The Hammer without a Master, 1954-57).
More in this category
- Glimmerglass Festival 2016 – Opera for the Inner Birdwatcher…and the Rest of Us!
- Bizet’s Carmen at the Boston Lyric Opera
- Shakespeare and Egypt?
- Gil Shaham’s Tchaikovsky and Bach: Double Virtuosity