Tag Archive for ‘Andris Nelsons’
For me Cymbeline is all about the new Blackfriars Theater, an enclosed space, a place to speak quietly, a place lit by candles, a space that found William Shakespeare buying a house in the vicinity, a space for a riot of inventiveness, revived for us by Tina Packer. Think of the bedroom scene where Iachimo examines the sleeping Imogen. This scene played in The Globe would surely have produced some less than elegant speech from the crowd. Shakespeare and Company’s production chose something of a middle way, a humorous assault on Imogen’s person, which must have played better in the Blackfriars Theater, the audience being genteel, and their number being small.
here seem to be two kinds of Mahler conductors: those who scrupulously adhere to the composer’s very detailed performing instructions, letting the score speak for itself, and those who add interpretive value to those instructions, prolonging ritards into moments of stasis, dwelling lovingly on details, pulling apart the inner workings of Mahler’s original harmonic language, and ecstatically prolonging climactic moments. To put the matter up front, I am a strong partisan of the first approach, and usually have a negative response to the second.
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).
Perhaps it is unduly portentous to say that the still new Music Director of the Boston Symphony Orchestra is enigmatic, but his uneven performances and inconsistent approaches to interpretation and orchestral sound have been somewhat puzzling. These two recent concerts, now, have impressed on me that he has finally hit his stride with the orchestra, although he has already achieved some important successes over the past two years—above all, the concert performances of Strauss’s Salome and Elektra—and there has been a lot to like in his Prokofiev, Shostakovich, and Brahms. These Tanglewood concerts are in fact not the first which I thought showed that he had developed in the orchestra a new style of playing together as a group—one very different from that so painstakingly developed by James Levine and insouciantly left to tend itself by Seiji Ozawa.
Boston has had a very good music season since the first of the year. Notably, Andris Nelsons has established himself ever more fully as leader of the Boston Symphony Orchestra. After a triumphant concert performance of Strauss’s Elektra in the fall, Nelsons came back with especially strong accounts of three large-scale symphonies: the Shostakovich Eighth in March, and the Bruckner Third and Mahler Ninth in April. All were brilliantly played by the orchestra, which seems to have accommodated itself to Nelsons very well.
The major news from Boston was the ascendancy of Andris Nelsons, firming up his place as music director of the Boston Symphony Orchestra, which included a quickly agreed upon three-year extension of his contract into the 2020-2021 season. This announcement was soon followed by the less happy surprise for Bostonians of Nelsons also accepting an offer from the eminent Leipzig Gewandhaus, the orchestra whose music director was once no less than Felix Mendelssohn, to take on that very position, beginning in the 2017-2018 season, thus dividing the loyalties of the young maestro (who just turned 37), though evidently with the possibility of collaborations between the two orchestras. (Remember when some people were complaining about James Levine dividing his time between the BSO and the Metropolitan Opera?)
The perfect word to describe Andris Nelsons’ conducting is “exciting.” He elicits spectacular playing from the Boston Symphony and knows how to mold the sound of the orchestra to his taste. The strings now sound rich, deep, and solid rather than airy, transparent and elegant, as was their traditional, French–flavored style. This works well in a German-Russian program; I am curious to hear what they (Nelsons and the orchestra) will do with canonical French material such as the orchestral works of Ravel.
As everyone in New England knows, this winter was one long slog. But significant musical events actually got to take place, and some of these have been exceptional. But many have been frustrating and disappointing.