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.
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.
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.
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 Roger; all 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 Crossing, 25-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 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.
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 is the first of a series of London Sinfonietta concerts to be guest conducted by Adès over the next month, including touring performances outside London where his piano concerto In Seven Days is coupled with a different Reich piece, Music for 18 Musicians. It was less than 18 months ago that the Sinfonietta performed that work at the Southbank Centre with a live relay open to all in the foyer, which proved very popular; rather than have to match that performance, I think they have made a canny programming choice by enticing some of the potential new audience gained by that concert with a less famous piece by the same composer. The combination of two Biblically-inspired pieces in this concert is also arguably a more interesting and appropriate pairing.