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Ambitious programming, remarkable technical standards, and impeccable artistry have guaranteed the Boston Symphony Orchestra (BSO) a spot on the “Big Five” list of American orchestras for over a century. The iconic performing arts institution, which routinely skims the international arts circuit for Symphony Hall recruits, is not afraid to showcase established artists and promising new talent on the same stage. This past Saturday, music director James Levine hedged a program of eclectic music from four countries on the shoulders of young Korean conductor Shi-Yeon Sung, who recently became one of two assistant conductors...
...save for a rousing performance of Mozart’s “Jupiter” symphony—could best be characterized as an uninspired rendition of Mozart’s works.Led by American-born conductor James Levine, now in his fifth season as music director, the BSO performed the last of its three-program survey of Mozart symphonies with his final, best known works.The opening piece—Mozart’s Symphony No. 39—suffered from slight problems with the orchestra’s ensemble. Shaky starts, mismatched lines, and rough endings of phrases were...
...concerto of famed American composer Elliott Carter, concertgoers young and old indulged in another musical treat of the highest quality in historic Symphony Hall. In just under five years, Levine has brought fresh musical interpretations to the score and immaculate playing to the orchestra, heightening the reputation of the BSO as one of the leading orchestras in the country. The evening began with a reading of Beethoven’s 7th Symphony in A Major, Opus 92. With the exception of the grandiose introduction in which a slow-striding theme made its appearance, the rest of the symphony flew...
...Though Kuerti led the BSO off to a lukewarm start, Harrell’s sensitive performance soon warmed the audience to three hours of Romantic pieces, which ended on a note of exhaustion in the tragic theme of the Tchaikovsky symphony...
...BSO concluded the night with a performance of Tchaikovsky’s “Manfred Symphony Op. 58,” a work inspired by the poem by English Romantic writer Lord Byron. The lush sound of the orchestra and driving pulse of the four movements created a stronger sense of cohesion in the piece than in the Brahms...