Word: orchestra
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Boston Symphony Orchestra...
Walk through the Huntington Avenue corridor on the orchestra level of Symphony Hall this season and you’ll see the original manuscript of Igor Stravinsky’s Symphony of Psalms on display, a work commissioned by Serge Koussevitzky and the Boston Symphony Orchestra (BSO) in 1930. That year was a particularly important one for the BSO, which also commissioned Hanson’s “Romantic” Symphony, Copland’s Symphonic Ode, and Roussel’s Third Symphony, among other pieces, to celebrate its 50th anniversary. It was wonderful to hear...
...Principal guest conductor Bernard Haitink directed with both ease and authority. His precise baton yielded wonderful control, yet there was never a sense of stiffness or tension. His elegant podium manner was only further complemented by the sound he received from the orchestra. The Tanglewood Festival Chorus, directed by John Oliver, sounded alternately warm and earthy in the right moments (such as the opening), although perhaps not “heavenly” enough for the beginning and end of the last-movement setting of Psalm 150, with its plaintive Alleluia’s. Stravinsky reveals in this movement...
...seen in London and Berkeley, Calif., last year), was the exuberant centerpiece of the Mark Morris Dance Group's 20th-anniversary season. Sixteen of the choreographer's 100-odd dances--from L'Allegro, il Penseroso ed il Moderato, a full-evening extravaganza for 24 dancers, four singers, chorus and orchestra, to Peccadillos, a duet for Morris and a toy piano--were presented at the Brooklyn Academy of Music. Meanwhile, across the street, the company is moving into the brand-new Mark Morris Dance Center, its first permanent home in the dance capital of the world. The $6 million building...
...success spoiled Mark Morris? Not even slightly. In his glorious production of Four Saints, the singers are relegated to the orchestra pit, while St. Teresa (Michelle Yard), St. Ignatius (John Heginbotham) and 12 "assorted saints" swoop, skip, strut and tango across the stage, bringing out all the fun in an opera that, since its 1934 premiere, has been embraced almost solely by devotees of the avant-garde. Skating atop Stein's nonsensical wordplay ("Once in a while and where and where around around is as sound and around"), Morris has created a heavenly playground full of beautiful saints who dance...