Rose to the occasion
The embattled Andris Nelsons and the Boston Symphony Orchestra bring Adams and Dvorák to Carnegie Hall.
39 pieces since 2011 — at 7 companies, most often at Boston Symphony Orchestra.
20 pieces as Boston Symphony Orchestra — stats above show all coverage for Andris Nelsons.
View allThe embattled Andris Nelsons and the Boston Symphony Orchestra bring Adams and Dvorák to Carnegie Hall.
A high-drama Vanessa by the Boston Symphony Orchestra offers something to believe in.
A Missa Solemnis to celebrate 125 years of Boston’s Symphony Hall was sophisticated and subdued.
We are a nostalgic sort, we opera lovers. Fortunately, Korngold’s Die tote Stadt, which arrived in concert form to Boston’s Symphony Hall last weekend, is all about nostalgia.
Are Beethoven’s symphonies overplayed? Yes, but for a reason. While this justification may sound cliché, Beethoven’s humanist universalism is a sentiment that feels urgent in an era of widespread polarization and pessimism.
The Boston Symphony Orchestra’s program of works by Mozart and Kevin Puts, a composer championed by star Renée Fleming, was one of musical and artistic contrasts.
Mahler’s 8th Symphony is an enormous and enigmatic work.
Boston Symphony Orchestra recently confirmed an infinitely renewable contract upon Andris Nelsons, its music director since 2014. To understand why, one needed little more evidence than the outfit’s recent visit to Carnegie Hall.
The flashing eyes, the floating hair, and the inexplicable barefootnedness during the second half of Saturday night’s performance confirmed one thing: Kristine Opolais is back.
If April is the cruelest month, it may be that spring’s arrival brings far too many things to do and see.
There is a moment about 75% of the way through the Rome Narrative where you can almost literally hear Tannhäuser’s stomach turn.
A trip to Mediterranean climes came through musically, as the Boston Symphony Orchestra presented a largely satisfying concert performance of Don Giovanni on July 16.
The Boston Symphony and Alban Berg’s “Wir arme Leut” spread musical riches at Carnegie Hall.
Christine Goerke‘s distracted, tentative Isolde turned out to be the least potent feature of what was an otherwise exciting and effective second act of Tristan.
A hefty thunderclap shook Tanglewood’s Koussevitzky Shed just as Andris Nelsons raised his baton for the third act of the weekend’s concert Die Walküre.
Winsome, tony, and studded with overbooked bistros, Tanglewood is not exactly crawling with bohemians these days.
A heady audience paid top price to pack Carnegie Hall Thursday for just 80 minutes of unstaged Wagner.
The Met got exactly what it asked for: a safely opulent, resolutely unchallenging Tosca that was far from shabby or little but couldn’t have been less shocking
Skirting the leafy, patrician Berkshires of Western Mass, and flush with wine coolers and white people, pastoral Tanglewood doesn’t much resemble the dark Nibelung settings of Norse myth.
Simply put, Christine Goerke is a stupendous Elektra.
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