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    ‘Tosca’ Is the Boston Symphony’s Andris Nelsons at His Best

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    Andris Nelsons led a concert performance of Puccini’s opera at Tanglewood. It was a high point of the season.Andris Nelsons may have become a fitful, inconsistent music director of the Boston Symphony Orchestra, but every once in a while, he proves that he has still got it.Such was the lesson on Saturday night at Tanglewood, the Boston Symphony Orchestra’s summer home in the Berkshires, as Nelsons and a starry cast delivered a concert “Tosca” of high intensity and even higher emotion.This Tanglewood season is a solid one, with the premiere of a new John Williams piano concerto written for Emanuel Ax on the agenda next weekend, a Gabriela Ortiz-curated Festival of Contemporary Music sprawling around the grounds at the same time, and the obligatory appearances of Yo-Yo Ma, famous friend of the orchestra, to come in August. New at Tanglewood this year: tastefully installed screens next to the Shed stage that show the musicians at work, and, by some miracle, enhanced cellphone service. Still unchanged: the humidity.But “Tosca” was always likely to be a high point of the season, and it was. Opera has often brought out the best in Nelsons in Boston, and the closer to the most commonplace parts of the repertoire the work has been, the stronger the performance from him. Wagner transfixed him as a child, and it was at the Latvian National Opera that his career began to take off in his 20s. Now 46, he rarely looks more engaged on the podium than when he is supporting a singer in full flow.And for this Puccini, Nelsons had some singers of quality to support. Bryn Terfel sang his last staged Scarpia at the Met earlier this year, but he still brings unrivaled authority and conviction to a role that has defined his career. Has the passing of time brought a more vicious edge of desperation to his portrayal, as if an older Scarpia might feel as though this is his last, appalling chance to corner his prey, causing him to act with such depravity? Either way, Terfel’s snarling chief of the Roman police remains a privilege to see.So, too, the glorious Cavaradossi of the Korean baritone-turned-tenor SeokJong Baek. Here, as at the Met last fall, his extraordinarily firm, high cries of “Vittoria!” drew instant applause, and they were far from the only point at which this colossal voice, wielded by turns with machined precision and melting sensitivity, could have earned such approval.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Shostakovich, Boston Symphony Style

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      Over two nights at Carnegie Hall, Andris Nelsons and the orchestra reveled in the composer’s sonic riches but played with emotional reserve.“A single death is a tragedy, a million deaths a statistic.” At the start of the Boston Symphony Orchestra’s all-Shostakovich concert at Carnegie Hall on Thursday, the cellist Yo-Yo Ma invoked this darkly cynical statement attributed to Stalin. Addressing the capacity crowd, which included Shostakovich’s son Maxim, Ma added: “We play Shostakovich so that no death is ever just a statistic.”Historians disagree on how Shostakovich, the Soviet Union’s most famous composer, felt about the political system that alternately boosted and threatened his career. But the juxtaposition of the individual and the collective, of a singular human experience set against the mass movements of history, drives much of the drama in his symphonic music.During the orchestra’s two-night visit to New York, the Boston players, led by their music director Andris Nelsons, gave bravura performances of Shostakovich — his 11th and 15th symphonies, as well as the Cello Concerto No. 1 — that reveled in the sonic riches of this contradiction-laden music. But there was also an emotional reserve, even primness, to much of the playing that exacerbated the music’s ambivalence and left a listener with more questions than answers.That is disappointing, given that Nelsons has made Shostakovich a central mission of his tenure in Boston. Last month, he and the orchestra capped a 10-year recording marathon of all the composer’s major works with the issue of a 19-disc box set, including Grammy-winning recordings.The quality of the music-making at Carnegie Hall was never in doubt. The Boston brass section was a marvel of cohesion, whether in the reverent chorale that opened the second movement of 15th Symphony on Wednesday or in the harrowing violence of the second movement of the 11th, performed on Thursday, which depicts the brutal repression of a peaceful protest in St. Petersburg in 1905.There were radiant solos on Wednesday by the principal cellist Blaise Déjardin and tartly virtuosic ones by the concertmaster, Nathan Cole. Shostakovich’s sarcastic humor was finely rendered in the first movement of the 15th with its cartoonish quotations of Rossini’s “William Tell” overture and in the militant jauntiness of the cello concerto’s first movement, in which the orchestra heckles the frenetic, hyperactive soloist.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Serge Koussevitzky Bent Music History to His Will

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      There is a passage in Serge Koussevitzky’s final recording of Tchaikovsky’s Fourth Symphony that some listeners might hear in horror, but others with a degree of awe.He recorded the piece in 1949 with the Boston Symphony Orchestra, during the last weeks of his 25 years as its music director. About two minutes from the end of the first movement, the symphony is doing its best to keep calm. Flutes and clarinets arc gently, then oboes and horns; the cellos and basses stay constant beneath the nervous skittering of the other strings.But then the bass begins to pull down. Suddenly the higher strings start to dominate, as anxiety takes hold; that sinking bass becomes inescapable. Tchaikovsky asks for a crescendo. Koussevitzky gives him that, but he also accelerates dramatically into the darkness, as fateful motifs blare. A few seconds later, just as the music seems ready to meet its destiny, Koussevitzky decides to make us wait. Fanfares blaze, entirely out of tempo, only to announce an unwritten silence. And then, savagery. As Tchaikovsky himself described this coda, “no haven exists.”Tchaikovsky: Symphony No.4, first movementBoston Symphony Orchestra (Pristine)This is the kind of moment that, in the wrong hands, gives Tchaikovsky a bad name. Koussevitzky was hardly alone in taking liberties with the composer, but many other conductors have at least tried to contain the drama here, rather than let hysteria hang out. Even Wilhelm Furtwängler, who like Koussevitzky sought to follow the spirit implied in a score as much as its explicit text, stayed truer to what Tchaikovsky actually wrote.But in Koussevitzky’s hands, the effect is shattering. This Tchaikovsky Fourth is irresistible evidence of just how much he and the Boston Symphony achieved in their quarter of a century together. Conviction resounds. The playing is virtuosic, yet not for the sake of display. Every phrase sings. There is formidable power and intensity, but also enough elegance that it feels apt for the writer Harris Goldsmith to have described the Boston strings as “one of the hedonistic delights of Western civilization.” In 1944, the New York Times critic Olin Downes said that Koussevitzky had refined his orchestra into “the most highly perfected and sensitized symphony ensemble in the world.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tanglewood Opens for the Summer, With Change in the Air

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      The Boston Symphony Orchestra gave its first concerts of the Tanglewood season, which is already showing signs of its new leader’s ambitions.Tanglewood, the lush summer home of the Boston Symphony Orchestra, opened its season this past weekend, and it did so with one of the most Tanglewood programs imaginable.James Taylor was present to celebrate July 4, of course, and he was celebrating five decades of singing at the venue this year. On Friday night, the orchestra gave an evening of Beethoven under its music director, Andris Nelsons; on Sunday, Renée Fleming, no less, was on hand to cap a matinee of Strauss.In between, the Boston Pops offered a glorious review of recent Broadway musicals, with Victoria Clark bringing down the house as Lin-Manuel Miranda’s George III in “Hamilton.” Fellows attending the Tanglewood Music Center gave their first concerts, joining a lineage that stretches back to 1940.The crowds chattered amiably, the grounds were resplendent, and the music was good. What could feel more timeless than this?Sneaking through the shrubbery, however, was the light breeze of change. Chad Smith, the Boston Symphony’s ambitious new president and chief executive, plans to return this august institution to its most radical roots. Should Smith have his way, Tanglewood will see its creaking theater refurbished and put to good use, its Linde Center for Music and Learning pressed into service year-round, and Seranak, Serge Koussevitzky’s old home in the hills, restored as a meeting place for artists and the public.This will take years, and tens of million of dollars, but for now, even one of the coloring sheets that volunteers offer eager children has heard the message: a butterfly, yet to be filled in, with the tagline “A Summer Tradition Transformed.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Can Chad Smith Make the Boston Symphony Innovative Again?

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      Chad Smith, the orchestra’s new chief executive, hopes to return the storied ensemble to its groundbreaking roots while moving it forward.“I’m going to sound like such a dork,” Chad Smith said as he drove a golf cart around the grounds of Tanglewood, the Boston Symphony Orchestra’s pastoral summer home in the Berkshires. “I love Tanglewood so much.”He stopped the cart, and looked out beyond the manicured campus to rolling, tree-covered hills and the still waters of Stockbridge Bowl. It reminded him, he said, of the environment at the prestigious Salzburg Festival in Austria. But Salzburg isn’t attached to an orchestra and a music institute like Tanglewood has been since it’s founding in 1940.“This is the sense of innovation that is at the core of the B.S.O,” said Smith, who became the Boston Symphony’s president and chief executive in the fall. “The orchestra was not yet 60 years old, and it changed its identity again by becoming a symphony orchestra, a pops orchestra and an educational institution.”Gesturing to Stockbridge Bowl, he added: “And it has a beach. What other orchestra has a beach?”Smith has big plans for Tanglewood, whose Boston Symphony season begins on July 5, just as he has a long to-do list for the ensemble at home. History would suggest that he isn’t just dreaming: He came to Boston from the Los Angeles Philharmonic, where for two decades he played a crucial role in building the orchestra’s reputation as one of the most innovative, important ensembles in the country.When he announced that he was leaving for Boston last year, Smith, 52, had risen through the ranks of the Philharmonic to became its chief executive in 2019. His departure was a shock to Angelenos, and to some signaled a crisis for the Philharmonic, which shortly before had found out that it was losing its starry maestro, Gustavo Dudamel, to the New York Philharmonic.Smith at Tanglewood, where the Boston Symphony’s season starts on July 5. “I want Tanglewood,” he said, “to be the classical music destination for the world.”Lauren Lancaster for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Seiji Ozawa: 8 Essential Recordings

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      Ozawa, who died this week at 88 years old, left behind a catalog made with orchestras in Boston, Chicago and elsewhere. Listen to highlights.Seiji Ozawa, the eminent Japanese conductor whose death, at 88, was announced on Friday, was a force at the podium. He toured the world’s leading concert halls and helped break barriers for Asian classical musicians.He also left behind an extensive and varied discography: recordings of warhorses like Tchaikovsky’s Symphony No. 6 with the Boston Symphony Orchestra, which he led for 29 years, as well as of more obscure pieces, such as Henri Dutilleux’s “The Shadows of Time.” While his live performances sometimes drew mixed reactions from critics, many of his recordings — from Boston, Berlin, Japan and elsewhere — are considered standards.“Even at my age, you change,” Ozawa, then in his 70s, told the author Haruki Murakami. “And practical experience keeps you changing. This may be one of the distinguishing features of the conductor’s profession: The work itself changes you.”Here are eight albums that offer an introduction to his music.Berlioz: ‘Symphonie Fantastique’Ozawa often spoke about feeling liberation in the music of Berlioz. “His music is crazy!” he once said. “Sometimes I don’t know what’s going on, either. Which may be why his music is suited to being performed by an Asian conductor. I can do what I want with it.” That freewheeling approach can be heard in this recording of “Symphonie Fantastique” with the Saito Kinen Orchestra, which he helped found in Japan in 1984.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Seiji Ozawa, Captivating Conductor, Is Dead at 88

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      He led the Boston Symphony Orchestra for 29 years, toured widely and helped dispel prejudices about East Asian classical musicians.Seiji Ozawa, the high-spirited Japanese conductor who took the Western classical music world by storm in the 1960s and ’70s and was music director of the Boston Symphony Orchestra from 1973 to 2002, died on Feb. 6 in Tokyo. He was 88.The cause was heart failure, said a spokeswoman for the Seiji Ozawa International Academy Switzerland, which announced his death in a news release. Mr. Ozawa had recently experienced health problems. He never fully rebounded from surgery for esophageal cancer in early 2010, or from back problems that were made worse during his recovery. He was also hospitalized with heart valve disease in later years.Mr. Ozawa was the most prominent harbinger of a movement that has transformed the classical music world over the last half-century: a tremendous influx of East Asian musicians into the West, which has in turn helped spread the gospel of Western classical music to Korea, Japan and China.For much of that time, a belief widespread even among knowledgeable critics held that although highly trained Asian musicians could develop consummate technical facility in Western music, they could never achieve a real understanding of its interpretive needs or a deep feeling for its emotional content. The irrepressible Mr. Ozawa surmounted this prejudice by dint of his outsize personality, thoroughgoing musicianship and sheer hard work.With his mop of black hair, his boyish demeanor and his seemingly boundless energy, Mr. Ozawa captured the popular imagination early on.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: The Boston Symphony Plays a Sober ‘Lady Macbeth’

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      The orchestra, under Andris Nelsons, gave a clear and controlled concert performance of Shostakovich’s crushing opera at Carnegie Hall.The Metropolitan Opera’s production of Shostakovich’s “Lady Macbeth of Mtsensk” is a garish explosion, its imagery drawn from cartoons and the Keystone Kops, its madcap energy never-ending. It’s fabulous, but the score can feel whooshed into a blender’s whirlwind.That was very much not the case on Tuesday at Carnegie Hall, when the Boston Symphony Orchestra played “Lady Macbeth” in concert. Even with some bits of staging, Boston’s performance under its music director, Andris Nelsons, was undistracted: firmly, soberly clear and controlled.Shostakovich has been a yearslong focus of this ensemble and conductor. They approach the composer with a poise that reveals just how much of this opera’s score is sheerly lovely, tender and melancholy; the frenetic, exaggerated jokiness for which it became best known is less omnipresent than you might have recalled.“Lady Macbeth,” about a 19th-century housewife in the Russian provinces who is surrounded by boorish men and turns to murder, was written in the early 1930s, when Shostakovich was still a budding brilliance. The work’s initial good fortunes — and its composer’s bright future — were infamously derailed in 1936, when Joseph Stalin walked out of a production in Moscow and an unsigned editorial appeared in Pravda, condemning the “stream of deliberately discordant sounds” and the “fidgeting, screaming neurasthenic music.”Often you can listen to the work and nod along to those words, even if today we may mean the judgment as praise. But on Tuesday, remarkably little sounded discordant, fidgeting, screaming or neurasthenic. Even a notorious effect at the end of Shostakovich’s raucous sonic depiction of sex, a slow trombone slide to evoke — well, you can decide what it evokes — was so understated that it didn’t arouse the usual audience laughter.Instead, the most memorable moments were quiet ones. Mellow strings and an almost pastoral flute combining under the protagonist’s father-in-law’s warning against workers trying to seduce her. A timpani’s rumble rising softly off growling cellos.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      As Changes Come to Boston Symphony, Conductor’s Contract Is Extended

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      The music director, Andris Nelsons, was moved to an evergreen contract, with an expanded role at Tanglewood. And Carlos Simon was named to a new composer post.The tenure of Chad Smith, the innovative arts leader who last year left the Los Angeles Philharmonic to run the comparatively old-fashioned Boston Symphony Orchestra, is beginning to take shape.In an announcement on Thursday, the Boston Symphony said that Andris Nelsons, its music director, would move to a rolling, evergreen contract rather than one with a fixed expiration date, and that he would take on a new, educational role as the head of conducting at Tanglewood.Additionally, the orchestra appointed Carlos Simon to a newly created post of composer chair; and announced that it would establish the Boston Symphony Orchestra Humanities Institute, an initiative with the goal of expanding the ensemble’s relationship with Boston outside its storied concert hall.“I came to the Boston Symphony with the idea that this is an extraordinary institution with a remarkable history,” Smith said in an interview. “But the opportunities of what we can do in the future were most compelling.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More