Nelsons, Andris

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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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      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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      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

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      At Tanglewood, the Boston Symphony Displays Its Heritage and Uncertain Future

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      The orchestra is in a period of transition, but one thing that remains consistent is the enduring quality of its summer home.Ah, Tanglewood. What a pleasure it remains to spend a weekend here: to stroll the green lawns, to sniff the flowers, to guess the music that some earnest young student is learning, as the sound of that laboring drifts through the trees from a practice room. And what a reminder a few days spent in the Berkshires can be of the fundamental, enduring quality of the Boston Symphony Orchestra, which enjoys Tanglewood its summer home.Visitors last Friday through Sunday might have recalled the grand old heritage that this ensemble calls its own, as they found an old wooden seat in the Shed or listened as Bartók’s Concerto for Orchestra was played with almost proprietary command, nearly eight decades after this orchestra gave the work its premiere.They might have admired the group’s enduring prestige, too, as one distinguished musician after another graced the stage. Anne-Sophie Mutter reprised a violin concerto written for her by John Williams, who was in the audience to hear it and took the podium for a couple of encores. Seong-Jin Cho, among our more urbane young pianists, offered some delightfully vivacious Mozart in partnership with the conductor Susanna Mälkki, who amply demonstrated there and in her thrillingly exact Bartók why her star burns ever brighter. Andris Nelsons, the Boston Symphony’s music director, was supposed to accompany Yo-Yo Ma in a Shostakovich concerto, but a positive Covid test and a cancellation by the cellist led the orchestra to place a call to Renée Fleming instead. The empress of the sopranos obliged.Renée Fleming, left, stepped in to perform Strauss songs after the cellist Yo-Yo Ma tested positive for Covid-19.Hilary ScottAs a display of professionalism, of power, of permanence, all of that was clarifying, even formidable. And you could have been forgiven for needing that demonstration, given the Boston Symphony’s dysfunction of late.After the retirement of Mark Volpe, who served as the orchestra’s president and chief executive for 23 years until 2021 and amassed an endowment of around half a billion dollars, the Boston Symphony turned for inspiration to Gail Samuel, the chief operating officer of the daring Los Angeles Philharmonic, where she had worked for nearly three decades. Hints of a progressive Californian spirit were soon in evidence, as composers started appearing onstage at Symphony Hall in Boston to introduce their works, and the atmosphere began to feel more engaged. But Samuel lasted a mere 18 months, stepping down in January for reasons that are still not clear. Nelsons, conspicuously, offered no public comment when her departure was announced; much of the senior staff had already left in alarmingly short order and are yet to be replaced.Filling out those ranks will be one of the tasks that falls to Chad Smith, who, in a peculiar case of déjà vu, will start work as the orchestra’s next president and chief executive in mid-September, after more than 20 years at, yes, the Los Angeles Philharmonic. Smith, who for a long time was the adventurous Philharmonic’s programming guru, is hugely respected, and his hiring is cause for excitement, if some trepidation. Whether the Los Angeles model, or anything like it, can be applied to an institution that takes such pride in its past remains to be seen, although the Samuel debacle offers a clue; whatever else the Boston Symphony may be, it is not an organization known for its agility.But this is not the only problem that Smith needs to solve. The orchestra itself, which recently signed a three-year labor agreement that will add flexibility to its concert schedule, has not had a leader on paper since 2019, when Malcolm Lowe retired as concertmaster; in practice, the matter has been unstable for longer than that. Auditions to fill a chair that, since 1920, has been occupied only by Lowe, Joseph Silverstein and Richard Burgin, reached a final stage this season, when several violinists competed for the post in concert, including Alexander Velinzon and Elita Kang, internal candidates who have admirably held the fort while the first associate concertmaster, Tamara Smirnova, has been away. Incredibly, the search remains ongoing. So, too, the slackness that can sometimes be detected in the first violins.In addition, Elizabeth Rowe, the principal flutist whose distinctive, ever-so-slightly melancholy tone has defined the sound of the modern Boston Symphony, has announced that she will leave her position next year. She sued the orchestra in 2018 to secure pay equal to that of the oboist who sits to her left, John Ferrillo. She has drawn on the experience of that lawsuit, which was settled in 2019, to fashion a new career as a career coach and gender equality advocate. She returned from a period of leave with these concerts, and her immaculate, expressive playing was so exquisite that it brought back to mind the view of Ferrillo, as it was quoted in legal filings, that she is “the finest orchestral flutist in North America.” She should be celebrated, and will be missed.Susanna Mälkki, left, led the Boston Symphony in a concert that featured the pianist Seong-Jin Cho.Hilary ScottThese issues speak not only to a lack of leadership, but to the Boston Symphony’s struggle to chart a course from its storied history to an unclear future. It is finding its way, slowly. Four years ago, I wrote that it seemed complacent, “content simply to abide” while equally traditionalist ensembles were starting to experiment. Happily, it would be wrong to level the same charge now.Since its return after the pandemic, the orchestra has tried to connect with a wider swath of Bostonians, enlisting Mayor Michelle Wu in the cause, and its artistic concerns have become more varied and more connected to our time. There was a three-week festival in March that, although miserably attended, posed important social questions about race and gender. The two concerts I heard, which included a brilliantly raucous staging of Julia Wolfe’s “Her Story” with the singers of the Lorelei Ensemble, were bolder than anything I had previously witnessed at Symphony Hall. Even the ensemble’s standard repertoire concerts are no longer so beholden to the standards: In January, Karina Canellakis led a fiery account of the Lutoslawski Concerto for Orchestra just a few days after Alan Gilbert had found a way to get Stenhammar’s glorious Serenade onto a program.Where does Nelsons fit into this? Oddly, the Boston Symphony seems to be at its most creative when its music director is away. He continues to do his duty by new music: For Sunday’s concert at Tanglewood, he programmed Julia Adolphe’s “Makeshift Castle” for the third time in a year or so, granting beautifully evocative detail to its memories of a childhood sunset, and on Friday he was a sincere advocate for Williams’s wistful Violin Concerto No. 2, which Mutter played with her trademark commitment. Nelsons remains an enviable accompanist, too, drawing a strong roster of soloists to his side; Fleming can rarely have received such sensitive support as she did in her six Strauss songs here, which ended with a touching “Morgen.”But over the course of a subscription season, Nelsons is frustratingly inconsistent. His readings can come off as run-throughs rather than proper interpretations, and for every score that he conducts in a manner befitting his stature — a mighty, tensile Mahler Sixth in October, for instance, or his searing double bill of Britten’s Violin Concerto and Shostakovich’s “Babi Yar” Symphony in May — there is another that exasperates. He was in typical form last weekend: perfectly satisfactory in Stravinsky’s “Petrushka” on Sunday, when he seemed to celebrate the intense virtuosity of his principal players, but desperately sluggish in works by Strauss and Ravel on Friday.His contract is likely to be extended, but as of today it has not been renewed past the end of the 2024-25 season. In classical music, that is no time at all. Count it as another decision that Smith has to make. More

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      Boston’s Mayor, Michelle Wu, Trades City Hall for Symphony Hall

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      Michelle Wu, a lifelong pianist, has played to prepare for mayoral debates. Last weekend, she joined the Boston Symphony Orchestra onstage.BOSTON — There are things that a big-city mayor just has to do. Cut a ribbon here. Plant a tree there. Throw out the first pitch. Play Mozart with the local symphony orchestra.Hang on a second.Plenty of politicians might say that they support the arts, but Michelle Wu, a Democrat who became the first woman and the first person of color to be elected mayor of Boston, in November 2021, is one of the few who will court embarrassment to prove it.At the free “Concert for the City” on Sunday afternoon, put on by the Boston Symphony Orchestra and its sister ensemble, the Boston Pops, Wu took the stage before a nearly full house at Symphony Hall here to perform as the soloist in the dreamy slow movement of Mozart’s Piano Concerto No. 21. She may not quite be ready for a world tour, but with the Symphony and its music director, Andris Nelsons, in support, she captured more of the composer’s characteristic elegance than an amateur might. And she barely missed a note.“I think Michelle did it so wonderfully,” Nelsons said during a news conference after the performance.While political figures, including Edward M. Kennedy, the former Massachusetts senator, and Thomas M. Menino, the former Boston mayor, have from time to time stood on the podium while the Pops has played such staples as “Sleigh Ride” and “The Stars and Stripes Forever,” the Symphony’s archivist said that Wu, 38, was almost certainly the first officeholder in the orchestra’s more than 140-year history to take the far greater risk of stepping into the spotlight as a soloist.Some players in the ensemble — which had rehearsed with her on Saturday, before giving a ferociously intense reading that night of Shostakovich’s Symphony No. 13 to end its subscription season — stayed onstage to watch, even though they had no music to play.Wu played Mozart’s Piano Concerto No. 21 with the orchestra as part of Boston’s “Concert for the City.”Robert Torres“I have been playing piano since long, long before I ever thought about politics, and my parents are probably more than skeptical still about the politics thing,” Wu said at the news conference, adding with a laugh, “This is probably the proudest that they’ve ever been of me, and it took getting elected to mayor to be able to do this.”For the Boston Symphony, the performance was a chance to showcase its quickly strengthening commitment to community engagement. For Wu, it was a platform to promote her policies as the city’s arts institutions steadily right themselves after the pandemic, including her insistence that every child in a Boston public school should have access to an instrument. But it was also an occasion to reflect on the deeper connections that she — as a pianist who trained from age 4 and, as The Boston Globe reported, keeps an upright in her City Hall office — sees between music and politics broadly.Classical artists often talk in platitudes about music being a universal language that can transcend borders, but for Wu, who grew up in Chicago as the first child of immigrants from Taiwan and who also learned the violin, the commonplaces were a reality.“I remember very vaguely when I was young, we would go drive really far so my mom would sing in a community chorus concert,” Wu said in an interview. “My mom has a gorgeous voice, so much of my function learning piano growing up was to be her accompanist.”Music offered Wu’s parents continuity amid change, as they learned English and adapted to a new culture. She remembered seeing that her mother had transliterated the words in her score for Gershwin’s “Porgy and Bess” into Chinese, so that she could pronounce them correctly.“My parents were in a very modest situation,” Wu said. “We were initially receiving benefits and as my dad’s career moved up, kind of moved more firmly into the middle class. But piano lessons were, I’m sure, at that time just a luxury splurge for them. But it was important because my parents were both musical, and again, it was their way to feel like the barriers maybe weren’t so high in this country.”As a high schooler, Wu played the solo part in Gershwin’s “Rhapsody in Blue,” and she became a subscriber to the Boston Symphony while she was studying at Harvard University. Although she practiced hard for Sunday’s performance, she said, she had made a tradition of playing for herself the night before mayoral debates.“My go-to to really calm myself is Liszt’s ‘Un Sospiro,’” Wu said. “With the flowing of it, you can really lose yourself quickly. And then if it was that kind of day, it’d be a little Rachmaninoff.”Wu’s Boston Symphony appearance came about after she and her children attended a family and youth concert last year, and she played a few bars of Liszt backstage for that program’s conductor, Thomas Wilkins. The orchestra approached her about Sunday’s concert of short, mostly Boston-related works about a month and a half ago, offering her three Mozart pieces to choose from. She took a few weeks to think about it, she admitted.“Just as I try to be honest about the challenges that can come with being a working parent,” Wu said at the news conference, “in the hopes that that means we change our systems faster and encourage other people to believe that it’s possible to live their lives and give their fullest in every way, I hope that people will see that we can come to our positions — if you might be so fortunate to have a position of leadership or whatever platform you have — to bring your whole self to that.”Wu talks about the role that the arts can play in society with a conviction that many musical institutions are still working to acquire, describing them as, among other things, “a vehicle to talk about and address our biggest challenges in new and interesting ways,” such as climate change and race. These are beliefs that, she said, she might not hold with the same intensity if she had not played the piano.“I would imagine that even as someone who would not necessarily play but be a passionate audience member, there’s something about the feeling and the connection that you can’t put words to when all of it comes together,” Wu said in the interview. “The power of how people felt connected in Symphony Hall today, hanging on every note, delighted at each individual piece and the surprises and twists of every composition — that’s a model for how we want our community to be, day in and day out, in this city.” More

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      The Boston Symphony Finds Surprises and Strengths in New Music

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      Over two nights at Carnegie Hall, the Boston Symphony Orchestra presented the New York premieres of works by Thierry Escaich and Thomas Adès.When orchestras come to Carnegie Hall, their programs typically tell you two things: who they are and what they can do.That was true earlier this season when the Vienna Philharmonic and Christian Thielemann offered authoritative Strauss and Bruckner. Or when the Berlin Philharmonic and Kirill Petrenko opened up the complex worlds of Mahler’s Seventh with coordinated virtuosity. Or when the Los Angeles Philharmonic and Gustavo Dudamel found irrepressible dynamism in blazing scores by Gabriela Ortiz.And over two nights at Carnegie this week, the Boston Symphony Orchestra and its music director, Andris Nelsons, told their story gradually, one piece at a time, in canonical works by Ravel, Rachmaninoff, Sibelius and Mozart. It was only when they unveiled two New York premieres — Thierry Escaich’s “Les Chants de l’Aube,” with the cellist Gautier Capuçon, and Thomas Adès’s “Air,” with the violinist Anne-Sophie Mutter — that they tapped into something special all at once.Among American orchestras, the Boston Symphony’s sound is enviably rich. That opulence was readily apparent in the ceaseless flow of cantabile melodies in Rachmaninoff’s Second Symphony. You could hear it too in the briefest articulations, such as the resonant pizzicatos of Ravel’s cheeky “Alborada del Gracioso,” which on Monday opened the first concert, or the sonorous orchestral stabs on the last page of Sibelius’s Fifth Symphony, which on Tuesday closed the second.The Rachmaninoff often felt like an hourlong showcase for the spacious, burnished tone of the orchestra’s violin section. Nelsons coaxed gorgeous, heart-in-your-throat playing from them in one long-breathed line after another. As if to balance that, the Sibelius symphony was rife with woodwind and brass chorales; the strings don’t even enter until the 18th measure. The ensemble’s new principal horn, Richard Sebring — a longtime Boston Symphony player who recently won the chair after an international search — anchored his section with a glowing, edgeless sound.Nelsons seemed to celebrate one section at a time without employing his full forces — or full imagination — in the standard repertory pieces. Occasionally, an overwhelming plushness traded the vulnerability of Rachmaninoff’s music for invincible solidity. In the final movement, the players relaxed into the piece’s complexity, its romance caught in a swirl of vexed intent. Nelsons took the second movement of the Sibelius, built on a deceptively simple rhythmic unit, at face value, without the pluck, personality or sly contentment others have mined in it. In a piece as graceful and zesty as the Ravel, the slowly accumulating strength of the orchestra could be taken for turgidity.The violinist Anne-Sophie Mutter, left, was the soloist in the New York premiere of Thomas Adès’s “Air.”Fadi KheirIn the two New York premieres, though, Nelsons unleashed the ensemble’s astonishing range of colors to enliven the particular atmosphere of each work.In a program note, Escaich compared his cello concerto “Les Chants de l’Aube” to a stained-glass window. The metaphor isn’t readily apparent; the music doesn’t bring to mind a mosaic of translucent, jeweled tones. If anything, its palette feels cool, foreboding.Escaich might be embodying spiritual forces both good and evil. With a glinting, coppery tone, Capuçon gave the opening phrase — a Baroque homage that nods to Bach’s Invention No. 13 — a cunning flicker of darkness and light. The violins played long notes on high, not unlike the angelic overture to Wagner’s “Lohengrin,” as the horns droned down below. Flutes dipped like swallows, and brasses popped out like goblins. Tubular bells tolled ritualistically. Within this frame, both beatific and ominous, Capuçon’s cello maneuvered: warm, bodily, determined.In that sense, the cello, in both design and execution, was very much the piece’s animating force, passing through light and shadow, and knowing something of both. Escaich wrote cadenzas to link the three movements into a continuous form, and Capuçon emphasized their atmospheric expressivity as opposed to their show-pony virtuosity. The orchestra navigated the shifting meters and watery textures of the second movement with conviction, and Nelsons masterfully plotted the way in which the final movement’s heavenly motif for celesta and harp melted away into a dangerous dance. Jazzy dalliances and an abrupt ending didn’t ultimately detract from the concerto’s absorbing sound world.Adès’s “Air,” by contrast, devotes itself to a single idea — one of fragile beauty — for its 15-minute duration. The way Adès pitches the violin writing high up, almost daring the soloist to sustain it, recalls the extreme tessitura for the soprano role of Ariel in his opera “The Tempest.” This time, though, the effect is serene instead of unnervingly otherworldly.Mutter, who gave the world premiere of “Air” at the Lucerne Festival last year, played at Carnegie with a platinum tone, densely concentrated. The orchestra drew mesmeric circles around her, conjuring a world of glass, as Mutter’s sound irradiated a childlike innocence full of whispered awe.With the sensitivity of an opera conductor who loves his singers, Nelsons consistently scaled the orchestra’s sound to his soloists’ resources. If his rendition of Sibelius’s “Luonnotar” — a tone poem about the mythic creation of the earth and firmament — lacked a cosmic spatial sense, then at least its quiet intensity was of a piece with the soprano Golda Schultz’s rosy tone and haloed high notes; these performers were very much describing, rather than dramatizing, the piece’s world-shattering dimensions. Nelsons cushioned Mutter’s elegantly assured playing with spirited, swift touches in Mozart’s First Violin Concerto, and he matched Capuçon’s dazzling, consuming focus and mercurial coloring. Each collaboration felt natural, intuitive.At times during the Boston Symphony’s performances, the parts were greater than the whole. A textbook reading can be exemplary but also plain. But when this orchestra had a new story to tell, it was full of surprises. More