BSO 2018/19 Season - Concert Previews

In the first collaboration between two of classical music's most prominent artists, BSO Music Director Andris Nelsons and Greek violinist Leonidas Kavakos come together November 30-December 2 for Prokofiev's Violin Concerto No. 2, a melodious later work with audible influences from Russian and Spanish folk music. Maestro Nelsons also continues his exploration of the music of Richard Strauss, closing the program with the vivid tone poem An Alpine Symphony. The program begins with Derek Bermel's 2006 Elixir, which the American composer describes as "a spectral love potion" and which calls on the distinctive and haunting theremin, one of the earliest electronic instruments. This is one of several works by younger American composers being presented during the BSO's 2017-18 season. Produced by Anthony Princiotti.

In the first collaboration between two of classical music's most prominent artists, BSO Music Director Andris Nelsons and Greek violinist Leonidas Kavakos come together November 30-December 2 for Prokofiev's Violin Concerto No. 2, a melodious later work with audible influences from Russian and Spanish folk music. Maestro Nelsons also continues his exploration of the music of Richard Strauss, closing the program with the vivid tone poem An Alpine Symphony. The program begins with Derek Bermel's 2006 Elixir, which the American composer describes as "a spectral love potion" and which calls on the distinctive and haunting theremin, one of the earliest electronic instruments. This is one of several works by younger American composers being presented during the BSO's 2017-18 season.

In the first collaboration between two of classical music's most prominent artists, BSO Music Director Andris Nelsons and Greek violinist Leonidas Kavakos come together November 30-December 2 for Prokofiev's Violin Concerto No. 2, a melodious later work with audible influences from Russian and Spanish folk music. Maestro Nelsons also continues his exploration of the music of Richard Strauss, closing the program with the vivid tone poem An Alpine Symphony. The program begins with Derek Bermel's 2006 Elixir, which the American composer describes as "a spectral love potion" and which calls on the distinctive and haunting theremin, one of the earliest electronic instruments. This is one of several works by younger American composers being presented during the BSO's 2017-18 season.

In the first collaboration between two of classical music's most prominent artists, BSO Music Director Andris Nelsons and Greek violinist Leonidas Kavakos come together November 30-December 2 for Prokofiev's Violin Concerto No. 2, a melodious later work with audible influences from Russian and Spanish folk music. Maestro Nelsons also continues his exploration of the music of Richard Strauss, closing the program with the vivid tone poem An Alpine Symphony. The program begins with Derek Bermel's 2006 Elixir, which the American composer describes as "a spectral love potion" and which calls on the distinctive and haunting theremin, one of the earliest electronic instruments. This is one of several works by younger American composers being presented during the BSO's 2017-18 season.

BSO Music Director Andris Nelsons returns to Symphony Hall for three concerts Tuesday, November 21- Saturday, November 25, in continuation of his survey of the complete symphonies of Bruckner with the orchestra. Having previously performed the composer's Third, Sixth, and Seventh symphonies together, Maestro Nelsons and the BSO take on the Symphony No. 4, Romantic, in these concerts. Marked by the soaring grandeur and long-breathed melodies so characteristic of Bruckner, the Fourth is one of the composer's most direct and approachable works. To open the program, Austrian pianist Rudolf Buchbinder, a frequent collaborator with Mr. Nelsons, joins the orchestra for Beethoven's Piano Concerto No. 1.

BSO Music Director Andris Nelsons returns to Symphony Hall for three concerts Tuesday, November 21- Saturday, November 25, in continuation of his survey of the complete symphonies of Bruckner with the orchestra. Having previously performed the composer's Third, Sixth, and Seventh symphonies together, Maestro Nelsons and the BSO take on the Symphony No. 4, Romantic, in these concerts. Marked by the soaring grandeur and long-breathed melodies so characteristic of Bruckner, the Fourth is one of the composer's most direct and approachable works. To open the program, Austrian pianist Rudolf Buchbinder, a frequent collaborator with Mr. Nelsons, joins the orchestra for Beethoven's Piano Concerto No. 1. Produced by Anthony Princiotti.

BSO Music Director Andris Nelsons returns to Symphony Hall for three concerts Tuesday, November 21- Saturday, November 25, in continuation of his survey of the complete symphonies of Bruckner with the orchestra. Having previously performed the composer's Third, Sixth, and Seventh symphonies together, Maestro Nelsons and the BSO take on the Symphony No. 4, Romantic, in these concerts. Marked by the soaring grandeur and long-breathed melodies so characteristic of Bruckner, the Fourth is one of the composer's most direct and approachable works. To open the program, Austrian pianist Rudolf Buchbinder, a frequent collaborator with Mr. Nelsons, joins the orchestra for Beethoven's Piano Concerto No. 1.

BSO Music Director Andris Nelsons returns to Symphony Hall for three concerts Tuesday, November 21- Saturday, November 25, in continuation of his survey of the complete symphonies of Bruckner with the orchestra. Having previously performed the composer's Third, Sixth, and Seventh symphonies together, Maestro Nelsons and the BSO take on the Symphony No. 4, Romantic, in these concerts. Marked by the soaring grandeur and long-breathed melodies so characteristic of Bruckner, the Fourth is one of the composer's most direct and approachable works. To open the program, Austrian pianist Rudolf Buchbinder, a frequent collaborator with Mr. Nelsons, joins the orchestra for Beethoven's Piano Concerto No. 1.

The young, Berlin-born pianist Martin Helmchen, who made his BSO debut in 2011 at Tanglewood with Schumann's Piano Concerto and his subscription series debut in 2015 with Beethoven's Piano Concerto No. 5, Emperor, is now featured in Beethoven's Piano Concerto No. 3, which pays homage to Mozart and Haydn while also exhibiting Beethoven's own intense individuality. Written nearly a century later, the first of Mahler's nine symphonies employs folk-music references and a conventional four-movement form that have their foundations in Haydn's time. Its expanded scope and instrumentation are evidence of the genre's 19th-century transformation as well as Mahler's own expansion of the form.

The young, Berlin-born pianist Martin Helmchen, who made his BSO debut in 2011 at Tanglewood with Schumann's Piano Concerto and his subscription series debut in 2015 with Beethoven's Piano Concerto No. 5, Emperor, is now featured in Beethoven's Piano Concerto No. 3, which pays homage to Mozart and Haydn while also exhibiting Beethoven's own intense individuality. Written nearly a century later, the first of Mahler's nine symphonies employs folk-music references and a conventional four-movement form that have their foundations in Haydn's time. Its expanded scope and instrumentation are evidence of the genre's 19th-century transformation as well as Mahler's own expansion of the form. Produced by Anthony Princiotti.

The young, Berlin-born pianist Martin Helmchen, who made his BSO debut in 2011 at Tanglewood with Schumann's Piano Concerto and his subscription series debut in 2015 with Beethoven's Piano Concerto No. 5, Emperor, is now featured in Beethoven's Piano Concerto No. 3, which pays homage to Mozart and Haydn while also exhibiting Beethoven's own intense individuality. Written nearly a century later, the first of Mahler's nine symphonies employs folk-music references and a conventional four-movement form that have their foundations in Haydn's time. Its expanded scope and instrumentation are evidence of the genre's 19th-century transformation as well as Mahler's own expansion of the form.

Eminent Swiss conductor Charles Dutoit, music director of the Royal Philharmonic Orchestra and leading interpreter of French music, continues his multi-season series of programs with the BSO featuring the pinnacles of the French repertoire Thursday, October 26-Saturday, October 28 with three performances of Berlioz's The Damnation of Faust (sung in French with English supertitles). Defying clear categorization, Berlioz's work is equal parts opera, oratorio, and cantata, with text adapted from a French translation of Goethe's Faust. The BSO is joined by an outstanding all-American quartet of vocal soloists: mezzo-soprano Susan Graham as Marguerite, tenor Paul Groves as Faust, baritone David Kravitz as Brander, and bass-baritone John Relyea as Méphistophélès; as well as the Tanglewood Festival Chorus and a children's chorus.

Eminent Swiss conductor Charles Dutoit, music director of the Royal Philharmonic Orchestra and leading interpreter of French music, continues his multi-season series of programs with the BSO featuring the pinnacles of the French repertoire Thursday, October 26-Saturday, October 28 with three performances of Berlioz's The Damnation of Faust (sung in French with English supertitles). Defying clear categorization, Berlioz's work is equal parts opera, oratorio, and cantata, with text adapted from a French translation of Goethe's Faust. The BSO is joined by an outstanding all-American quartet of vocal soloists: mezzo-soprano Susan Graham as Marguerite, tenor Paul Groves as Faust, baritone David Kravitz as Brander, and bass-baritone John Relyea as Méphistophélès; as well as the Tanglewood Festival Chorus and a children's chorus.

Eminent Swiss conductor Charles Dutoit, music director of the Royal Philharmonic Orchestra and leading interpreter of French music, continues his multi-season series of programs with the BSO featuring the pinnacles of the French repertoire Thursday, October 26-Saturday, October 28 with three performances of Berlioz's The Damnation of Faust (sung in French with English supertitles). Defying clear categorization, Berlioz's work is equal parts opera, oratorio, and cantata, with text adapted from a French translation of Goethe's Faust. The BSO is joined by an outstanding all-American quartet of vocal soloists: mezzo-soprano Susan Graham as Marguerite, tenor Paul Groves as Faust, baritone David Kravitz as Brander, and bass-baritone John Relyea as Méphistophélès; as well as the Tanglewood Festival Chorus and a children's chorus. Produced by Anthony Princiotti.

Guest Conductor Charles Dutoit speaks with Brian Bell about the BSO's great Berlioz tradition and the Damnation of Faus. Eminent Swiss conductor Charles Dutoit, music director of the Royal Philharmonic Orchestra and leading interpreter of French music, continues his multi-season series of programs with the BSO featuring the pinnacles of the French repertoire Thursday, October 26-Saturday, October 28 with three performances of Berlioz's The Damnation of Faust (sung in French with English supertitles). Defying clear categorization, Berlioz's work is equal parts opera, oratorio, and cantata, with text adapted from a French translation of Goethe's Faust. The BSO is joined by an outstanding all-American quartet of vocal soloists: mezzo-soprano Susan Graham as Marguerite, tenor Paul Groves as Faust, baritone David Kravitz as Brander, and bass-baritone John Relyea as Méphistophélès; as well as the Tanglewood Festival Chorus and a children's chorus.