BSO 2018/19 Season - Concert Previews show

BSO 2018/19 Season - Concert Previews

Summary: Welcome to Boston Symphony Orchestra's Concert Preview Podcast for music programs being performed by the BSO for the 2018-2019 season. We hope you find these previews and videos, as well as the program notes educational, insightful and entertaining, and as always, if you would like to learn more about the Boston Symphony Orchestra, please visit www.bso.org.

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  • Artist: Boston Symphony Orchestra
  • Copyright: Copyright 2018/19 BSO.ORG

Podcasts:

 Video: BSO 2014-15: Andris Nelsons Inaugural Concert as BSO Music Director | File Type: audio/x-m4v | Duration: 3:38

This wide-ranging one-night-only event celebrates the start of BSO Music Director Andris Nelsons' tenure with the orchestra, and features two close colleagues of the conductor as soloists, the acclaimed Latvian soprano Kristīne Opolais, and the outstanding German tenor Jonas Kaufmann. Each sings selections from the Wagnerian and Italian verismo repertoires, after which they join forces for a powerful duet from Puccini's Manon Lescaut. The concert opens with Wagner's Tannhäuser Overture-the work that first inspired a five-year-old Nelsons to a life in music-and closes with Respighi's spectacular orchestral showcase, Pines of Rome.

 Video: BSO 2014-15: Andris Nelsons on Beethoven, Bartók and Tchaikovsky | File Type: audio/x-m4v | Duration: 3:28

For his second program of 2014-15, Andris Nelsons leads three great works reflecting his lifelong immersion in the world of symphonic repertoire-works that also demonstrate the commanding stylistic range of the Boston Symphony Orchestra. Beethoven's Symphony No. 8, premiered in 1814, is as consistently high-spirited and jolly as anything the composer ever wrote. The contrastingly aggressive and lurid Suite from Bartók's 1918 ballet score The Miraculous Mandarin captures the urban tension of post-World War I Europe. Tchaikovsky's final work, the Pathétique Symphony, is noteworthy for its melodic warmth and the composer's intricate, magical orchestrations. Premiered shortly before his death, the Sixth ends unusually, and emotionally powerfully, with a slow, mournful movement rather than a triumphant finale.

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