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Performer: Kristine Opolais

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LenoxAndris Nelsons conducts Verdi's Requiem

Verdi: Messa da Requiem
Boston Symphony Orchestra; Andris Nelsons; Kristine Opolais; Oksana Volkova; Jonathan Tetelman; Ryan Speedo Green

LondonTosca

Puccini: Tosca
Alexander Joel; Jonathan Kent; Royal Opera; Paul Brown; Kristine Opolais; Angela Gheorghiu

LeipzigKlassik airleben: Gewandhausorchester

Arien, Duette und Orchesterwerke aus der italienischen Operntradition:
Leipzig Gewandhaus Orchestra; Andris Nelsons; Kristine Opolais; Thomas Hampson

DortmundGalakonzert in Dortmund

Arien, Duette und Orchesterwerke aus der italienischen Operntradition:
Leipzig Gewandhaus Orchestra; Andris Nelsons; Kristine Opolais; Thomas Hampson

DresdenTosca

Puccini: Tosca
Daniele Callegari; Johannes Schaaf; Dresden State Opera; Antonino Fogliani; Giampaolo Bisanti; Christof Cremer; Petra Reinhardt
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Boulanger, Debussy and Puccini with Nelsons, Opolais, and the BSO

Kristine Opolais in Puccini's Suor Angelica with the BSO © Winslow Townson
The Boston Symphony Orchestra led by Andris Nelsons performs Boulanger, Debussy and Puccini. 
****1
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Trittico's 100th anniversary and Domingo's 50th

Plácido Domingo (Gianni Schicchi) © Ken Howard | Metropolitan Opera
All three operas in Puccini's triptych are strongly cast in this revival. 
****1
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Nelsons’ manicured Mahler a slow burn with the Gewandhaus

Andris Nelsons © Southbank Centre | Mark Allan
After the UK première of Andris Dzenītis’ Māra and some Tchaikovsky operatic excerpts, the Gewandhaus returned to Mahler. 
***11
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Nelsons sheds light on Puccini's canvas

Jonathan Tetelman and Kristine Opolais © Hilary Scott
Under Andris Nelsons' baton, the musical canvas was remarkably supple with proper light shed on Puccini’s melodic inventiveness and wondrous orchestration.
****1
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More than A Little Night Music: Mozart and Shostakovich in Boston

Kristine Opolais, Andris Nelsons and the Boston Symphony © Robert Torres
Andris Nelsons' Mozart–Shostakovich pairing allowed the Boston Symphony winds to take the spotlight in the first half, leaving the strings and limited percussion to their task in the second. 
****1
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