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The season-ending performance of Beethoven's Ninth Symphony loses its intended conductor but remains enjoyable, if somewhat under-rehearsed. 

The guest conductor pairs Holst's perennial crowd pleaser with Poulenc's Gloria, a work deeply associated with the Boston Symphony Orchestra.

The composer's magnum opus, unjustly neglected in English-speaking countries, receives magnificent treatment from Andris Nelsons and the Boston Symphony Orchestra, anchored by David Butt Philip and Christine Goerke.

Nelsons stresses refined dynamics, rhythmic drive, balance and contrast as he closes the Beethoven Festival in style. 

A well thought-out, fearless, affirmation of hope which drew its listeners ever upwards into the realm of ecstasy.

Karina Canellakis conducts a Franco-Prussian program featuring Beethoven and Brahms in the first half, Chausson and Ravel in the second. 

The closing concert for the triple anniversary of Serge Koussevitzky and the BSO takes a fittingly ritualistic turn.

Sensory overload? Color takes centre-stage in Scriabin's synaesthetic Poem of Fire and Anna Clyne's Color Field. 

Andris Nelsons brings his Shostakovich project to a close in Boston with an incandescent performance of Lady Macbeth of Mtsensk. 

The summer festival closes with the Tanglewood Music Center Orchestra playing Tippett and Beethoven. 

Andris Nelsons highlights the spirited wit of Orff's orchestration, but inconsistent singing from soloists and chorus leaves something to be desired.

A memorable night at the opera as Andris Nelsons conducts Così fan tutte at the Tanglewood Festival. 

Britten’s Violin Concerto could easily qualify as a Mount Everest for violinists, but Augustin Hadelich scaled it with deceptive ease.

Thomas Adès conducts music from his own ballet score to The Dante Project and Stravinsky's Persephone. 

Soloists Klaus Florian Vogt, Christian Gerhaher, Amber Wagner and Marina Prudenskaya star in Act 3 of Tannhäuser.

Andris Nelsons makes no apologies for Shostakovich's Third Symphony, allowing it to blare, blaze, and bloviate as written.

Profound questions as the Tanglewood season closes with the traditional appearance of Beethoven's Ninth Symphony. 

Fazıl Say’s concerto for piano four-hands gets its US premiere with siblings Lucas and Arthur Jussen at the keyboard. 

Andris Nelsons conducts a brisk, but pliant performance of Mozart’s dramma giocoso with a fine cast at Tanglewood. 

Sir Antonio Pappano molds a dramatic yet intimate performance of Britten's great choral work, powerful and moving.

After Helen Grimes makes her Symphony Hall debut, Johannes Moser is the soloist in William Walton's Cello Concerto, before Maurice Duruflé's Requiem comes as welcome consolation. 

Three firsts and an old friend, plus a probing Daniel Lozakovich add up to a memorable evening of music at Symphony Hall. 

The Boston Symphony Orchestra under the baton of Andris Nelsons opens its 139th season with Poulenc, Beethoven and a world premiere of Eric Nathan's Concerto for Orchestra.

Ken-David Masur and James Burton step in for Gustavo Dudamel in a program featuring Antonio Estévez' Cantata criolla.

Andris Nelsons leads a moving performance of Dvořák’s Stabat Mater with the Boston Symphony and Tanglewood Festival Chorus. 

The Boston Symphony Orchestra led by Andris Nelsons performs Boulanger, Debussy and Puccini. 

In Germany, the Christmas Oratorio is performed with the same frequency during the holiday season as Messiah in English-speaking countries. In Boston, the BSO gives its first performance!

A great close to Maher's Second Symphony in Boston, paired with an earthbound curtain raiser. 

Playing Mahler’s Third Symphony was also meant to be an homage to Leonard Bernstein, one of the great interpreters of Mahler’s music, born 100 years ago this week.

Under Andris Nelsons' baton, the musical canvas was remarkably supple with proper light shed on Puccini’s melodic inventiveness and wondrous orchestration.

Maurice Ravel opened his 1928 tour of the United States conducting a series of concerts with the Boston Symphony featuring his own music.

With Andris Nelsons about to debut as Kapellmeister at the Leipzig Gewandhaus, a collaboration with his Boston Symphony was inaugurated in style. 

A superb Mahler 3 from Andris Nelsons and the Boston Symphony, building to an ecstatic finale. 

John Relyea owns the stage as Méphistophélès in Boston Symphony’s Faust. 

Amazing for his young age, Andris Nelsons grasped the essence of Mahler's spiritual quest in coming to terms with life's challenges

At 71, Radu Lupu continues to amaze. No one gets so much out of a piano with such a light touch and minimum of effort. 

In a rare performance of Bach’s Mass in B minor, Andris Nelsons and the BSO brought forward the music’s gravitas.

It would be no exaggeration to say Franz Hawlata stole the show, an act of grand larceny made all the more remarkable by the strong cast which shared the stage.

Canadian conductor Jacques Lacombe led the Boston Symphony Orchestra in a Debussy, Ravel, Orff program.

Andris Nelsons and the Boston Symphony turn their attention to Shostakovich's Eighth Symphony in their ongoing series “Shostakovich Under Stalin’s Shadow”. 

Charles Dutoit stands as arguably today’s premier Berlioz conductor. If his case needed any special pleading, it was pled well in Symphony Hall when he bracketed the Resurrexit and Te Deum with Henri Dutillieux’s Timbre, espace, mouvement ou La Nuit étoilée.

Bach, Berg, and Shostakovich at Symphony Hall "The Breakfast Of Champions".

Andris Nelsons and Boston Symphony Orchestra concludes their three concert series at Carnegie Hall with works by two Russian composers. 

Boston Symphony Orchestra Music Director Andris Nelsons experienced his first time leading the Tanglewood Music Center Orchestra – and hundreds of other performers – in Mahler’s Symphony no. 8.

I took my nephew, a vocal arts student, to see Bach's Passion According to St. John partially so he could experience Boston Symphony and partially to introduce him to choral music – which is some of my favorite. I hadn't been to Symphony Hall since my childhood and was glad to see nothing had changed. One has the sense that generations have passed through the hall in a continuous flow.