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Andrey Boreyko makes an impressive debut with the Boston Symphony, where Evgeny Kissin performs in not one, but two piano concertos. 

Herbert Blomstedt demonstrates the “singability” of Brahms in his latest appearance with the Boston Symphony, concluding with the autumnal glow of the Fourth Symphony.

Benjamin Zander’s meticulous preparation, compelling concept and strong casting make for a shattering experience in the Boston Philharmonic’s performance. 

In celebration of the 125th anniversary of Symphony Hall, Andris Nelsons returns to the work that opened the venue on 15th October 1900.

Andris Nelsons celebrates Symphony Hall’s 125th anniversary with two works contemporaneous to the hall’s first season: Debussy’s Nocturnes and Mahler’s Symphony no. 4 (both premiered in 1901). 

Late-career works by Lyadov, Bartók and Rachmaninov dominated the program, which featured Inon Barnatan as piano soloist.

Herbert Blomstedt returns to Symphony Hall to answer the question Schubert reportedly asked himself in his teens, “Who can do anything after Beethoven?”

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. 

Andris Nelsons launches a Beethoven cycle with riveting performances of the first two symphonies. 

The Boston Symphony's final concert of 2024 is marked by appearance of the two conducting fellows from this summer’s Tanglewood Music Center, Ross Jamie Collins and Na’zir McFadden. 

Pappano leads a masterful program of protean compositions by Hannah Kendall, Strauss and Liszt, joined by Jean-Yves Thibaudet. 

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

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

Yunchan Lim joins Klaus Mäkelä and the Orchestre de Paris for a Rachmaninov Second Piano Concerto full of dynamic contrast. 

Before the planned program of Bartók and Haydn, the Boston Symphony Orchestra and conductor Karina Canellakis honor Seiji Ozawa with Bach's Air on a G String. 

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

Seong-Jin Cho is the scampering left-hand soloist in Ravel's “Gershwin meets Boléro” concerto. 

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

A semi-staging of Golijov's “tone poem in voices” in Boston's Symphony Hall. 

Gautier Capuçon gives the US premiere of Thierry Escaich's second cello concerto, Les Chants de l’aube. 

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

Lahav Shani brings a kinetic presence to the Boston Symphony podium in a concert featuring Prokofiev, Rachmaninov and Jean-Yves Thibaudet playing Saint-Saëns. 

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

Virtuosity infused with a tension which became almost unbearable

Alan Gilbert turns the usual concert format on its head, ending his program with Dvořák’s Carnival Overture to follow a trio of works new to the orchestra. 

Dramatic, poignant and emotionally draining, this proves a benchmark performance of Mahler's Sixth Symphony.

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

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

When a voice as potent as Christine Goerke’s has to push to be heard, you know there’s a problem.

The whole performance, which drew thematic parallels between Mozart and Bruckner, was a master class in eliciting more with less.

Omicron may have led to the cancellation of Janáček's choral epic, but Lukás Vondráček stepped in to perform Rachmaninov. 

Elim Chan and Igor Levit make successful Boston Symphony debuts performing Brahms' Second Piano Concerto. 

Soloist Jean-Yves Thibaudet spun a dazzling rendition of Liszt's Second Piano Concerto, which was followed by a limber reading of Beethoven's Fourth Symphony.

The first sounds heard in Symphony Hall in 2022 were those of a full orchestral blast introducing a world premiere by HK Gruber.

Widmann’s maze keeps the listener off balance, constantly surprising and tricking the ears as a labyrinth constantly surprises and tricks the eyes.

Thanks to an extraordinary ensemble effort by everyone involved, old friends arrived wearing expertly tailored new clothes inviting a closer look.

Inventive, engaging, and above all fun, this performance of Victor Wooten's virtuosic concerto for electric bass guitar invites repeat performances.

The conductor brought the score together by finding unexpected warmth in Sofia Gubaidulina's music and avoiding the melodramatic in his interpretation of Rachmaninov. 

Muscular and energetic yet subtle and mercurial, this was a tour-de-force performance from an inexhaustible dynamo of invention

The BSO selected two sumptuous works of Strauss to contrast the joyousness of Mozart’s Concerto for Two Pianos. 

Looking at its past, its present and its future, the Boston Symphony returns to Symphony Hall after the Covid hiatus. 

Led by concertmaster Aisslinn Nosky, the compact group of H&H musicians restored these works to their whimsical “party hearty” roots.

Nelsons, in his “Paths of Romanticism” series, has chosen programs that can be played by a small chamber group made up some of the world’s finest musicians.

Works by Weber and Schumann allowed the BSO soloists the opportunity to shine in this latest video stream. 

Razor sharp precision from Nelsons and the BSO in Shostakovich and Stravinsky, with intensely expressive playing from Michael Zaretsky and Randall Hodgkinson in Eda Rapoport's Poem.

In Boston, an inventive program of Ravel, Honegger and Milhaud explores the Parisian musical melting pot of the 1920s and 30s.

Konzertmusik is a showpiece for the sections it involves, but, as this performance demonstrated, its conversational structure brings with it a dry wit and rich dynamic which sets it apart.

Carlos Simon’s Fate Now Conquers is sandwiched by two Beethoven symphonies in this final programme in Andris Nelsons' “Spirit of Beethoven” theme.

Excellent camera work contributed to the transparency and clarity by visualizing the interplay between various instruments and sections in the reduced orchestra, especially the eloquent winds.