The healing power of faith: Dvořák‘s Stabat Mater in Boston

By Kevin Wells, 02 March 2019

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“Nelsons had a strong and pliant chorus and a skilled quartet of soloists to bring his vision to life”

Reviewed at Symphony Hall, Boston on 1 March 2019

Dvořák, Stabat Mater, Op.58

Rachel Willis-Sørensen, Soprano

Violeta Urmana, Mezzo-soprano

Dmytro Popov, Tenor

Matthew Rose, Bass

Tanglewood Festival Chorus

Boston Symphony Orchestra

Andris Nelsons, Conductor

Andris Nelsons and the BSO arrive in New York, with baggage in tow

Cameron Kelsall, 9th April

In his first New York appearance since the termination of his contract as BSO Music Director, Nelsons courts public sympathy and makes some thrilling music.

***11

Herbert Blomstedt conducts Brahms with the Boston Symphony

Kevin Wells, 5th March

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

*****

An earthbound Missa Solemnis from Boston Symphony Orchestra

Cameron Kelsall, 11th October

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

***11

Andris Nelsons and the Boston Symphony perform Debussy and Mahler

Kevin Wells, 4th October

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).

***11

As usual, Beethoven ushers out the BSO season at Tanglewood

Cameron Kelsall, 24th August

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

***11

A galactic adventure at Tanglewood: Kazuki Yamada and The Planets

Cameron Kelsall, 23rd August

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

****1

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Kevin Wells

Kevin Wells was bitten by the opera bug at 10, having heard a 1936 recording of Jussi Björling singing “Che gelida manina”. He has never been the same since. A student of voice, performance practice, the history of singing and opera, he holds advanced degrees in Italian and has lived and worked in Italy off and on since the 70s. La Scala became a second home as the Met had been during college daze. Now in his native Boston, he works as translator, tutor, and language coach, haunts Symphony Hall, and would haunt the Opera House had it not been demolished in 1958!