Symphony Hall, Boston - October 18, 2013
Wagner: Siegfried Idyll; Mozart: Piano Concerto No.25 in C Major, K.503; Brahms: Symphony No.3 in F Major, Op.90
[...]" The Siegfried Idyll [...] requires a command of architecture that escapes conductors twice Nelsons’s age, as well as a freedom of tempo and emotion that must never become too impulsive. A balance must also be found between the private side of Wagner’s adoration of his wife, for whom the piece was written and first performed, and the insistently public, mythical themes of Siegfried and Brünnhilde that Wagner uses to express it. Yet Nelsons judged this beautifully, with tempi that dared to linger but that never dragged. Hints of swagger to Siegfried’s themes reminded that tranquility emerged from inquietude for hero and composer alike. Balances were impeccable, enabling the BSO’s solo woodwinds to communicate musically even through the thicker textures of this arrangement for full strings, and those strings, too, seemed to have a darker, more Germanic tinge to their sound than one would often hear. [...]
"The BSO have acquired perhaps the most talented young conductor in the world: they know it, and they played like they know it here. There were enough slips in the Mozart and Brahms that Nelsons surely knows how much work he will have to do to restore this orchestra to its rightful place, both technically and in the pantheon of great American orchestras. Given time, he will."
(David Allen, 18.10.2013)