On March 15, the Boston Symphony Orchestra (BSO) kicked off their concert in the usual manner: the oboe tuned the orchestra to a concert A, and guest conductor Teddy Abrams along with soloist Ray Chen received a warm welcome from the audience.
However, the real magic began once the music started. The orchestra opened with Tchaikovsky’s famous, and notoriously difficult, Violin Concerto—a piece once deemed unplayable until virtuoso Adolf Brodsky tackled it in 1881. Composed between March and April of 1878, the concerto was written during a time when Tchaikovsky was grappling with the emotional aftermath of his disastrous marriage in 1877.
The concerto began with a classical feel, but as the soloist entered, the piece morphed into a distinctly romantic style. The first movement’s famous moderato assai initially created a relaxing atmosphere, only to quickly spiral into a flurry of sixteenth notes that highlighted Tchaikovsky’s inner turmoil. Ray Chen’s performance was electrifying, as his facial expressions and energetic playing conveyed a deep emotional connection to the music. While his expressive gestures occasionally seemed almost exaggerated, they added extra character to the piece, allowing the audience to better understand both Chen’s interpretation and the composer’s frustrations.
The second movement, in stark contrast, was subdued and meditative. Chen excelled in creating a dreamy, almost hypnotic atmosphere that lulled the audience into a peaceful reverie. But the third movement jolted the listeners back to attention with its lively and acrobatic opening. Particularly notable was the connection to Tchaikovsky’s “Russian Dance” from The Nutcracker Suite, where the leaps and kicks of ballet dancers were echoed in the rhythmic violin lines. The orchestra’s dynamic swells and diminutions amplified the excitement and energy of the movement.
The meno mosso section later in the movement offered a dramatic change in mood, shifting the tone to something more serious and introspective. Chen’s slower vibrato in this section provided a wonderful contrast to the earlier, circus-like energy of the piece, evoking the spirit of Brahms’s Hungarian Dances.
Chen and Abrams’s enthusiasm were contagious, with Abrams occasionally tapping his foot to the rhythm, further enhancing the audience’s enjoyment. The orchestra, too, was stellar, blending seamlessly with Chen and providing just the right amount of space for his solo performance while maintaining their own distinct sound. Abrams’s loose conducting style stood out as well, as he allowed the orchestra freedom to express themselves, in contrast to the more rigid control exercised by some other conductors.
After a well-deserved, enthusiastic round of applause, Chen returned to the stage for an encore—a serenade he had written with his friend Eunike Tanzil. While the piece was pleasant, it felt somewhat derivative, resembling other waltzes and slow pieces in its style. At times, it even evoked melodies from the James Bond film From Russia With Love. Despite its lack of originality, Chen and the orchestra played the piece skillfully.
Following the intermission, the concert continued with the BSO performing Michael Tilson Thomas’s Whitman Songs, featuring baritone Dashon Burton. While Burton’s voice was beautiful and melodic, the pairing of his voice with the orchestra’s unconventional accompaniment created a jarring effect. The piece seemed more reminiscent of Sweeney Todd than of Walt Whitman’s poetry, and at times, Burton’s lyrics were obscured by the music. However, the visual display above the orchestra provided helpful context when the words were unclear. Mendez’s program notes highlighted that the final poem, “We Two Boys Together Clinging,” paid homage to both Leonard Bernstein and Aaron Copland. Unfortunately, these tributes felt too obvious—especially in the mellow, summery tune that resembled Copland’s Appalachian Spring, and in the soloist’s sparse delivery toward the end, which was reminiscent of Tony’s “Maria” in West Side Story.
The evening concluded with a stunning rendition of Leonard Bernstein’s Symphonic Dances from West Side Story. The orchestra showcased their versatility, moving seamlessly between the relaxed, nontraditional rhythms of the Prologue and the frenzied, high-energy chaos of the Mambo. The wind, brass, and percussion sections were particularly impressive, with standout performances from the flutes, trumpets, and xylophone.
In summary, the concert was a resounding success—especially for those new to classical music. Tchaikovsky’s timeless concerto provided a traditional anchor to the program, while Whitman Songs and Symphonic Dances offered a refreshing look at modern interpretations of classical music.
