{"id":6348,"date":"2020-03-01T22:39:18","date_gmt":"2020-03-01T22:39:18","guid":{"rendered":"https:\/\/www.opus3artists.com\/?p=6348"},"modified":"2020-03-05T22:43:50","modified_gmt":"2020-03-05T22:43:50","slug":"giancarlo-guerrero-johannes-moser-triumph-in-an-eclectic-program-with-the-bso","status":"publish","type":"post","link":"https:\/\/www.opus3artists.com\/giancarlo-guerrero-johannes-moser-triumph-in-an-eclectic-program-with-the-bso\/","title":{"rendered":"Giancarlo Guerrero & Johannes Moser Triumph in an Eclectic Program with the BSO"},"content":{"rendered":"

At BSO, conductor Giancarlo Guerrero champions works unheard for decades<\/strong>
\nBy\u00a0Jeremy Eichler<\/p>\n

\u201cIn Thursday\u2019s performance, the German-Canadian cellist Johannes Moser played the opening Moderato with abundant poise, and then took the Allegro appassionato, with all its rapid figuration, at a brisk clip, telegraphing the music\u2019s urgency by whipping bow from string at the end of several climactic passages. Costa Rican conductor Giancarlo Guerrero and the orchestra met him at every turn. The finale\u2019s variations were well-characterized and played with great finesse \u2014 enough so that the audience kept recalling Moser until he responded with an encore: Bach\u2019s Sarabande from the First Cello Suite, in a clear-toned, soft-spoken reading.\u201d<\/p>\n

\u201cGuerrero led with a sense of occasion. In the Sanctus movement, \u201cHosanna in excelsis!\u201d burst forth with the fullest fortissimo heard in many weeks. And in the closing In Paradisum, the conductor drew out the music\u2019s sublime tranquility, showcasing the crystalline voices of the children\u2019s choir.\u201d
\nBoston Globe<\/a><\/p>\n

Choral Favorite Capped BSO Concert<\/strong>
\nby\u00a0Vance R. Koven<\/p>\n

\u201cMoser emitted a robust and mellifluous sound, with a fair degree of portamento, though in general keeping with Guerrero\u2019s fairly subdued and decorously unflashy reading (notwithstanding the rather large orchestral forces for a concerto). \u201c<\/p>\n

\u201cMoser obliged the audience\u2019s persistent cheers with the Sarabande of Bach\u2019s first suite, in a rendition that took dynamic precision to near silence\u2014something he\u2019s really good at, as anyone who has heard him in recital can attest.\u201d<\/p>\n

\u201cThe capstone of the evening, much to our surprise, came in a riveting performance of the Durufl\u00e9 Requiem, op. 9 (1947), a very popular item among amateur choruses, though perhaps less so often with professional orchestras (this is only the second time the BSO has performed it, other than single movements at Pops)\u2026Not having heard it live before, we were struck by the appealing performance; the immediacy and reverberation of the hall opened up the flattened sonics of recordings. Guerrero also adopted some brisk tempi, notably from the get-go in the Introit, and kept one\u2019s attention on the interweaving lines in both chorus and orchestra.”
\nBoston Musical Intelligencer<\/a><\/p>\n

Death and eternal rest: Grime, Walton and Durufl\u00e9 from Giancarlo Guerrero in Boston<\/strong>
\nBy\u00a0Kevin Wells<\/p>\n

\u201cGiancarlo Guerrero, who has demonstrated his flair for contemporary music in previous visits, had the rhythmic challenges under control\u2026\u201d<\/p>\n

\u201c[Moser] played with complete and infectious conviction often swaying and digging in with his upper body to begin the\u00a0Moderato\u00a0with a full-throated, amber tone. Moser and Guerrero\u00a0picked up on the opening ticking clock motif, which recurs at the close, to add a\u00a0carpe diem\u00a0strain of melancholy to the skein of melody. Rhythm and speed replaced long melodic lines as Moser raced through the agitated and challenging\u00a0Allegro appassionato.\u201c<\/p>\n

\u201cGuerrero, the chorus, and the children\u2019s choir created a pulsing, glowing nimbus of comforting sound\u201d
\nBach Track<\/a><\/p>\n

BSO\u2019s Durufl\u00e9 glows and a Walton rarity receives captivating advocacy<\/strong>
\nBy Jonathan Blumhofer<\/p>\n

\u201cOf all the conductor relationships the Boston Symphony Orchestra has built over the last decade, the partnership with Giancarlo Guerrero has proven to be one of the most satisfying\u2026\u201d<\/p>\n

\u201cGuerrero\u2019s reading was smartly paced, thoughtfully shaped, and well-balanced\u2026\u201d<\/p>\n

\u201c\u2026in Johannes Moser\u2019s hands, Walton\u2019s final concerto speaks volumes. Thursday night, the first movement sang with an impellent warmth of tone and captivating sense of space: this was a reading that was luxurious yet directed. The central movement bristled with spunk and character, while the finale soared passionately.<\/p>\n

Moser brought terrific technique \u2013 his intonation and articulation were spot-on\u2014and a captivating sense of personality to his part. Indeed, his was an account that brimmed with soul from start to finish (and that includes the fragile Bach \u201cSarabande\u201d he played as an encore).\u201d<\/p>\n

\u201cGuerrero drew playing of vibrant energy and precision from the BSO.\u201d
\nBoston Classical Review<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

At BSO, conductor Giancarlo Guerrero champions works unheard for decades By\u00a0Jeremy Eichler \u201cIn Thursday\u2019s performance, the German-Canadian cellist Johannes Moser played the opening Moderato with abundant poise, and then took the Allegro appassionato, with all its rapid figuration, at a brisk clip, telegraphing the music\u2019s urgency by whipping bow from string at the end of … Continued<\/a><\/p>\n","protected":false},"author":2,"featured_media":362,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[3633,3613,4249,4175,3686,3612,3805],"acf":[],"_links":{"self":[{"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/posts\/6348"}],"collection":[{"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/comments?post=6348"}],"version-history":[{"count":1,"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/posts\/6348\/revisions"}],"predecessor-version":[{"id":6349,"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/posts\/6348\/revisions\/6349"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/media\/362"}],"wp:attachment":[{"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/media?parent=6348"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/categories?post=6348"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.opus3artists.com\/api\/wp\/v2\/tags?post=6348"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}