RICHARD STRAUSS – SYMPHONIC WORKS

Andris Nelsons’ “Richard Strauss: Symphonic Works” is a release that both highlights the conductor’s strengths and exposes his limitations when it comes to the core repertoire of Richard Strauss. This ambitious project brings together the Boston Symphony Orchestra (BSO) and the Gewandhausorchester Leipzig, offering a diverse selection of Strauss’s orchestral music. 

One of Nelsons’ notable strengths is his sensitivity to instrumental colors, blends, and balances, which is evident in certain pieces such as the “Four Symphonic Interludes” from Intermezzo and the suites from Der Rosenkavalier and Die Frau ohne Schatten. These selections benefit from Nelsons’ skillful handling of rhythms and textures, resulting in performances with winning transparency. 

The inclusion of Yuja Wang, a brilliant pianist, in Strauss’s Burleske adds another layer of virtuosity to the recording. Wang’s performance is impressive, particularly in the meditative middle section. However, it falls short when compared to other recent interpretations, such as Bertrand Chamayou’s rendition with Antonio Pappano and the Santa Cecilia Orchestra. 

Nelsons’ interpretations of Strauss’s works often suffer when compared to past performances. The Leipzig Don Juan, while clear, lacks the required lustiness and rhythmic edge, making it less engaging. Don Quixote also suffers from a lack of overall cohesion and a self-absorbed quality, despite the admirable solo performances of Yo-Yo Ma and Steven Ansell. 

Other pieces, such as Boston Till Eulenspiegel and Also sprach Zarathustra, are good but not groundbreaking. The Leipzig Ein Heldenleben fares better, with exquisite solos by Gewandhausorchester concertmaster Frank-Michael Erben. However, it still falls short of some distinguished interpretations. 

Sinfonia domestica showcases the Boston Symphony Orchestra’s energy, but other recordings offer more vibrancy. Macbeth and Aus Italien receive intense readings from the Leipzig orchestra, while Leipzig Metamorphosen is solid but not exceptional. 

One of the low points of the recording is the Boston Eine Alpensinfonie, which frequently loses sight of the big picture and gets lost in its own excesses. Festliches Präludium, played by combined orchestral forces, is drawn out excessively and ultimately feels grotesque. 

“Richard Strauss: Symphonic Works” showcases Andris Nelsons’ strengths in handling instrumental colors and balances. However, it also reveals his inconsistency when tackling core repertoire. While some performances shine, others fall short when compared to past interpretations. Hopefully, Nelsons’ approach to Strauss’s music will mature and regain the depth and dramatic tension that seem to be lacking in this release. There’s more substance to Strauss and his music than what is captured here.