‘Concert for the City’ Review: The BSO Dazzles Boston Audiences

The fifth iteration of the Boston Symphony Orchestra’s “Concert for the City,” held on Sept. 21 at the Symphony Hall, had a large task at hand. It had to prove to its large audience that its music — and its musicians — are worth hearing. It also endeavored to prove that the Boston music scene as a whole is lively and welcoming. The BSO itself performed only one of the five acts — the concert wasn’t just presenting the orchestra itself, it was attempting to make a statement about Boston’s music community at large.

After some introductory statements, the concert kicked off with three songs from the Boston Children’s Chorus. Their rendition of Tracy Chapman’s “Talkin’ Bout a Revolution” was technically superb, though the song’s simplistic chords and melody were less engaging without the personality of a singular vocal performance. The subsequent rendition of Kirby Shaw’s “We Will Stand” was more compelling, with plenty of subtle harmonic choices and an immediately palpable energy. “Sign Me Up,” by Brandon A. Boyd, was another technical marvel with plenty of energy — but the song didn’t seem to be more than a slightly sentimental religious ballad.

Following the Children’s Chorus were a pianist, cellist, violinist, and vocalist from the Boston Festival Orchestra. The four musicians were just as technically dazzling as the Children’s Chorus, and the music they chose brought more emotional depth. The act began with an a cappella rendition of Porter Grainger’s “You Ought to Be Ashamed,” hauntingly sung by vocalist Farayi Malek, which seamlessly transitioned into one of the best moments of the concert: the powerfully uncanny performance of “Strange Fruit.” The Festival Orchestra’s arrangement was excellent — the prominent solo violin added to the terror the song normally elicits, and Malek’s vocal performance deeply embodied the essence of the song. The performance fell short only when the cellist and violinist plucked their instruments as the word “pluck” was sung; it was too cheeky a musical choice for such a serious song.

Next came Veronica Robles and her all-women Mariachi Ensemble. The energy of the crowd completely shifted from cool introspection to vibrancy — people began moving to the beat in their chairs. The Mariachi ensemble of trumpeters, violinists, and a guitarist was vivacious, but it was Robles’s vocals that stole the scene. She sang with ease, in total harmony with the rest of her band.

After a brief intermission came an entirely new piece commissioned by the BSO from their recently appointed resident composer: Carlos Simon. Finally, the BSO itself was on stage. The piece, “Festive Fanfare and Overture,” was delightful, harmonically fascinating, and featured a unique usage of the instruments of the orchestra.

It was the subsequent performance of the second movement of Tchaikovsky’s “Symphony No. 6,” however, that really demonstrated the orchestra’s power of emotional transference. Led by conductor Andris Nelsons, the orchestra played a subtle but superb rendition of the piece full of the dark and elegant sensuality needed to bring Tchaikovsky to life.

After the audience was wowed by the Tchaikovsky piece, the orchestra swapped conductors and pace. Though pleasant — especially the second — both were ultimately less exciting than those performed earlier.

The final leg of the concert was certainly a highlight. The Boston Pops replaced the BSO for “Rhapsody in Blue” and for “America the Beautiful.” Not only was Rhapsody in Blue wonderfully performed, but Boston Mayor Michelle Wu ’07 was the pianist. To have Boston’s mayor perform for a concert at the symphony hall was a strong reinforcement of the symbolic relationship between the orchestra and the city. Wu did an excellent job — playing it almost as well as a devoted professional, and the Boston Pops made for perfect accompaniment.

The BSO’s “Concert for the City” proved that the symphony exists not for itself, but for the people of Boston. The evident care with which the concert was put together — and executed — demonstrated that BSO concerts aren’t just a spectacle or a product, but rather a cultural event meticulously put together by and for Bostonians.