‘Holiday Pops’ Review: A Splendid and Spirited Journey

From Dec. 5 to Dec. 24, Boston Pops runs their annual concert “Holiday Pops” at Symphony Hall, a festive display that enraptures audiences with its technical genius, musical depth, and harmonious blend of familiar classics and fresh compositions. Directed by Keith Lockhart and accompanied by the Tanglewood Festival Chorus, the show reconfigures the traditional auditorium seating on the floor of Symphony Hall into tightly-packed tables, allowing concertgoers to purchase food and beverages while they watch the holiday display.

“A Christmas Prelude: Angels from the Realms of Glory” showcased the strengths of the group through their choral power and full instrumentation. The crisp percussion added sparkle to the already polished song. In “The Adoration of the Magi,” the haunting bassoon, oboe, and flute lines matched the mood of the Renaissance paintings projected above the stage. In “Illuminations of the Chanukah,” the emotional violin solo with an ebbing-and-flowing tempo and the repetitive melody highlighted by playful trombone glisses made for an immersive experience.

A standout of the program was Coleman and Eliot’s “Carol of the Brown King,” which was the penultimate song prior to intermission and is having its world premiere in this run of shows. Based on four nativity poems by Langston Hughes and with colorful illustrations by Ashley Bryan, the movements visually and musically explored a variety of emotions and journeys that encapsulate many perspectives of the Christmas story. Focusing specifically on the experiences of African American families as they share the story with the next generation, the message was accentuated by a driving drum set, propulsive bass line, and punchy brass along with celebratory and articulate vocals and expansive orchestration.

While the first act impressed with its unique and complex arrangements, the second act wowed with its holiday classics. “Merry Christmas, Merry Christmas” by John Williams — “Star Wars” composer and the 19th conductor of the Boston Pops Orchestra — started off the act well with its joyous upper woodwinds and high vocal melodies. In Chase’s arrangement of “The Twelve Days of Christmas,” the orchestra and chorus showed off their technical prowess and versatility as they played and sang about each day in the melody of a different song, from “All I Want for Christmas Is My Two Front Teeth” to “My Favorite Things” and “Can-Can.”

No holiday orchestra concert is complete without “Sleigh Ride,” and Boston Pops’ rendition was crisp and playful, although at times the violins overpowered the other instruments. Santa Claus visited the stage for “A Visit for St. Nicholas,” adding extra holiday cheer and taking many photos on his way out of the auditorium, and “All I Want For Christmas Is You” showed off the chorus’ stylistic versatility. Ending the concert with “A Merry Little Sing-Along,” Boston Pops sent off the audience in a merry mood, cultivating high spirits going into the holiday season.

Throughout the concert, Lockhart’s charisma was a highlight, whether helping to lead the audience in sing-alongs, welcoming Santa Claus to the stage, or drawing out emotion from the instrumentalists in the more complex orchestral moments.

Overall, the programming and execution of the concert provided an enjoyable experience for a variety of listeners — whether it was their first exposure to orchestral and choral music or their hundredth.

—Staff writer Hannah M. Wilkoff can be reached at hannah.wilkoff@thecrimson.com.