How does one sum up the Boston Philharmonic Youth Orchestra’s eight-city, nine-concert tour of Brazil last month? Calling it “wonderful” and “extraordinary” might seem hyperbolic, and yet, the trip — which stopped in the metropolises of Salvador, Rio de Janeiro, São Paulo, Ribeirão Preto, Campinas, Porto Alegre, Belo Horizonte, and Curitiba — was both.
We drew the repertoire from the BPYO’s last season and anchored it with Rachmaninoff’s Piano Concerto no. 2 on all nine concerts (featuring the exceptional Anna Fedorova as soloist; more on her in a moment). Surrounding the Rachmaninoff (depending on the evening) came one of three curtain raisers — Wagner’s Act 1 Prelude to Die Meistersinger, Weber’s Euryanthe Overture, or Clarice Assad’s Bonecos de Olindo — and a symphony: either Shostakovich’s Tenth or Dvorak’s Ninth.
That’s meaty fare, to be sure. Any mix of those pieces demands deep reservoirs of concentration and stamina from an orchestra – not to mention a huge range of technical and expressive nuance.
But those are just the sorts of challenges on which the BPYO and I thrive. Our interpretations of these pieces developed from the first concert in Salvador to the last one in Curitiba. Certainly the orchestra started from a position of strength (which, if you caught any of their Boston performances last season, won’t come as a surprise). But to hear these readings deepen — in terms of flexibility, subtlety, and power — over the course of nine nights was, frankly, very gratifying to me, and I hope, the listeners.