„In Nelsons’ depiction of the hero and during the climactic battlefield movement, there was enough swagger and sweep from the BSO’s brasses—particularly the expanded horn section—to thrill the most fervent musical Teuton. The latter episode built to a pummeling din, but not an unbalanced one: the strings managed to speak through the rough-and-tumble and the combat between the massed winds and percussion was admirably well-matched.

Pleasing subtleties also abounded. Concertmaster Nathan Cole’s account of the extended violin solos that represent Strauss’s wife boasted artistry of tremendous range and style. Contributions from principal chairs across the ensemble showcased a collective that was clearly treating a late-Romantic warhorse like it was chamber music for 120 people. So did the finale’s faultlessly blended and balanced last chord, which was stunningly jewel-like: radiant, pristine, transcendent.“

Boston Classical Review

„All parts of the orchestra gleamed throughout the giant tone poem. In particular, the brass tackled Strauss’s fanfares, chorales, and stunning high notes bravely and successfully. Cole’s violin solos were a delight to watch, combining technical expertise with theatrical panache; around the strings executed their parts adroitly through wild frenzies and tranquil respites. The winds characterized brilliantly in solos and well-intoned group efforts, and percussion and harps did great work setting big dramatic moods. Together with his colleagues, Nelsons illuminated the mountains and valleys of Strauss’s score with passion and mastery.“

Classical Scene

„The introductory gesture — an exemplary Mozartean ear worm — was bursting with vigor, and the slower second movement manifested with the radiance of a sunbeam gently pouring through a cloud bank. The small brass and wind section rendered the delicate conclusion of that same movement with precision, and Symphony Hall’s acoustics cradled the sound like a pearl.“

The Boston Globe