david.davidsant
I went to this Prom, amongst most of the Proms in the final week. The second and third pieces were really excellent, but the Carter Delusions were the usual sort of bilge which goes down well with the musical pseuds - who howl at the inclusion of film music in a Prom but who pretend to like this appalling tripe. Not unlike the infamous Bert Whistle, also much loved by the pseuds. But, as I said, the Bartok and Brahms pieces were wonderful!

Marc Widershien
Under James Levine, the Boston Symphony has again reclaimed its mantle as on of the world's leading ensembles. The Brahms 1st was played with fine emotion, with singing tone that reminded one of the human voice. Koussevitzky, Munch and Monteux would most certainly concur. Maestro Levine has made a commitment to this orchestra, and that is why they play so resplendently on their best nights.

katherine
The Horn player closest to the timpani - such beauty I rarely see. A sensitive looking brass section taken as a whole.

Franck Hornby
Levine has had an admirable approach to the commissioning of new music-eschewing some of the more populist trends in favour of tougher figures like Babbitt, Carter and Wuorinen. Tonight's offering of Carter's three illusions was as watertight as ever from this modernist master but one craved for something more cranky - maybe they could bring with them Babbitt's Concerti for Orchestra (another BSO commission) next time. That'd be a very special treat. Bartok's Concerto for Orchestra stands the test of time rather less well than the Shostakovich Leningrad which it sends up at one point. Perhaps, it was something to do with the rather low key but beautifully played reading. The Brahms was had some fantastic touches including a very fleet footed third movement (easy to get bogged down here) and a resplendent brass chorale in the finale.