“(…) French conductor Stephane Deneve, again proving himself a good match with the BSO, built the eclectic program around the idea of transcendence over death. (…) Beethoven’s Piano Concerto No. 4 (with its suggestion of Orpheus in the underworld) and Poulenc’s Stabat Mater, were notable more for satisfactions of performance than programmatic intent. (…) The Poulenc work, never before heard at Tanglewood, is cousin to his more familiar Gloria. Deneve knows the work inside and out, having recorded it. The festival chorus and soprano Lucy Crowe joined him and the BSO in an austerely beautiful portrayal of the grieving mother at the cross.”
Andrew L. Pincus The Berkshire Eagle

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