Alex Ross

I had similar reservations about the conducting of Yannick Nézet-Séguin. He showed unerring command of Berg’s devilishly difficult score, but he dispatched it too cleanly and efficiently.

David Robertson, in the pit, lavished attention on the interstices of Gershwin’s score—the leitmotivic web that holds the big numbers together.

Ermonela Jaho was an urgent, rich-hued Valentine; Karine Deshayes expertly carried off the bel-canto fireworks of the page Urbain; Nicolas Testé caught the gruff heartiness of the Huguenot stalwart Marcel.

In collaboration with the Greek conductor Teodor Currentzis, Sellars has drastically revised Mozart’s score, in a fashion that might offend purists.