Here’s the deal: you pay $25 once to buy a College Card for the season. Once registered, at the beginning of every performance week you can check via web or automatic email/txt what shows still have tickets remaining. You then stop by the Box Office and pick up whatever tickets remain on a first-come, first-served basis.
The experience has been incredible. My seats have ranged from the nosebleeds to the balconies, and just this week all the way up to the 7th row in the orchestra section where I could even see the facial expressions and gestures of the musicians (and thus exacerbating my nerdcrush on Assistant Concertmaster Elita Kang).
The programs are detailed and interesting, giving me an insight into not only the music, but the composers and the nations, political structures, times, and cultures in which they lived. This season has been heavy on Russian music in particular — in the strains of Shostakovitch, Tchaikovsky, Prokofiev, and Rachmaninoff I’ve gotten a glimpse into the clash of cultural influences and political ideologies that have shaped Russian art from the Tsar through the Soviet era. In the classics by Haydn, Brahms, and Beethoven, I am reminded of the classical roots of western thought. And more personally unfamiliar composers like Sibelius have intrigued me with their struggle for individual and national identity (Finnish identity, in the case of Sibelius) — a struggle that makes me reflect on my own identity and history.
Especially given the stress of the BTR graduate program, as well as the heavy nature of the moral and social questions we are asked to face each day in the residency/practicum, the chance to lose myself in the beauty of music has been a wonderful (and I repeat, outrageously affordable) recharge for the mind and soul.
Fellow Bostonians: take advantage of this engine of beauty in our city.