An old friend, some romance close out the BSO season

Radically for his time, Berlioz opted to set Shakespeare’s iconic play not as an opera but as “a symphony with choruses,’’ as he called it. The texts by French poet Emile Deschamps allow the chorus and soloists to set the scene, but the flow of the action and the characters’ emotional depths are borne almost entirely by orchestral writing of breathtaking variety and narrative subtlety.

Right from the jagged opening string figures, depicting the swordplay of the Montagues and Capulets, Dutoit led an extroverted and deeply expressive performance. Perhaps most impressive was the assurance of his pacing, no small feat in a piece whose structure is dictated by dramatic passion, rather than abstract musical forms. But Dutoit managed all its stops, starts, and transitions with confidence and knew exactly which details to emphasize throughout.

The Tanglewood Festival Chorus sang with marvelous clarity and unity and with awesome power when needed. The three vocal soloists were all excellent, especially mezzo-soprano Bernarda Fink, whose vocal color and intensity seemed boundless. Baritone Laurent Naouri was a bold and openhearted Friar Laurence. Tenor Jean-Paul Fouchécourt made the most of his small role.

But “Roméo et Juliette’’ is, first and last, an orchestra piece, and a few uncertain moments aside, the BSO responded with wonderfully polished and energetic playing. The brass were terrific — especially the dark, noble trombones — and the cellos and violas managed the difficult feat of sounding both rich and transparent. It is difficult to imagine anyone playing the oboe solo depicting Romeo’s melancholy better than John Ferrillo did.

The BSO recognizes its retirees at the end of each season. Last night it was percussionist Frank Epstein, who will retire in October after 43 years.

David Weininger can be reached at globeclassicalnotes@gmail.com.