Review: Butterflies, landscapes and bees in Arlene Sierra’s new Nature Symphony

26th November, 2017

“Dvořák’s sound-world is much more familiar to us now but no less individual than those of Sierra and Bartók and must have been quite startling to his first audiences. His Symphony no. 8 in G major formed the second half of the concert. . . . Right from the opening cello melody the symphony was lovingly shaped by Morlot who brought out the contrasting moods of this gloriously melodic work.”


26 November 2017
Peter Connors / bachtrack

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Strange beauty: grandiosity and intimacy in Seattle Symphony’s Grande messe des morts

10th November, 2017

“Morlot, who grew up close by the composer’s childhood home and who was mentored in Berlioz interpretation by none other than Sir Colin Davis, fearlessly underscored what I can only call the weirdness of this music: its odd ruptures and splicings, peculiar rhythmic accents, deeply unsettling juxtapositions that would have given even Beethoven pause. What Berlioz does share with Beethoven – and Morlot seemed attuned to this – is in his obsessive reworking of an idea, like fingered prayer beads, until it yields some astonishingly unprecedented payoff.”


10 November 2017
Thomas May / bachtrack

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Seattle Symphony, tenor Ian Bostridge in peak form for Berlioz concert

3rd November, 2017

“This month the Seattle Symphony Orchestra offers a mini-festival of Hector Berlioz’s music — works for which music director Ludovic Morlot has an obvious affinity and many interpretive ideas. Judging from the success of Thursday night’s opening program, featuring the “Symphonie fantastique,” it’s fortunate that this music will be recorded for posterity on the SSO’s in-house record label, Seattle Symphony Media.”


3 November 2017
Melinda Bargreen / The Seattle Times

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