News

Praise for the Seattle Symphony’s Spring Concerts

12th April, 2018

“Morlot controlled his huge performing forces with subdued fervour, here and in a follow-up reading of Sibelius’ Symphony No. 2, notable for its granitic pacing and attention to instrumental detail.” – Financial Times

“Mr. Morlot’s affection for [Become Desert]’s expressive richness came through clearly. Though the piece doesn’t advertise its complexity, it’s easy to imagine a performance of such airily arranged music seeming scattered or listless. The Seattle Symphony never sounded at a loss, though. The audience allowed the piece’s concluding return toward spareness to ring out fully before charging in with enthusiastic applause.”
 The New York Times

“In the seldom-heard “Oceanides,” Morlot and his players colorfully evoked the legendary sea creatures of the title, with the wind soloists as the seabirds and the low strings providing the rolling waves.” – The Seattle Times

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Review: A Pulitzer Sequel for Orchestra, Packed With Drama in Microcosm

30th March, 2018

“Mr. Morlot’s affection for the work’s expressive richness came through clearly. Though the piece doesn’t advertise its complexity, it’s easy to imagine a performance of such airily arranged music seeming scattered or listless. The Seattle Symphony never sounded at a loss, though. The audience allowed the piece’s concluding return toward spareness to ring out fully before charging in with enthusiastic applause.”

 

30 March 2018
Seth Colter Walls / The New York Times

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Review: Visiting the Seasides with Sibelius, Britten, and Seattle Symphony

25th March, 2018

“Morlot brought out every detail of the work’s inner voices and the colors which pervade the scenes portrayed in a remarkable performance. Both this and The Oceanides performances were deeply satisfying. Equally satisfying was the last work on the program, the far better-known Symphony No. 2 . . . The second movement is particularly imaginative, with plucked basses and later cellos too, rising and falling with the melodies gradually added above, all of it building to a dramatic change, which under Morlot made the whole seem fresh and new.”

 

25 March 2018
Philippa Kiraly / The SunBreak

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Review: Seattle Symphony at its best in Sibelius, Britten program

23rd March, 2018

“In the last few bars of the Sibelius symphony, when the minor key transforms into the major and it sounds as if the sun has come out, the orchestra played exultantly enough to remind even the most jaded audience member: This is why we go to concerts and don’t just sit at home in front of the stereo speakers. This is our reward for buying tickets, dressing up, fighting traffic, battling the rain. Now it’s worth it.”

 

23 March 2018
Melinda Bargreen / The Seattle Times

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