Photo: Brandon Patoc


Review: An evening of Mendelssohn and Schumann with the Seattle Symphony and Gidon Kremer

16th October, 2017

“Against the comparatively subdued palette of the String Symphony, Mendelssohn’s Symphony no. 4 sounded like a Technicolor outburst – effected not by orchestral extravagance but by Mendelssohn’s imaginative use of standard means. Morlot understands this Mendelssohnian economy and brought out a variety of ingratiating details, such as Emil Khudyev’s radiant clarinet or the change of step in the walking-bass of the Andante con moto, which was taken at a very deliberate pace.”


16 October 2017
Thomas May / bachtrack

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Review: Messiaen, ‘Poèmes pour Mi’

19th September, 2017

“One of the things I appreciate about the Seattle Symphony’s self-produced discography is how heavily it inclines toward rare and underserved repertoire . . . the latest release, led with vigor and suavity by Music Director Ludovic Morlot, is devoted to the music of Messiaen, and it’s a doozy.”


6 September 2017
Joshua Kosman / San Francisco Chronicle

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Review: U.S. Youth Orchestra Inspires a Chinese Counterpart

23rd July, 2017

“To conclude, Mr. Morlot drew a vibrant account of Dvorak’s “New World” Symphony from the well-prepared players, with full-bodied string tone, folkloric charm and lots of brio. It was great to see young musicians from the American orchestra in the hall cheering on their Chinese compatriots.”


23 July 2017
 / The New York Times

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Classical review: Steven Osborne: Ravel/Falla: Concertos

23rd June, 2017

“When it’s hot enough to spend nights in the gardens of Sidcup, you know it’s time to whack Manuel de Falla’s wonderfully steamy Nights in the Gardens of Spain on the turntable again. Right on cue comes a thrilling new recording of this piano concerto-in-all-but-name from Steven Osborne and the BBC Scottish Symphony Orchestra under the suave baton of the French conductor Ludovic Morlot.”


23 June 2017
Richard Morrison / The Times

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Review: So fahr denn hin, du stolze Königin

17th June, 2017

Überhaupt ist der Abend trotz der opulent besetzten Werke – es stehen neben Berlioz’ Kantate Ravels „Ma Mère l’Oye“ und Strawinskys „Feuervogel“ auf dem Programm – reich an im allerbesten Sinne kammermusikalischen Interaktionen. Denn auch wenn der präzise und gänzlich uneitel dirigierende Morlot Berlioz’ und Strawinskys ausgeprägte Lust an der Provokation nicht ganz teilt, so hat er dafür ein um so feineres Ohr für dynamische und farbliche Übergänge. So können sich die Mitglieder des Orchesters immer wieder in harmonisch aus dem Gesamtklang entwickelnden Soli nach Herzenslust entfalten und in vorzugsweise lyrischer Atmosphäre vom luftigen Piccologezwitscher bis hin zu unwirklich zarten Hornsoli die Zuhörer verblüffen und bewegen.


17 June 2017
Von Carsten Niemann / Tagesspiegel

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