Praise for Beatrice & Benedict

10th March, 2018

“Langs and Morlot did a masterful job of making a full meal out of Berlioz’s tasty hors d’oeuvres, preserving the dash and insouciance of the original; the added pathos and drama enrich it without cluttering it.” – Seattle Weekly 

“Seattle Symphony music director Morlot, a well-known exponent of Berlioz’s music, stitched up this varied musical fabric into a persuasive whole, giving the singers plenty of expressive opportunities while never allowing the pace to flag. Berlioz described his own opera as ‘A caprice written with the point of a needle’; Morlot wielded that precise ‘needle’ as his baton.” – The Seattle Times 

“But it’s Berlioz’ music which carries it all. Memorable trios and duets as well as choruses and arias give plenty of scope for singers to bring out the emotions inherent in the plot. Morlot paces it perfectly, his Seattle Symphony members in the pit responding to his every nuance.” – The SunBreak 

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Seattle Symphony and Ludovic Morlot Announce Vibrant 2018–2019 Season

21st February, 2018

“Ludovic Morlot will build on his previous explorations of French repertoire with a special focus on the music of Claude Debussy for the centenary year of the composer’s passing. . . . These works will be presented alongside repertoire that influenced the composer, including works by Mahler, Strauss, Wagner and Janáček, and Debussy contemporary, Ravel, together with new French voices. Morlot will conduct Marc-André Dalbavie’s Sonnets and La source d’un regard, the U.S. premiere of Pascal Dusapin’s At Swim-Two-Birds, and the world premiere of Joël-François Durand’s Préludes.”

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Review: Seattle Symphony debuts David Lang’s new work in a program of hero and anti-hero

10th February, 2018

“The music offers substantial challenges for nearly every section of the orchestra; Morlot never allowed the solo lines to be swallowed up in the dense orchestration. The individual section leaders rose admirably to the requirements of the solo work, with all its fanfares and noble motifs ricocheting through the score.”


9 February 2018
Melinda Bargreen / The Seattle Times

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Review: Violinist Hadelich, Seattle SO Plumb Ligeti’s Concerto

9th January, 2018

“That Ligeti loved Mozart inspired Morlot to end the concert with Mozart’s 39th Symphony. Not one to mimic the practice of some early-music specialists and deliver a zippy, quasi-authentic performance on modern instruments, Morlot instead created a stately, rich, and ceremonious opening that ceded to an airy presentation of the first theme. With the strings sounding as transparent and graceful as the somewhat edgy acoustic of Benaroya Hall allowed, Morlot’s warm and loving approach delivered nine minutes of sublime joy.”


9 January 2018
Jason Victor Serinus / Classical Voice North America

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Review: Morlot and the Seattle Symphony present a rediscovery and a première

7th January, 2018

“When news of the discovery of the Chant funèbre (Funeral Song) reached the classical music world, a near-revolution of excitement took place. Ludovic Morlot’s West Coast première of the Funeral Song with the Seattle Symphony this past weekend was equally exhilarating, especially when programmed with the local première of György Ligeti’s intricately difficult Violin Concerto, performed by award-winning violinist Augustin Hadelich, and Mozart’s sublime Symphony no. 39 in E flat major. All in all, another example of the French maestro’s flair for the uniquely unusual in his programming.”


7 January 2018
Erica Miner / bachtrack

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