Photo: Brandon Patoc


Review: New concerto was written for powerhouse violinist — and he delivered

17th March, 2017

“The new concerto is a huge work, scored for so many instruments (including a full complement of brass) that even the most assertive soloist would have to work hard to be heard. Conductor Ludovic Morlot did a fine job of balancing the instrumental forces, though inevitably Ehnes’ solo line was occasionally covered by the sheer density of the scoring.”


17 March 2017
Melinda Bargreen / The Seattle Times

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Seattle Symphony is Making Music Matter

11th February, 2017

“In fact, serious change has been afoot ever since Morlot began his tenure helming the SSO a half decade ago. Much of the transformation has to do with artistic programming, as you’d expect. One prong of this shift is an emphasis on masterpieces of the (especially modern) repertoire that had gotten short shrift or simply been ignored in Seattle.”


11 February 2017
Thomas May / Vanguard Seattle

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Review: Hilary Hahn and Ludovic Morlot ignite Seattle

10th February, 2017

“Morlot proved his mettle, displaying a keen understanding of that connection; not only by programming the Debussy along with Prokofiev’s all-important 20th century piece, but also with his whip-smart interpretation of the latter, melding classicism with modernism, and emphasizing the work’s overall spiritualistic leaning rather than its neoclassic traits. Morlot mined these characteristics to show the aggressiveness and rich complexity of the piece in tandem with its demands for precision, molding his performance into a compelling listening and watching experience: channeling his ever-present dynamism into an eastern European muscularity while retaining French color and refinement.”


12 February 2017
Erica Miner / bachtrack

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Review: A high-wattage evening: violinist Hilary Hahn with Seattle Symphony

10th February, 2017

“The program played to the strengths of music director Ludovic Morlot, who provided attentive and supportive partnership in the concerto. Not surprisingly, the French-born maestro was also closely attuned to the nuances of Debussy’s “Prelude à l’après-midi d’un faune” (“Prelude to the Afternoon of a Faun”); he made a great case as well for the final work on the program, Prokofiev’s exuberant Symphony No. 5.”


10 February 2017
Melinda Bargreen / The Seattle Times

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