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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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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