Playful Ligeti, high-tensile Bartók and reconsidered Rachmaninov

Noah Geller, David Robertson and the Seattle Symphony

David Robertson conducts the Seattle Symphony

Por Thomas May, 03 marzo 2023

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“well-liked by the players and in full command of a formidable talent”

Crítica hecha desde Benaroya Hall, S Mark Taper Auditorium, Seattle el 2 marzo 2023

Ligeti, Concert Românesc

Bartók, Concierto para violín núm. 2, Sz 112

Rajmáninov, Sinfonía núm. 1 en re menor, Op.13

Noah Geller, Violín

Seattle Symphony

David Robertson, Dirección

Nicholas McGegan brings delicacy and elegance to Mendelssohn

Erica Miner, 18th April

The Seattle Symphony offers an enchanting evening immersed in the joy and brilliance of both the young and the mature genius of Felix Mendelssohn.

****1

A rite of spring turned inward: Strauss’ Daphne at Seattle Opera

Thomas May, 16th January

Presented without staging, Seattle Opera’s concert Daphne places Strauss’ extreme vocal demands and saturated orchestral writing in sharp relief, offering a high-risk encounter with a rarely heard late opera.

****1

Ioffe conducts the Seattle Symphony in varied faces of Romanticism

Thomas May, 8th January

Barber and Bernstein shine in this program exploring sharply contrasting faces of 20th-century Romanticism under guest conductor Alevtina Ioffe.

****1

Ivars Taurins leads the Seattle Symphony in Baroque feast

Thomas May, 16th October

A lean Seattle Symphony under guest conductor Ivars Taurins brings stylish energy to Baroque orchestral theater by Telemann, Hasse and Handel.

****1

Morlot returns to lead Seattle Symphony’s season-closing showcase

Thomas May, 19th June

Two rhapsodies anchor a program that ranges from brass-driven bravura to Ravel’s iridescent orchestral color. Seattle Symphony closes its season with breadth, nuance and elegant command from emeritus Ludovic Morlot.

****1

Peter Oundjian bridges the centuries in Seattle

Erica Miner, 15th March

The Seattle Symphony co-commissions a new work, Jan Lisiecki plays Mozart with religious fervor, and Stravinsky's Sacre still creates an uproar.

***11

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Thomas May

Thomas May is a writer and translator based in Seattle. His books include Decoding Wagner and The John Adams Reader, and he blogs about the arts at memeteria.com. He has written for The Washington Post, Gramophone, Listen, Symphony magazine, OPERA America, crosscut.com, and many other publications.

Seattle Symphony delivers playful Ligeti, high-tensile Bartók and reconsidered Rachmaninov