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.
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.
Eye-popping, hand-drawn animation melds with Mozart's fantastical world and the silent film era to create a colorful and energetic new-to-Seattle production.
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.
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