Dalia Stasevska captivates Seattle in Hailstork, Bartók and Dvořák

Par Philippa Kiraly, 05 mars 2022

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“a conductor who can elicit the finest nuances with her precise directing”

Critique faite à Benaroya Hall, S Mark Taper Auditorium, Seattle, le 3 mars 2022

Hailstork, Epitaph for a Man Who Dreamed

Bartók, Concerto pour piano no. 2 en sol majeur, Sz 95

Dvořák, Symphonie no. 9 en mi mineur, «du Nouveau Monde», Op.95

Pierre-Laurent Aimard, Piano

Seattle Symphony

Dalia Stasevska, Direction

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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Philippa Kiraly

Philippa Kiraly has writing classical music criticism since 1980, for several newspapers in northern Ohio and Seattle, magazines, both local and national, and blogs. She has covered dance in Seattle for a decade. Pippa has been steeped in classical music since early childhood and is passionate about the importance of independent criticism for the fine arts, an art in itself. Pippa is a keen gardener, a keen grandparent, and can get lost in a good book.