It's been a few years since my initial review, which precisely one person found "useful" and precisely zero people found either "funny" or "cool." My reach is...stunning. Anyway, I thought I'd write an update of the Seattle Symphony, a wonderful local institution to which I am a happy subscriber.
Conductor and music director Ludovic Morlot has announced that he will be leaving after the 2018-2019 season, so we're nearing another period of transition for the Symphony. That said, he continues to produce programs that are balanced between the reliable stable of famous masterpieces, more obscure works from the past, and a healthy dose of new and often challenging works by contemporary composers. He has also overseen production of some very good Seattle Symphony recordings, my favorite being the album of works by Faure. It will be interesting to see how Maestro Morlot will finish his tenure and what course the next music director will take.
I continue to love going to the Symphony for its Masterworks Series and also to some of the special programs they offer; classical music is a great joy, and we are truly blessed to have such an excellent symphony here in our hometown. The orchestra has some very talented musicians; in particular, the woodwinds and French horns regularly shine. The strings' solid play makes some of the more animated violinists' goofy behaviors and stage presence somewhat less distracting. And the guest soloists are uniformly excellent--super famous ones like Yo-Yo Ma and Hillary Hahn and Joshua Bell and Itzhak Perlman appear nearly every year, but the less household names are just as wonderful to see and listen to and are gracious with encores after their portion of the program.
There have been many, many performances that have really blown me away; I think in particular of a recent performance of Bruckner's 5th Symphony; Shostakovich's "Leningrad" Symphony a few seasons ago, two performances of Mussorgsky's "Pictures at an Exhibition," and the thorough treatments that Beethoven, Dvorak and Sibelius received over the past few seasons. I can't wait for the end of this season, which will feature some tone poems by Strauss. The 2017-2018 Masterworks Series seems like it will be a bit riskier, with less reliance on romantic favorites, but it will end with Saint-Saens' terrific 3rd Symphony (the "Organ Symphony"). As in my last review, I still am holding out on many of the US and World Premieres of contemporary classical music...the Seattle Symphony is very generous in its treatment of new works, but I have yet to connect to a lot of contemporary classical's caustic, dissonant heavy-handedness. I do wonder how many of the pieces being composed in this decade will enter the regular repertoires of symphonies in the decades to come.
So, yeah. A few final whimsical notes for those of you who chose to read this far:
--The seats in Benaroya Hall could use a good re-upholstering after nearly two decades of upper-middle class butts being planted in them several days per week.
--For a good time, you and your fellow symphony goer can place an over/under bet on how many loud noises will occur during delicate moments of a performance...dropped programs, etc. Seattle audiences have a bad case of the butter fingers.
--The outer lobby smells like beef stew. I probably ought to put that in an updated review of Benaroya Hall rather than here. Eh...it's my review, so there.
--During the spring, the Ticket Office will call you. A lot. Over and over again.
--To that one person out there who found my earlier review "useful": high-five, and thank you for reading. If there is anything I can do to make my reviews funny and cool, do let me know. It's entirely possible that your opinion, and yours alone, means a lot to me. read more