Tag Archives: benaroya hall

Arts & Entertainment, Music

Spectacular Mozart and Mahler at Seattle Symphony This Weekend

The Seattle Symphony performs works by Mozart and Mahler on April 6 & 7 at Benaroya Hall. More details and tickets are available at the Seattle Symphony website.

Thursday evenings might be my new favorite time to catch a Seattle Symphony performance. I’m usually a Sunday matinée concertgoer, but my experience at Benaroya Hall last night may convince me to exchange all my remaining Seattle Symphony subscription tickets for Thursday night shows.

The weeknight atmosphere at Benaroya Hall is relaxed and low-key, with a smaller crowd that’s energetic and diverse. Most importantly, there’s ample space on the foyer balcony to relax on a couch and enjoy my tradition of intermission chocolate while gazing at the nighttime city views. No more cowering from the wineglass-toting hordes in a dark corner near the bathrooms!

Pianist John Lill

Concert hall atmosphere aside, the Seattle Symphony can make last night’s program of Mozart and Mahler shine on any day of the week. Conductor Laureate Gerard Schwarz returned to the podium for yesterday’s performance, which featured the famous Overture from Mozart’s The Marriage of Figaro, Mozart’s Piano Concerto No. 24 in C Minor featuring renowned pianist John Lill, and Mahler’s Symphony No. 1. This program will be repeated tonight and tomorrow night.

The Overture from The Marriage of Figaro was an ideal way to start off the evening of classical favorites. In Mozart’s opera, the Overture sets the stage for the madcap hijinks and comedic action to follow. Likewise, the familiar strains of the Overture provided a lighthearted introduction to last night’s Seattle Symphony program, balancing out the dramatic elegance of the Mozart piano concerto and the epic scale of the Mahler symphony. The orchestra played Mozart’s overture with a charming energy despite occasional balance issues.

Pianist John Lill brought a refined elegance to his performance of Mozart’s Piano Concerto No. 24 in C Minor. Fans of the flying fingers and keyboard pyrotechnics found in Romantic Era piano concertos might balk at the relative simplicity of Mozart’s concertos, which are solidly rooted in earlier, Classical-era traditions. But under the fingers of a legendary pianist like Lill, the melodic lines and textures of a Mozart piano concerto come alive. Lill brought eloquence and meaning to every note, collaborating well with Schwarz and the orchestra to enhance the effects of one of Mozart’s most dramatic piano concertos.

The evening ended with the eagerly anticipated Mahler’s Symphony No. 1. Although the composer began writing this work he was only in his twenties, it is considered one of his finest and most beloved. The work is nicknamed “Titan” after the title of a popular novel by Jean Paul Richter. All four movements of the symphony are highly programmatic. When strung together, they create a musical tale of epic proportions. Although Mahler wrote detailed program notes to explain each movement, these are often omitted in modern performances, leaving it up to the audience to create their own storyline for the piece. During last night’s concert, I delighted in crafting my own narrative to go along with the music.

Seattle Symphony’s performance of the Mahler was an immersive journey into a world full of color, drama, and adventure. Mahler’s writing took advantage of the full range of orchestral palette of sounds. Schwarz and the Symphony painted a remarkable picture, making the score come alive. Outstanding solo work by the French horn section lent a rustic, pastoral feel to the first and fourth movements. In the dirge-like third movement, solos by members of the woodwind section cut through the somber strains of a funeral march like a knife.

I wasn’t the only one who found the Symphony’s rendition of Mahler stirring and inspiring. A young woman sitting with her date in the row in front of me spent the entire performance conducting along with the orchestra, complete with full interpretation of dramatic effects and mood changes. She probably wasn’t a conducting student or a Mahler scholar, just a playful concertgoer experiencing the music around her in a creative, refreshing way. Don’t miss this chance to be inspired by one of Mahler’s most beloved works.

Arts & Entertainment, Music

Hugh Laurie’s June Blues Concert is a Hot Ticket at Benaroya

Fans of House, MD, know that star Hugh Laurie, besides being a Cambridge graduate with an anthropology degree, has a distinct musical bent, as evidenced by his website, hughlaurieblues.com. Naturally the French (and PBS’s Great Performances) are all over his New Orleans blues album, Let Them Talk.

Laurie’s parlayed that interest into a live tour that brings him to Seattle’s Benaroya Hall on June 4, which may seem a long way off, but only about 300 tickets remain in the 2,500-seat hall. Regular ticket prices range from $35 to $105.

Laurie will be performing on piano and vocals and is joined by the Copper Bottom Band (on the album, his musical collaborators include Irma Thomas, Allen Toussaint, Sir Tom Jones, and Dr. John). Laurie is refreshingly deprecating about his own gifts:

I was not born in Alabama in the 1890s. You may as well know this now. I’ve never eaten grits, cropped a share, or ridden a boxcar. No gypsy woman said anything to my mother when I was born and there’s no hellhound on my trail, as far as I can judge. Let this record show that I am a white, middle-class Englishman, openly trespassing on the music and myth of the American south.

He’s singing and playing this music because he loves it, not because he imagines he’s the best interpreter handy. Laurie superfans may not care either way, but I think it will be heartwarming to those who love the New Orleans blues strain to hear someone who cherishes the music as they do.

Arts & Entertainment, Music

Itzhak Perlman Performs Classical Favorites with Seattle Symphony

Legendary violinist Itzhak Perlman is back in Seattle this week for two concerts with the Seattle Symphony.  It’s always inspiring to watch Perlman in action, whether as a violin soloist or conductor. This time, Seattle audiences get to see Perlman in both roles. Last night’s concert featured a grab-bag of favorites including Vivaldi’s The Four Seasons, Mozart’s “Prague” Symphony, and Beethoven’s Symphony No. 7. Perlman and the Symphony will repeat the program tonight.

Itzhak Perlman

Despite its ubiquitous presence in classical compilation CDs and car commercials, Vivaldi’s The Four Seasons was a treat with the world’s foremost violinist at the helm. Perlman and the orchestra performed the “Summer” and “Winter” concertos, with Perlman playing the solo part and conducting from the ranks of the first violin section. Both concertos are full of drama. Slow, languid solo melodies provide stark contrast with rapid, buzzing textures that involve the entire string section.

In the fast movements, particular the frantic final movement of “Summer,” Perlman and the orchestra maintained a high level of excitement despite a few rough spots, particularly involving the contrasting timbres of the violins and harpsichord. Perlman’s violin sung out best in the slower movements, especially in the sweet and sorrowful middle movement of “Winter.”

The audience got its first glimpse of Perlman solely in a conducting role with Mozart’s Symphony No. 38, known as the “Prague” Symphony. Perlman’s clear direction brought the orchestra together, particularly in the fine ensemble playing in the fast third movement. Also of note were interesting and unexpected harmonies between the strings and winds that rose to the surface in the slow second movement. Unsurprisingly, Perlman’s conducting occasionally mimed the playing of a violin–only natural for one who has achieved international fame as a concert violinist.

The evening’s performance concluded with Beethoven’s beloved Symphony No. 7. Here Perlman seemed to take a step back as a conductor, letting Beethoven’s writing speak for itself. The result was enthralling, from the somber, stately second movement to the joyous horn calls of the fourth movement.

If last night’s near-capacity crowd was any indication, tickets will likely be scarce for tonight’s performance. Arrive at Benaroya Hall early if you’re hoping to grab a seat.

Arts & Entertainment, Music

Roberto Abbado Conducts Seattle Symphony in Exciting “Pictures at an Exhibition”

Charismatic conductor Roberto Abbado joined the Seattle Symphony this past weekend for a diverse program of pieces that spanned the centuries, ranging from Haydn to Stravinsky. Modest Mussorgsky’s beloved Pictures at an Exhibition anchored the progam. Rounding out the set was André Jolivet’s Concertino for Trumpet, featuring the Symphony’s own David Gordon.

Roberto Abbado

The diversity of pieces gave Abbado plenty of opportunities to demonstrate his conducting chops. Heralding from a musical family, Abbado can claim relation to several other famous musicians, including the famed conductor Claudio Abbado, who is his uncle.

The evening opened with a Scherzo à la russe, a brief work by Stravinsky. Originally intended to be part of a film score, the piece is less dramatic and jarring than many of Stravinsky’s famous works, particularly the intensely rhythmic Rite of Spring. However, strains of Stravinsky’s signature Russian folk melodies could be heard, adding interest to the work.

André Jolivet’s Concertino for Trumpet followed the Stravinsky. The work contrasts the strident tone of the solo trumpet with both string orchestra and piano textures. Composed in 1948, the Concertino‘s difficult passages demonstrate the full technical range of the trumpet. Principal Trumpet David Gordon performed with great virtuosity. The piece calls for two different trumpet mutes to be used, highlighting the variety of sonic textures that can be created with the instrument.

Duly wowed by Gordon’s performance, the audience seemed to relax into their seats for Haydn’s Symphony No. 93. But Papa Haydn had a few surprises up his sleeve that left everyone entertained and on the edge of their seats. Haydn’s compositions are full of dramatic flair, and Abbado encouraged the orchestra to play up the drama, highlighting sudden changes in dynamics and tempo.

David Gordon

However, most of the entertaining aspects of the piece were written into the score. Towards the end of the staid second movement, the orchestra slowly fades away to a standstill. The silence is broken by an enormous honk from the bassoon, which kickstarts a reprise of the movement’s main theme. That certainly woke up the audience, who were too shocked to laugh at Haydn’s musical joke. The musicians and Abbado seemed to enjoy the moment, though.

The highlight of the evening was a performance of Modest Mussorgsky’s most famous work, Pictures at an Exhibition. The piece relates Mussorgsky’s experiences while roaming through a gallery of paintings by his friend Victor Hartmann. Each movement depicts a work of art on display in the gallery. These are tied together by a recurring theme which appears in the “Promenade” movements that appear throughout the piece. These are intended to represent the composer strolling from one painting to another.

Anyone who loves the symphony orchestra must experience a live performance of Pictures at an Exhibition at least once in their lifetime. The piece showcases the entire range of orchestral sounds, from majestic brass fanfares and mournful saxophone solos to frenetic string passages and pounding timpani.

Seattle Symphony’s performance on Saturday night sounded particularly fresh and vibrant. The string section gave a crisp performance, especially in the whirling “Baba Yaga” movement. In the “Great Gate of Kiev” finale, the low brass added power and grandeur to the full orchestral sound.

Seattle audiences still have another chance to catch Maestro Abbado in action. He presents another program with the Seattle Symphony this coming weekend, featuring Schumann’s Symphony No. 4 and Beethoven’s Piano Concerto No. 2.

Arts & Entertainment, Music

Seattle Symphony Presents Keyboard Fireworks, a Beloved Classic, and a World Premiere

The Seattle Symphony performs works by Franz Schubert, Frédéric Chopin, and Nico Muhly tonight, January 28, at 8 p.m. at Benaroya Hall. More details and tickets are available at the Seattle Symphony website.

Ludovic Morlot’s been hard at work. Although it’s only been a few months into his first season as music director of the Seattle Symphony, Morlot has already made waves with his adventurous programming and fresh approach to the symphonic repertoire. Thursday night’s concert was no exception, sandwiching Schubert’s beloved “Unfinished” Symphony No. 8 between a world premiere by Nico Muhly and a performance of Chopin’s Piano Concerto No. 2 by Marc-André Hamelin. The Symphony will perform the same program again tonight.

In many ways, these works are worlds apart. However, when they’re performed together as part of a unified program, listeners are invited to draw parallels between the pieces. In this way, a program that initially seems like a musical grab-bag is be transformed into an insightful exploration of a single musical concept. At Thursday’s concert, the theme of the night seemed to be musical texture. All three pieces on the program cycle through a wide variety of orchestral textures in a short amount of time, creating a musical landscape full of changing moods and colors.

Nico Muhly

The concert opened with Nico Muhly’s world premiere, a one-movement work playfully titled So Far So Good. Born in Vermont and currently based in New York City, Muhly is a young composer whose star is on the rise. Only thirty years old, he’s already racked up an impressive list of accomplishments, including an upcoming opera premiere at the Met, an ongoing gig as assistant to eminent composer Philip Glass, and collaborations with Björk.

In So Far So Good, Muhly uses repeating melodic themes and ever-shifting textures to create a work that is atmospheric and sonically rich. Contrasting textures in different sections of the orchestra are often combined and overlapped. For example, at the beginning of the work, Muhly juxtaposes a smooth, legato string part with short, staccato bursts from the brass and percussion. Morlot managed the flowing textures well, guiding the ensemble through sudden transitions and mood changes.

So Far So Good paired surprisingly well with the second piece on the program, Schubert’s “Unfinished” Symphony, another work that features dramatic shifts in mood and texture. Although Schubert was only able to complete the first two movements of the symphony before his death in 1828, the “Unfinished” is one of his most popular works. The piece flows rapidly through a huge spectrum of orchestral colors, ranging from a sweet, tender cello melody to grand gestures that utilize a full orchestral sound. The woodwind section sounded fantastic in the handful of solos and duets throughout the work, particularly Ben Hausmann on oboe, Christopher Sereque on clarinet, and Demarre McGill on flute.

The evening concluded with a performance of Chopin’s Piano Concerto No. 2, featuring Marc-André Hamelin as the soloist. Although Schubert and Chopin both heralded from the Romantic tradition of classical composition, the “Unfinished” Symphony is miles away from Chopin’s concerto in terms of tone and texture. Schubert’s Symphony focuses on a full range of orchestral sound, while Chopin’s work utilizes the orchestra to accentuate the expressive power of the piano.

One of the most technically skilled pianists alive today, Hamelin is known for pushing the limits of what is physically possible on the piano. In addition to his international acclaim as a concert pianist, he is well-known as the composer of “Circus Galop”, a work for player piano that many consider to be the world’s most difficult piano piece.

The Chopin piano concerto was an excellent choice to showcase a different side of Hamelin’s artistry. Although Chopin’s compositions call for a virtuosic technique, his music is full of tender moments in which a simple melodic passage is imbued with great emotional intensity. Hamelin struck a harmonious balance between flashy technique and musical expression, sailing through difficult fast passages without batting an eye, but bringing out a delicate singing tone in sections that were slower and more melodic.

Morlot’s conducting talent and leadership abilities earned Seattle Symphony a recent mention in the New York Times. NYT music critic Zachary Woolfe reviewed Thursday night’s concert and commented favorably on Morlot’s accomplishments and vision for the orchestra: “Watching Seattle in the coming years will be fun”. If the excitement of Thursday night’s performance is any indication, Seattle’s new maestro’s on the right track.

Arts & Entertainment, Music

What We’re Hearing This Month: Classical Music Picks for January 2012

2012 is only a week old, but Seattle’s classical music scene is off to a fantastic start for the year with dozens of events around the city. Classical music critics Phillippa Kiraly and Dana Wen weigh in with their picks for this month.

Jan. 13 & 14 — Pacific Musicworks presents a semi-staged performance of Carissimi’s opera The Prophets at St. James Cathedral. This is a rare chance to hear a rare work with a stellar cast.

Jan. 14 – 28 — Seattle Opera performs Verdi’s Attila at McCaw Hall, with the great bass John Relyea in the title role. Experience a modern staging of one of Verdi’s early operas.

Ingrid Matthews and Byron Schenkman

Jan. 20 — Who doesn’t love Latin music? Viva la Música at Benaroya Hall features pianist Arnaldo Cohen and the Seattle Symphony performing works by Latin American composers.

Jan. 26 & 28 — Pianist Marc-André Hamelin joins the Seattle Symphony for Chopin’s Second Piano Concerto. Also on the  program is Schubert’s “Unfinished” Symphony and a world premiere of a work by Nico Muhly.

Jan. 27 — Marc-André Hamelin and members the Seattle Symphony present a program of Russian quintets at Nordstrom Recital Hall. This is a chance to hear pianist Hamelin performing chamber music.

Jan. 27 — Now in its second season, Seattle Modern Orchestra explores the theme “Layers of Time” at Cornish College of the Arts’ PONCHO Concert Hall.

Jan. 28 — Seattle Baroque Orchestra presents Common Ground at Town Hall, featuring Ingrid Matthews and Byron Schenkman, two  of Seattle’s best early music performers. The duo will play a program of inventive 17th century music with repeating bass lines.

Jan. 29 — Innovative string quartet Brooklyn Rider returns to Town Hall with works by Beethoven, Philip Glass, and John Zorn.