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Seems like he just got here. In an announcement posted on the Seattle Symphony’s website this morning, music director Ludovic Morlot says he’ll step away… Continue reading
A Czech opera is transported from Russia to Cascadia, making its villain even more chilling.
How did they get away with this in 1954?
At 81, the Estonian composer Arvo Pärt walks his own quiet path, but has captivated the world into following him.
Times are tough all over. Ever since the ex-courtesan Violetta, whose story Verdi tells in La traviata, moved in with her admirer Alfredo, she’s brought… Continue reading
ArtsWest’s live choir and dance adaptation of the fairy tale follows a child’s Christmas in hell.
It was the best of seasons, it was the worst of seasons. But on Saturday, it could become the best ever.
A Cornish faculty cellist’s next performance will double as protest.
No opera, to my knowledge, has told the story of a trans person as either a central or subsidiary character, but novelty alone wouldn’t be… Continue reading
A classic fairy tale is rethought to make a political point—with one huge miscalculation.
From Altura to Vendemmia.
The 1837 play could be subtitled “It’s Not the Murderer Who Is Perverse, but the Society He Lives In.”
An evening devoted to the composer erases boundaries—between performer and auditor, art and life.
Terry Gilliam inspired the visuals in this tale of medieval mayhem.
Outstanding performances abound in this rare staging of the 1888 work by the Seattle Gilbert and Sullivan Society.
Celebrating its 20th anniversary, the volunteer-driven celebration takes on the Third Symphony.
Ludovic Morlot takes a more difficult and rewarding route in programming SSO’s summer offering.
What happens when a stylized directorial conception doesn’t quite mesh with the voices singing it?
It was clickbait before its time. In 1958 composer Milton Babbitt submitted a thinkpiece to High Fidelity magazine under the benign title “The Composer as Specialist,” and an editor changed it to the more belligerent “Who Cares if You Listen?”, starting a firestorm whose embers still glow.
In its thoroughly satisfying and powerful production of Mary Stuart, Donizetti’s 1835 tale of the battle between Elizabeth I and Mary, Queen of Scots, this production shows everyone how to do it.