Schedule

Thomas Dausgaard, conductor

Performing with
Warsaw Philharmonic Orchestra
Warsaw Philharmonic Choir
Aleksandra Kubas-Kruk, soprano
Ewa Wolak, alto
Szymon Mechliński, baritone
Bartosz Michałowski, choir director

Programme
Anton Bruckner: Locus iste, WAB 23 [3′]
Karol Szymanowski: Stabat Mater, Op. 53 [24′]
Anton Bruckner: Symphony No. 3 in D Minor, WAB 103 (ver. 1873) [65′]

Bruckner’s gradual Locus iste, redolent of tranquillity and euphony, was heard for the first time in October 1869 during the consecration of the Votivkapelle – one of the first completed segments of the neo-Gothic New Cathedral in Linz. Although at that time, the composer had already entered the Viennese period of his career, he was more than happy to accept an invitation from the community that remembered and respected him.

According to many critics, it is in the Third Symphony that we see the emergence of the Bruckner we all know – the pioneer of a new idea of a monumental symphony, structured partly in line with the tradition of the genre, and yet at the same time treating it more extensively. Expanded thematic groups, developed as in an organ improvisation, strong contrasts, pathos, the monumentalism of groups of wind instruments – all these distinctive features were to return in subsequent symphonies, despite the fact that the reception of this one was at first disastrous. The premiere performance of the first version from 1873 was rejected after a few rehearsals, and the presentation of the 1877 version (several times revised) was an abject failure. There is also the third, main version, from 1890. The concert will reacquaint the audience with the original version of the piece.

In an interview with Mateusz Gliński (Music, 1926), Szymanowski described the origins of Stabat Mater as follows: “There were a great many reasons why I decided to write a religious piece – from my inner experiences right through to external life circumstances, which last winter forced me to put aside for a time all my other “lay works”, which I had already begun writing, and focus entirely on Stabat Mater”. These “external circumstances” included the tragic death of Szymanowski’s niece, which was a truly painful experience for him. However, the composer had already thought about writing a religious work based on folk motifs earlier. He turned to the text of the hymn Stabat Mater, inspired by, and delighted with, Józef Jankowski’s translation. In this way he composed one of his most perfect and deeply poignant works, which combines novel elements of the musical idiom with a very subtle archaization of, and allusions to, traditional music.

Thomas Dausgaard, conductor

Performing with
Warsaw Philharmonic Orchestra
Warsaw Philharmonic Choir
Aleksandra Kubas-Kruk, soprano
Ewa Wolak, alto
Szymon Mechliński, baritone
Bartosz Michałowski, choir director

Programme
Anton Bruckner: Locus iste, WAB 23 [3′]
Karol Szymanowski: Stabat Mater, Op. 53 [24′]
Anton Bruckner: Symphony No. 3 in D Minor, WAB 103 (ver. 1873) [65′]

Bruckner’s gradual Locus iste, redolent of tranquillity and euphony, was heard for the first time in October 1869 during the consecration of the Votivkapelle – one of the first completed segments of the neo-Gothic New Cathedral in Linz. Although at that time, the composer had already entered the Viennese period of his career, he was more than happy to accept an invitation from the community that remembered and respected him.

According to many critics, it is in the Third Symphony that we see the emergence of the Bruckner we all know – the pioneer of a new idea of a monumental symphony, structured partly in line with the tradition of the genre, and yet at the same time treating it more extensively. Expanded thematic groups, developed as in an organ improvisation, strong contrasts, pathos, the monumentalism of groups of wind instruments – all these distinctive features were to return in subsequent symphonies, despite the fact that the reception of this one was at first disastrous. The premiere performance of the first version from 1873 was rejected after a few rehearsals, and the presentation of the 1877 version (several times revised) was an abject failure. There is also the third, main version, from 1890. The concert will reacquaint the audience with the original version of the piece.

In an interview with Mateusz Gliński (Music, 1926), Szymanowski described the origins of Stabat Mater as follows: “There were a great many reasons why I decided to write a religious piece – from my inner experiences right through to external life circumstances, which last winter forced me to put aside for a time all my other “lay works”, which I had already begun writing, and focus entirely on Stabat Mater”. These “external circumstances” included the tragic death of Szymanowski’s niece, which was a truly painful experience for him. However, the composer had already thought about writing a religious work based on folk motifs earlier. He turned to the text of the hymn Stabat Mater, inspired by, and delighted with, Józef Jankowski’s translation. In this way he composed one of his most perfect and deeply poignant works, which combines novel elements of the musical idiom with a very subtle archaization of, and allusions to, traditional music.

Thomas Dausgaard, conductor

Performing with
Alexander Melnikov, piano
Copenhagen Philharmonic

Programme:
Mozart: Piano Concerto No. 23
Bruckner: Symphony No. 7

The Danish master conductor Thomas Dausgaard is in charge of Copenhagen Phil and the piano virtuoso Alexander Melnikov. On the music stands are Bruckner’s unique 7th symphony – and an old familiar melody from Matador .

Russian pianist Alexander Melnikov is a soloist in a piano concerto that everyone who has seen Matador knows: The slow and beautiful movement from Mozart’s piano concerto, which follows the shadow aunt and piano teacher Elisabeth Friis throughout the series – and not without reason. Here, Mozart is at the height of his career as a composing pianist in 1780s Vienna with the almost unreal surplus to write themes that go straight to the heart.

The Danish world conductor Thomas Dausgaard is currently, among other things. chief conductor of the BBC Scottish Symphony Orchestra and 1st guest conductor of the Seattle Symphony Orchestra. He visits Copenhagen Phil with Bruckner’s majestic Seventh Symphony. Here, Bruckner unfolds the entire large symphony orchestra in long stretches of almost supernaturally beautiful intensity and with completely overwhelming highlights along the way – while Bruckner manages to create completely magical moments of intimate, lyrical atmosphere. A symphonic experience in the very large format – and on the occasion of the evening amplified by students at the Royal Danish Conservatory of Music.

Thomas Dausgaard, conductor

Performing with
Julian Jacobson, piano
BBC Scottish Symphony Orchestra

Programme
BARTÓK : Divertimento for string orchestra (c.27 mins)
ERIKA FOX : David Spielt vor Saul for piano and orchestra BBC Commission, World Premiere (c.20 mins)
NIELSEN : Symphony No.3 ‘Sinfonia espansiva’ (c.35 mins)

Our Nielsen cycle begins with the composer’s buoyant, often magical, Third Symphony from 1911, the first to bring him international success and, as a work of the pre-war period, relatively free from the shadows and despair that can darken the later symphonies. It’s a perfect introduction to the composer’s work and Chief Conductor Thomas Dausgaard precedes it with Bartók’s equally vibrant Divertimento for strings. To herald the New Year, meanwhile, here’s new music in the form of a major World Premiere: a piano concerto by the great Viennese-born composer Erika Fox, specially written for the fearless playing of Julian Jacobson.

Thomas Dausgaard, conductor

Performing with
Kishi Bashi, violin
Seattle Symphony

Programme
Paul Chihara: New Work (Seattle Symphony Commission & World Premiere)
Kaoru Ishibashi: Improvisations on EO9066
Piotr Ilyich Tchaikovsky: Symphony No. 4

We mark the 80th anniversary of Executive Order 9066, which saw the incarceration of thousands of innocent Japanese Americans during the Second World War, indelibly changing their lives and our region — the effects of which are still felt today. Thomas Dausgaard is joined by Seattle-born composer/multi-instrumentalist Kishi Bashi in a heart-rending exploration of their story.

Thomas Dausgaard, conductor

Performing with
Kishi Bashi, violin
Seattle Symphony

Programme
Paul Chihara: New Work (Seattle Symphony Commission & World Premiere)
Kaoru Ishibashi: Improvisations on EO9066
Piotr Ilyich Tchaikovsky: Symphony No. 4

We mark the 80th anniversary of Executive Order 9066, which saw the incarceration of thousands of innocent Japanese Americans during the Second World War, indelibly changing their lives and our region — the effects of which are still felt today. Thomas Dausgaard is joined by Seattle-born composer/multi-instrumentalist Kishi Bashi in a heart-rending exploration of their story.

Thomas Dausgaard, conductor

Performing with
Garrick Ohlsson, piano
Seattle Symphony

Programme
Ellen Reid: New Work (Seattle Symphony Commission & World Premiere)
Wilhelm Stenhammar: Piano Concerto No. 2
Jean Sibelius: Symphony No. 1

Thomas Dausgaard begins a multi-year Sibelius Cycle with the composer’s First Symphony. Sibelius wrote surely the greatest ‘First’ ever — packed with transcendent soundscapes. A new work by Pulitzer Prize-winning composer Ellen Reid responds to Sibelius, and Garrick Ohlsson performs a seldom-heard and delightful romantic concerto.

ABOUT THE SIBELIUS CYCLE

Music Director Thomas Dausgaard brings his Nordic roots and unique insights to the music of the great Finnish composer Jean Sibelius. This two-year Sibelius Cycle will explore all seven of Sibelius’ symphonies over two seasons, plus the rarely performed, original version of his Violin Concerto; each symphony will be paired with exciting Seattle Symphony commissions and world premieres by contemporary composers.

Sibelius drew his inspiration from Finland’s enchanting natural wonders that mirror our own Pacific Northwest: glacial lakes, evergreen forests, sea breezes, migrating birds, long summer days and dark, sun-starved winters. This deep love of nature, with its ethereal beauty and creative inspiration, translates to the stage through Dausgaard’s own passion and reverence for the natural world that surrounds us.

Thomas Dausgaard, conductor

Performing with
Garrick Ohlsson, piano
Seattle Symphony

Programme
Ellen Reid: New Work (Seattle Symphony Commission & World Premiere)
Wilhelm Stenhammar: Piano Concerto No. 2
Jean Sibelius: Symphony No. 1

Thomas Dausgaard begins a multi-year Sibelius Cycle with the composer’s First Symphony. Sibelius wrote surely the greatest ‘First’ ever — packed with transcendent soundscapes. A new work by Pulitzer Prize-winning composer Ellen Reid responds to Sibelius, and Garrick Ohlsson performs a seldom-heard and delightful romantic concerto.

ABOUT THE SIBELIUS CYCLE

Music Director Thomas Dausgaard brings his Nordic roots and unique insights to the music of the great Finnish composer Jean Sibelius. This two-year Sibelius Cycle will explore all seven of Sibelius’ symphonies over two seasons, plus the rarely performed, original version of his Violin Concerto; each symphony will be paired with exciting Seattle Symphony commissions and world premieres by contemporary composers.

Sibelius drew his inspiration from Finland’s enchanting natural wonders that mirror our own Pacific Northwest: glacial lakes, evergreen forests, sea breezes, migrating birds, long summer days and dark, sun-starved winters. This deep love of nature, with its ethereal beauty and creative inspiration, translates to the stage through Dausgaard’s own passion and reverence for the natural world that surrounds us.

Thomas Dausgaard, conductor

Performing with
Garrick Ohlsson, piano
Seattle Symphony

Programme
Ellen Reid: New Work (Seattle Symphony Commission & World Premiere)
Wilhelm Stenhammar: Piano Concerto No. 2
Jean Sibelius: Symphony No. 1

Thomas Dausgaard begins a multi-year Sibelius Cycle with the composer’s First Symphony. Sibelius wrote surely the greatest ‘First’ ever — packed with transcendent soundscapes. A new work by Pulitzer Prize-winning composer Ellen Reid responds to Sibelius, and Garrick Ohlsson performs a seldom-heard and delightful romantic concerto.

ABOUT THE SIBELIUS CYCLE

Music Director Thomas Dausgaard brings his Nordic roots and unique insights to the music of the great Finnish composer Jean Sibelius. This two-year Sibelius Cycle will explore all seven of Sibelius’ symphonies over two seasons, plus the rarely performed, original version of his Violin Concerto; each symphony will be paired with exciting Seattle Symphony commissions and world premieres by contemporary composers.

Sibelius drew his inspiration from Finland’s enchanting natural wonders that mirror our own Pacific Northwest: glacial lakes, evergreen forests, sea breezes, migrating birds, long summer days and dark, sun-starved winters. This deep love of nature, with its ethereal beauty and creative inspiration, translates to the stage through Dausgaard’s own passion and reverence for the natural world that surrounds us.

Thomas Dausgaard, conductor

Performing with
Garrick Ohlsson, piano
Seattle Symphony

Programme
Ellen Reid: New Work (Seattle Symphony Commission & World Premiere)
Wilhelm Stenhammar: Piano Concerto No. 2
Jean Sibelius: Symphony No. 1

Thomas Dausgaard begins a multi-year Sibelius Cycle with the composer’s First Symphony. Sibelius wrote surely the greatest ‘First’ ever — packed with transcendent soundscapes. A new work by Pulitzer Prize-winning composer Ellen Reid responds to Sibelius, and Garrick Ohlsson performs a seldom-heard and delightful romantic concerto.

ABOUT THE SIBELIUS CYCLE

Music Director Thomas Dausgaard brings his Nordic roots and unique insights to the music of the great Finnish composer Jean Sibelius. This two-year Sibelius Cycle will explore all seven of Sibelius’ symphonies over two seasons, plus the rarely performed, original version of his Violin Concerto; each symphony will be paired with exciting Seattle Symphony commissions and world premieres by contemporary composers.

Sibelius drew his inspiration from Finland’s enchanting natural wonders that mirror our own Pacific Northwest: glacial lakes, evergreen forests, sea breezes, migrating birds, long summer days and dark, sun-starved winters. This deep love of nature, with its ethereal beauty and creative inspiration, translates to the stage through Dausgaard’s own passion and reverence for the natural world that surrounds us.

Thomas Dausgaard, conductor

Performing with
Kelley O’Connor, mezzo-soprano
Russell Thomas, tenor
Seattle Symphony

Programme
George Walker: Lyric for Strings
George Walker: Folksongs for Orchestra
Gustav Mahler: Das Lied von der Erde

Thomas Dausgaard conducts music reflecting on the end of life. Mahler was inspired by Chinese poetry for his valedictory masterwork, Das Lied von der Erde. George Walker offers introverted and deeply personal reflections on four spiritual melodies in Folksongs for Orchestra. His Lyric for Strings, a touching tribute to the memory of his grandmother, is one of his best-loved works.

Thomas Dausgaard, conductor

Performing with
Kelley O’Connor, mezzo-soprano
Russell Thomas, tenor
Seattle Symphony

Programme
George Walker: Lyric for Strings
George Walker: Folksongs for Orchestra
Gustav Mahler: Das Lied von der Erde

Thomas Dausgaard conducts music reflecting on the end of life. Mahler was inspired by Chinese poetry for his valedictory masterwork, Das Lied von der Erde. George Walker offers introverted and deeply personal reflections on four spiritual melodies in Folksongs for Orchestra. His Lyric for Strings, a touching tribute to the memory of his grandmother, is one of his best-loved works.

Thomas Dausgaard, conductor

Performing with
Kelley O’Connor, mezzo-soprano
Russell Thomas, tenor
Seattle Symphony

Programme
George Walker: Lyric for Strings
George Walker: Folksongs for Orchestra
Gustav Mahler: Das Lied von der Erde

Thomas Dausgaard conducts music reflecting on the end of life. Mahler was inspired by Chinese poetry for his valedictory masterwork, Das Lied von der Erde. George Walker offers introverted and deeply personal reflections on four spiritual melodies in Folksongs for Orchestra. His Lyric for Strings, a touching tribute to the memory of his grandmother, is one of his best-loved works.

Thomas Dausgaard, conductor

Performing with
Alexander Melnikov, piano
BBC Scottish Symphony Orchestra

Programme
JOANNA WARD : New Work BBC Commission, World Premiere (c.10 mins)
NIELSEN : Symphony No.6 ‘Sinfonia semplice’ (c.35 mins)
BRAHMS : Piano Concerto No.1 (c.50 mins)

From its tempestuous opening bars, Brahms’s First Piano Concerto throws a gauntlet down to all-comers. It’s a monumental, powerhouse of a work, so we’re thrilled that the astonishing Alexander Melnikov joins us as tonight’s soloist. Today, it’s hard for us to hear how Brahms broke new ground with this concerto, but to keep that spirit of artistic revolution alive we have a World Premiere from composer, performer, researcher, and activist Joanna Ward, renowned for her cross-media explorations. Our Nielsen symphony cycle continues, too, with the composer’s ‘Simple Symphony’ which, despite the sunny outlook of its opening, has dark moments and unexpected twists on the horizon.

Thomas Dausgaard, conductor

Performing with
Isabelle Faust, violin
Seattle Symphony

Programme
Angélica Negrón: New Work (Seattle Symphony Commission & World Premiere)
Jean Sibelius: Violin Concerto (Original Version)
Jean Sibelius: Symphony No. 2

From its icy, desolate opening to its robust, jubilant finale, Sibelius’ Violin Concerto glows. Isabelle Faust performs the seldom-heard original version of the piece — full of unexpected twists and turns. Thomas Dausgaard expertly shapes the arching melodies and majestic lines of Sibelius’ Second Symphony. This program is part of the Seattle Symphony’s multi-year Sibelius Cycle.

ABOUT THE SIBELIUS CYCLE

Music Director Thomas Dausgaard brings his Nordic roots and unique insights to the music of the great Finnish composer Jean Sibelius. This two-year Sibelius Cycle will explore all seven of Sibelius’ symphonies over two seasons, plus the rarely performed, original version of his Violin Concerto; each symphony will be paired with exciting Seattle Symphony commissions and world premieres by contemporary composers.

Sibelius drew his inspiration from Finland’s enchanting natural wonders that mirror our own Pacific Northwest: glacial lakes, evergreen forests, sea breezes, migrating birds, long summer days and dark, sun-starved winters. This deep love of nature, with its ethereal beauty and creative inspiration, translates to the stage through Dausgaard’s own passion and reverence for the natural world that surrounds us.

Thomas Dausgaard, conductor

Performing with
Isabelle Faust, violin
Seattle Symphony

Programme
Angélica Negrón: New Work (Seattle Symphony Commission & World Premiere)
Jean Sibelius: Violin Concerto (Original Version)
Jean Sibelius: Symphony No. 2

From its icy, desolate opening to its robust, jubilant finale, Sibelius’ Violin Concerto glows. Isabelle Faust performs the seldom-heard original version of the piece — full of unexpected twists and turns. Thomas Dausgaard expertly shapes the arching melodies and majestic lines of Sibelius’ Second Symphony. This program is part of the Seattle Symphony’s multi-year Sibelius Cycle.

ABOUT THE SIBELIUS CYCLE

Music Director Thomas Dausgaard brings his Nordic roots and unique insights to the music of the great Finnish composer Jean Sibelius. This two-year Sibelius Cycle will explore all seven of Sibelius’ symphonies over two seasons, plus the rarely performed, original version of his Violin Concerto; each symphony will be paired with exciting Seattle Symphony commissions and world premieres by contemporary composers.

Sibelius drew his inspiration from Finland’s enchanting natural wonders that mirror our own Pacific Northwest: glacial lakes, evergreen forests, sea breezes, migrating birds, long summer days and dark, sun-starved winters. This deep love of nature, with its ethereal beauty and creative inspiration, translates to the stage through Dausgaard’s own passion and reverence for the natural world that surrounds us.

Thomas Dausgaard, conductor

Performing with
Isabelle Faust, violin
Seattle Symphony

Programme
Angélica Negrón: New Work (Seattle Symphony Commission & World Premiere)
Jean Sibelius: Violin Concerto (Original Version)
Jean Sibelius: Symphony No. 2

From its icy, desolate opening to its robust, jubilant finale, Sibelius’ Violin Concerto glows. Isabelle Faust performs the seldom-heard original version of the piece — full of unexpected twists and turns. Thomas Dausgaard expertly shapes the arching melodies and majestic lines of Sibelius’ Second Symphony. This program is part of the Seattle Symphony’s multi-year Sibelius Cycle.

ABOUT THE SIBELIUS CYCLE

Music Director Thomas Dausgaard brings his Nordic roots and unique insights to the music of the great Finnish composer Jean Sibelius. This two-year Sibelius Cycle will explore all seven of Sibelius’ symphonies over two seasons, plus the rarely performed, original version of his Violin Concerto; each symphony will be paired with exciting Seattle Symphony commissions and world premieres by contemporary composers.

Sibelius drew his inspiration from Finland’s enchanting natural wonders that mirror our own Pacific Northwest: glacial lakes, evergreen forests, sea breezes, migrating birds, long summer days and dark, sun-starved winters. This deep love of nature, with its ethereal beauty and creative inspiration, translates to the stage through Dausgaard’s own passion and reverence for the natural world that surrounds us.

Thomas Dausgaard, conductor

Performing with
Isabelle Faust, violin
Seattle Symphony

Programme
Angélica Negrón: New Work (Seattle Symphony Commission & World Premiere)
Jean Sibelius: Violin Concerto (Original Version)
Jean Sibelius: Symphony No. 2

From its icy, desolate opening to its robust, jubilant finale, Sibelius’ Violin Concerto glows. Isabelle Faust performs the seldom-heard original version of the piece — full of unexpected twists and turns. Thomas Dausgaard expertly shapes the arching melodies and majestic lines of Sibelius’ Second Symphony. This program is part of the Seattle Symphony’s multi-year Sibelius Cycle.

ABOUT THE SIBELIUS CYCLE

Music Director Thomas Dausgaard brings his Nordic roots and unique insights to the music of the great Finnish composer Jean Sibelius. This two-year Sibelius Cycle will explore all seven of Sibelius’ symphonies over two seasons, plus the rarely performed, original version of his Violin Concerto; each symphony will be paired with exciting Seattle Symphony commissions and world premieres by contemporary composers.

Sibelius drew his inspiration from Finland’s enchanting natural wonders that mirror our own Pacific Northwest: glacial lakes, evergreen forests, sea breezes, migrating birds, long summer days and dark, sun-starved winters. This deep love of nature, with its ethereal beauty and creative inspiration, translates to the stage through Dausgaard’s own passion and reverence for the natural world that surrounds us.

Thomas Dausgaard, conductor

Performing with
BBC Scottish Symphony Orchestra

Programme
BARTÓK : The Wooden Prince (c.48 mins)
NIELSEN : Symphony No.2 ‘The Four Temperaments’ (c.32 mins)

A handsome prince, a beautiful princess, and a well-meaning fairy: it’s the stuff of children’s stories. But this is a fairy-tale with claws, and there are some startling surprises in store as we venture into the flamboyantly colourful world of Bartók’s 1914/17 ballet The Wooden Prince – Hungary’s answer to The Firebird. Then enjoy Carl Nielsen’s quirky Second Symphony (a musical depiction of human personality ‘types’ according to the Ancient Greeks) in the first of three concerts that bring our Nielsen cycle with Chief Conductor Thomas Dausgaard to completion.

Thomas Dausgaard, conductor

Performing with
Abel Selaocoe, cello
BBC Scottish Symphony Orchestra

Programme
VARIOUS WORKS (c.45 mins) including GIOVANNI SOLLIMA: L.B. Files
NIELSEN: Symphony No.5 (c.37 mins)

There is no performer in the world right now quite like the cellist Abel Selaocoe. His extraordinary performances fuse African and European music and blend traditional playing styles with improvisation, singing and body percussion. He’s the centre of this concert’s first half, collaborating with the orchestra and Thomas Dausgaard to explore a free-flowing selection of music which includes Abel’s own compositions and cello virtuoso Giovanni Sollima’s homage to Boccherini, the L.B. Files. After the interval our Nielsen cycle continues with the grippingly powerful Fifth Symphony, a work that’s among the great anti-war testaments of the 20th century. Join us for what’s bound to be an unforgettable afternoon.

Thomas Dausgaard, conductor

Performing with
Jörg Widmann, clarinet
BBC Scottish Symphony Orchestra

Programme
NIELSEN – Symphony No.1 (c.35mins)
MOZART : Clarinet Concerto (c.25 mins)
NIELSEN : Symphony No.4 ‘The Inextinguishable’ (c.32 mins)

‘Music is the sound of life,’ said Nielsen. Nowhere is this truer than in his elemental Fourth Symphony, written during the First World War, as it pulses and surges with a headstrong determination, from its turbulent opening to the famous ‘duel’ for timpanists at its close. It’s a breathless, exciting climax to our Nielsen cycle and our 21/22 Season. Thomas Dausgaard, in his last Glasgow appearance as Chief Conductor, precedes it with the fleet-footed First Symphony, written when the composer was just 27 and Mozart’s evergreen Clarinet Concerto with our Artist in Residence, Jörg Widmann, as soloist.

Thomas Dausgaard, conductor

Performing with
Dinara Alieva, soprano
Ruxandra Donose, mezzo-soprano
Bruce Sledge, tenor
Dashon Burton, baritone
Seattle Symphony Chorale
Seattle Symphony

Programme
Luciano Berio: Requies
Giuseppe Verdi: Requiem

Alternating between sublime lyricism and dramatic power, Giuseppe Verdi’s Requiem offers the thrill and drama of a grand opera, from muted sorrow in the opening movement to the sheer terror of the work’s infamous Dies irae. Music Director Thomas Dausgaard has gathered an extraordinary cast of soloists to join the Seattle Symphony and Chorale for this monumental work.

Thomas Dausgaard, conductor

Performing with
Dinara Alieva, soprano
Ruxandra Donose, mezzo-soprano
Bruce Sledge, tenor
Dashon Burton, baritone
Seattle Symphony Chorale
Seattle Symphony

Programme
Luciano Berio: Requies
Giuseppe Verdi: Requiem

Alternating between sublime lyricism and dramatic power, Giuseppe Verdi’s Requiem offers the thrill and drama of a grand opera, from muted sorrow in the opening movement to the sheer terror of the work’s infamous Dies irae. Music Director Thomas Dausgaard has gathered an extraordinary cast of soloists to join the Seattle Symphony and Chorale for this monumental work.

Thomas Dausgaard, conductor

Performing with
Dinara Alieva, soprano
Ruxandra Donose, mezzo-soprano
Bruce Sledge, tenor
Dashon Burton, baritone
Seattle Symphony Chorale
Seattle Symphony

Programme
Luciano Berio: Requies
Giuseppe Verdi: Requiem

Alternating between sublime lyricism and dramatic power, Giuseppe Verdi’s Requiem offers the thrill and drama of a grand opera, from muted sorrow in the opening movement to the sheer terror of the work’s infamous Dies irae. Music Director Thomas Dausgaard has gathered an extraordinary cast of soloists to join the Seattle Symphony and Chorale for this monumental work.