Conductors got their name by both guiding orchestras and wielding copper batons that deflect lightning away from the brass section. Behold an electrifying performance with this GrouponLive deal to the Symphony Untuxed 2012–2013 series by the Seattle Symphony. Choose between the following seating options:
- For $57, you get seating in orchestra section E at each concert in the series (a $115 value).
- For $87, you get seating in orchestra section C at each concert in the series (a $175 value).
Concerts take place Friday at 7 p.m., and doors open at 5:30 p.m. Each concert is preceded by a 5:30 p.m. happy hour catered by Wolfgang Puck's Catering and boasts a shorter format with no intermission.
October 19: Haydn’s “Drumroll” Symphony
The members of the International Contemporary Ensemble step in to contribute violin and viola solos in Mozart’s Sinfonia Concertante in E-flat major. Known as the “Drumroll” symphony for its timpani introduction, Haydn’s Symphony No. 103 in E-flat major concludes the evening in the same key but on a more chipper note, the violins of final movement recalling birdsong as the bass and drum plant a forest of rhythm. The Seattle Symphony's musical director, Ludovic Morlot, conducts.
January 11: Stravinsky & Mozart
Celebrated German conductor Jun Märkl takes the podium for an era-spanning evening that starts with Stravinsky’s orchestral suite from his ballet Pulcinella, a serene and almost bucolic meditation that morphs—characteristically for the composer—into something more modern and rhythmic. Next, the orchestra steps back a century or so with Mozart’s Symphony No. 39, which bent the rules of its own day by lacing strong recurring themes throughout all four movements.
February 15: Mozart’s Piano Concerto No. 21
The concert opens with Gabriel Fauré’s Pelléas et Mélisande Suite, written as incidental music for a play of the same name by Maurice Maeterlinck. An allegory for the interplay of destruction, creation, and change, the suite conveys the sad story of new love transformed into betrayal and revenge. French pianist Cédric Tiberghien solos on Mozart’s Piano Concerto No. 21 in C-major, his feather-light fingers drawing a blithe melody from the symphony’s quick-paced march.
March 29: Scheherazade
The stars of St. Petersburg come out for an evening of later works from Rimsky-Korsakov and Anatoly Liadov under guest-conductor Andrey Boreyko. Liadov's The Enchanted Lake begins the concert on an eerie, nearly elven note, subtly building to a triumphant tone poem. The epic Scheherazade closes the night, a piece as brilliantly compelling as its fairytale origins. After an ominous opening chord, Scheherazade's and the Sultan's opposing themes entwine in battle, until hers fades into a wave-like thrum and Sinbad's ship bursts through in the substantial brass.
April 26: Beethoven’s Symphony No. 7
A veteran of the China Opera House, the New York Philharmonic, and the Orchestra Sinfonica di Milano Giuseppe Verdi, Xian Zhang conducts the final Untuxed show of the season, which opens with the stately bombast of Sibelius' Karelia Overture. Beethoven's Symphony No. 7 concludes the series, the first movement alternately overblown and bucolic until it resolves in a grand, yet sprightly dance. The toe-tapping effect carries on throughout the piece, rising in the fourth movement to a whirling, bacchanalian fury.
For over a century, the Seattle Symphony has built its audience and enraged Rumpelstilskins with an ever-growing collection of accolades and golden awards. Two Emmy-winning television specials stand out among a list of credentials that also includes 12 Grammy nominations and upward of 140 recordings. The orchestra continues to live up to its esteemed reputation thanks to new principal pops conductor Jeff Tyzik who has been hailed, "Among the best pops conductors in America,” by Rochester Democrat & Chronicle. He has also been recognized as an innovative conductor through his startling arrangements, original programming, and engaging rapport with audiences of all ages. The symphony is also well known for performing classical juggernauts such as The Rite of Spring as well as more whimsical nights of jazz standards.
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