What if Seattle’s music director picks up an east coast orchestra in addition to his soon to be west coast duties? He wouldn’t be the first music director to take on multiple orchestras. With James Levine stepping down from his duties with the Boston Symphony, Morlot’s ties to the orchestra, and his two week residency with the band next November it may not be that far fetched. As was the case in Seattle the last few years, every guest conductor who passes through Boston over the next few years is going to be given serious consideration for the director position. That would include Morlot too.
From the BSO 2011-2012 season press release:
LUDOVIC MORLOT RETURNS TO BSO TO CONDUCT BERLIOZ, MOZART, CARTER, AND BARTÓK, NOV. 17-22
In a diverse program November 17-22, the BSO welcomes back to Symphony Hall rising French conductor Ludovic Morlot as well as distinguished American pianist Richard Goode, who performs Mozart’s Piano Concerto No. 25 in C, K.503. Also featured on the program is the BSO’s own principal flutist Elizabeth Rowe, who steps in front of the orchestra as soloist in Elliott Carter’s Flute Concerto, a work that received its U.S. premiere with Ms. Rowe and the orchestra in February 2010. The program opens with Berlioz’s Roman Carnival Overture and concludes with Bartók’s Suite from The Miraculous Mandarin, which contains about two-thirds of the music from the composer’s original scandal-inducing ballet about three cash-strapped men who attempt to use the provocative dancing of their female companion to attract and steal money from passers-by.
MORLOT TO LEAD MUSIC FROM RAVEL’S DAPHNIS AND CHLOÉ AND MAHLER 1, NOV. 26-29
In his second straight week on the podium, Ludovic Morlot continues to demonstrate his versatility. To open the program, Mr. Morlot leads the orchestra in the Symphony No. 4 of John Harbison, a work from 2003 by a composer whose music has been featured prominently by the BSO is recent seasons. The concert ends with Mahler’s at times brooding, at times vigorously energetic First Symphony. In between the two symphonies is Ravel’s Suite No. 2 from his masterful ballet Daphnis et Chloé, beginning with a scintillating depiction of the sunrise and gradually gaining momentum until finally expending its energy at the end of a frantic orgiastic dance.