Review: 'Transform' concert by Olympia Symphony Orchestra
Originally published on The JOLT News on March 17, 2026
When you hear the word “transform,” what is the first thing you think of? Metamorphosis, such as that of a butterfly? Transformation like the results of makeovers? Heck, do you even think of a Transformer (robot in disguise)?
Transformation can truly look really different, or operate in a varied way, depending on the context you are looking at it.
Thus when you look at the title alone of the Olympia Symphony Orchestra’s (OSO) concert last Sunday at the Capital High School Performing Arts Center, it only gives you a slight hint about what they had in store, and I am honestly glad of that because it led me into some pretty incredible moments and surprises.
I applaud Guest Conductor Rei Hotoda, Guest Violinist Kristin Lee, and the talented musicians within OSO on this awe inspiring performance.
Experiencing this concert in person was a divine experience, but because what I experienced during the show felt so revolutionary and important, I am going to do everything I can to aid your imagination into picturing this event so that you can feel the wonder of it all alongside me. To do this, I will guide you through the program.
Open a tab on your phone or computer and play the recordings below while you read this column. I recommend starting off with the Richter/Vivaldi if you plan to read this straight through without pausing to soak in the music:
‘Metamorphosen’
The first word that came to my mind when this piece began was “swelling,” and that only made partial sense to me at first because there are only small “swells” within this piece.
Reading the historical context, and listening to the piece in full, provided clarity to me on how this term came to mind.
According to the program notes:
"Metamorphosen" is both a personal and cultural lament, shaped by the destruction of Munich in 1944-45. The loss of historic buildings, libraries and cultural landmarks was the decisive catalyst for Richard Strauss to write this work, which channels mourning, reflection, and a contemplation of continuity amid devastation.
I think the swelling I heard was the swelling of emotions, which I know from personal knowledge always happens before transformation begins to take root. Historical moments, conflict and trauma, can all trigger a sort of metamorphosis whether we want it to or not.
The program notes continue:
Musically, "Metamorphosen" embodies the idea of transformation. Written for 23 solo strings, it develops intricate contrapuntal textures in which motifs continuously evolve — never merely repeating, but growing organically from what precedes them. Chromatic harmonies and shifting tonal centers reinforce a sense of instability and change, reflecting the upheaval Strauss witnessed.
One of my favorite moments was when Violin 1 Associate Concertmaster Ben Wedeking, Viola Assistant Principal Damian Nelson and Cello Principal Holly Reeves all played their own melodies simultaneously. This was one of the most incredible things I have witnessed at an OSO concert. I was left speechless.
‘The Four Seasons’
Prior to her performance, Lee described how Richter took cues from Vivaldi’s music and followed different motifs to see where they would take him. The results were, as Lee described, lyrical.
With lyricism, comes romance, and I am here for it. If I were to tell a friend about it, I would say it had “Bridgerton” vibes because it revamped or transformed music in an innovative way.
The original Vivaldi arrangement was as follows: spring, summer, autumn and winter. Some recordings of Richter’s recompositions follow that same pattern.
OSO decided to do the following: spring, winter, autumn and summer. Each season had all three of Richter’s recomposed sections, but with the addition of one of Vivaldi’s. Contact me or OSO to learn more.
Lee carried a power and a confidence with each note she played, and it gave me goosebumps. It was perfection.
What I love about the way she played though was that she celebrated both her moments in the spotlight and those where she is part of the camaraderie of the orchestra. That is a true sign of good character, and good character does ultimately reflect in the way you play. Speaking candidly, her performance felt like a celebration of feminism.
This transformation of the classic work was unique compared to anything else I have seen from any symphony program, and now thanks to OSO, I have a new favorite classical piece. Thank you OSO for changing the soundtrack to my everyday life and for giving me an experience I will remember forever.
https://www.thejoltnews.com/stories/review-transform-concert-by-olympia-symphony-orchestra,28516