Classical

Seattle Symphony All-Beethoven: the Piano Concerto no. 4 and the Symphony no. 7. Benaroya Hall, 200 University St., Seattle, WA 98101 $35-$120 Thursday, April 30, 2015, 7:30pm

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IMPFEST VII That’s IMP- as in -rovisation, with three shows from UW jazz faculty, students, and friends, including Bill Frisell on friday. UW Ethnic Cultural Center, 3931 Brooklyn Ave. N.E., Seattle, WA 98105 $12-$20 Friday, May 1, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Saturday, May 2, 2015, 7:30pm

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IMPFEST VII That’s IMP- as in -rovisation, with three shows from UW jazz faculty, students, and friends, including Bill Frisell on friday. UW Ethnic Cultural Center, 3931 Brooklyn Ave. N.E., Seattle, WA 98105 $12-$20 Saturday, May 2, 2015, 7:30pm

Tudor Choir Devotional music, including several Psalm settings, by director Doug Fullington and others. Blessed Sacrament Church, 5041 Ninth Ave. N.E. $20-$30 Saturday, May 2, 2015, 7:30pm

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Giacomo Fiore Music by Eve Beglarian and others from this experimental guitarist, who’s joined by pianist Cristina Valdes and composer Rocco di Pietro. Chapel Performance Space (Good Shepherd Center), 4649 Sunnyside Ave. N. $5-$15 Saturday, May 2, 2015, 8pm

Seattle Symphony All-Beethoven: the Piano Concerto no. 4 and the Symphony no. 7. Benaroya Hall, 200 University St., Seattle, WA 98101 $35-$120 Saturday, May 2, 2015, 8pm

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Seattle Symphony Suites by Ravel and Stravinsky, and Yo-Yo Ma plays Schumann’s Cello Concerto. Benaroya Hall, 200 University St., Seattle, WA 98101 $35-$120 Sunday, May 3, 2015, 2pm

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Mostly Nordic Music + smorgasbord: Norwegian music for violin, piano, and accordion, plus a little Piazzolla. Nordic Heritage Museum, 3014 N.W. 67th St., Seattle, WA 98117 $47-$55 (concert only $22-$27) Sunday, May 3, 2015, 4pm

Music From the War to End All Wars Ives, Prokofiev, and much more, curated by UW pianist Robin McCabe. Brechemin Auditorium, Music Building (1st floor), University of Washington,

West Stevens Way NE & Skagit Lane, Seattle $10 Sunday, May 3, 2015, 4pm

Northwest Girlchoir Recognizing the group’s graduating seniors. Phinney Ridge Lutheran Church, 7500 Greenwood Ave. N. Free Sunday, May 3, 2015, 6pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Sunday, May 3, 2015, 7:30pm

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IMPFEST VII That’s IMP- as in -rovisation, with three shows from UW jazz faculty, students, and friends, including Bill Frisell on friday. UW Ethnic Cultural Center, 3931 Brooklyn Ave. N.E., Seattle, WA 98105 $12-$20 Sunday, May 3, 2015, 7:30pm

Compline Services A half-hour meditation each week with the eight-voice Renaissance Singers. Saint Mark’s Episcopal Cathedral, 1245 10th Ave. E. Free Sunday, May 3, 2015, 9:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Monday, May 4, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Tuesday, May 5, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Wednesday, May 6, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Thursday, May 7, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Friday, May 8, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Saturday, May 9, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Sunday, May 10, 2015, 7:30pm

Compline Services A half-hour meditation each week with the eight-voice Renaissance Singers. Saint Mark’s Episcopal Cathedral, 1245 10th Ave. E. Free Sunday, May 10, 2015, 9:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Monday, May 11, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Tuesday, May 12, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Wednesday, May 13, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Thursday, May 14, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Friday, May 15, 2015, 7:30pm

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Ariadne auf Naxos For all its frivolity and ebullience-which is the aspect of Richard Strauss’ Ariadne auf Naxos that Seattle Opera is selling the hardest for its upcoming production-it cost its composer, and librettist Hugo von Hofmannsthal, years of grueling and contentious labor. The latter’s original comic concept, the onstage clash of a tragic Greek-myth opera performance and a commedia dell’arte troupe-so avant, so meta-was itself stuffed, like some giant theatrical turducken, into his adaptation of Moliere’s play Le bourgeois gentilhomme. (One of Moliere’s characters presents the two-operas-in-one as an entertainment in his home, or so goes the contrived premise.) Strauss wrote a great deal of music for this hybrid: incidental music for the reworked Moliere plus the complete 90-minute double opera. When this proved less than a hit, mainly because it made for an evening of Wagnerian length, Strauss and Hofmannsthal had to detach what they had so painstakingly spliced together, adding a new prologue to the opera (depicting the manic backstage preparations) so it could stand on its own. Happily for Strauss, though, this overelaborate concept called for two very different styles of music, both of which he excelled at: elegant, sparkling 18th-century pastiche to evoke the commedia players; and soaring, opulent music for his tragic heroine Ariadne. Seattle Opera revives its 2004 production-including, memorably, onstage fireworks at the climax. GAVIN BORCHERT McCaw Hall (Seattle Center), 321 Mercer St., Seattle, WA 98109 $25 and up Saturday, May 16, 2015, 7:30pm

Compline Services A half-hour meditation each week with the eight-voice Renaissance Singers. Saint Mark’s Episcopal Cathedral, 1245 10th Ave. E. Free Sunday, May 17, 2015, 9:30pm