By Jacob Stockinger
Are artist concert fees — like those charged by tenor Placido Domingo (below top), soprano Rene Fleming (below middle) and violinist Itzhak Perlman (below bottom) — too high these days and too unaffordable for most American concert-goers?
What would Janet say?
Maybe that refrain could become the economic equivalent of What Would Jesus Say?
I am speaking of Janet Yellin (below), the chairwoman of the Federal Reserve who last week made headlines when she spoke out publicly against the widening wealth gap as being contrary to America’s historic democratic ideals.
But let’s localize the issue.
The Ear didn’t go, but here is a rave review from the student newspaper The Badger Herald, which agrees with the word-of-mouth reviews I have heard:
And for those who couldn’t or wouldn’t buy tickets, the Wisconsin Union Theater even webcast the concert live and for free.
Still, with seats that sold for well over $100, The Ear got to wondering: Are really high artist fees morally right or wrong?
We all hear about the widening wealth gap, and especially about the astronomical pay given to CEOs versus their workers as compared to the same ratio several decades ago.
Well, what about well-known and in-demand concert artists?
If The Ear heard correctly, Yo-Yo Ma’s fee for that one-night performance was either $90,000 or $95,000 -– or about $42,500 or $45,000 an hour.
Can Yo-Yo Ma demand and get that extravagant fee in the so-called “free market” society with its corporate welfare and tax loopholes for the wealthy? Of course, he can — and he does. That is why he sold out the Wisconsin Union Theater.
But should he?
It makes one wonder.
Is Yo-Yo Ma really that much better as a cellist and musician -– and not just as a celebrity — than many other cellists, including MacArthur “genius grant” winner Alisa Weilerstein, Alban Gerhardt, Jean-Guihen Queyras, Steven Isserlis, Carter Brey, Joshua Roman and others? (You can hear Yo-Yo Ma’s interpretation of a movement from a solo cello suite by Johann Sebastian Bach in a YouTube video — with over 11 million hits — at the bottom and decide if it is that much better than other cellists play it.)
Now I don’t mean to pick just on Yo-Yo Ma. I have gone to a half-dozen of his other performances here and I have met him and talked with him. He is without doubt a great musician, a fine human being and an exemplary humanitarian.
The problem that I am talking about transcends any single performer and applies to the whole profession.
Maybe at least part of the problem of attracting young audiences to classical music concerts can be placed right in the laps of the performing artists themselves.
When The Ear was young, he got to hear all sorts of great musical artists—including Leonard Bernstein, Arthur Rubinstein (below), Vladimir Horowitz, Van Cliburn, Itzhak Perlman, Rudolf Serkin, Isaac Stern, Emanuel Ax and others for quite affordable prices. Not that those artists didn’t live well -– but I doubt that they were paid the equivalent of $45,000 an hour.
Maybe it is time for economic populism in the performing arts.
Fees like that exclude a lot of families from participating. Some fans might find it better and cheaper to hear a CD or download than go to a live concert.
Too many performing artists – opera stars come immediately to mind as a class — seem to have taken the same path toward justifying greed as movie stars, sports figures, rock stars and CEO’s who make out like bandits.
In short, can it be that classical musicians are helping to kill off classical music?
Smaller theaters like the Wisconsin Union Theater and even the Overture Center simply cannot book such well-known artists without charging a ridiculous amount of money for a seat – and at a time when many people of all ages just can’t afford it. It just adds to the Wealth Gap and the One Percent problem.
SO THE EAR WOULD LIKE TO ASK CONCERT ARTISTS: PLEASE ADJUST YOUR CONCERT FEES TO HELP SUSTAIN THE FUTURE OF YOUR ART.
Well, these are just some brain droppings.
The Ear wonders what you think of stratospheric artist fees?
Do they contribute to the wealth gap?
Do they hurt the popularity of the art form, especially younger generations?
Are they contributing to the decline of cultural literacy?
In short, are such high artist fees morally right or wrong?
And if wrong, what can we arts consumers do about it? Boycott certain artists until they become more reasonable in their fees?
Ask artist and management agencies to adjust the fees to make them more affordable?
Go to alternative concerts that are perfectly acceptable without star power and cost less or, like those at the University of Wisconsin School of Music, free?
Tell us what you think in a COMMENT.
The Ear wants to hear.
ALERT: This Friday’s FREE Noon Musicale, from 12:15 to 1 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, features Rachel Eve Holmes (below), soprano; Christopher Apfelbach, baritone and Michael Keller, piano, in the music of Carlisle Floyd, Reynaldo Hahn, Amy Beach, Richard Strauss, Benjamin Britten, Gabriel Faure, Paul Bowles and Wolfgang Amadeus Mozart.
By Jacob Stockinger
As I wrote and posted on Monday and Tuesday, Friday night is a major “train wreck” of competing concerts.
But Sunday is busy also and brings potential conflicts, particularly for percussion fans, though there is time to get from one concert to the other.
CLOCKS IN MOTION
On Sunday at NOON — NOT 1 p.m. as previously stated — in Mills Hall on the University of Wisconsin-Madison campus, the percussion group Clocks in Motion (below), will give a FREE concert. The program features world premieres as well as music by Frank Zappa, Edgard Varèse and John Cage. (Free parking is available on Sundays in nearby Grainger Hall in the basement of the UW-Madison Business School.)
Here is a press release from the group, which includes Dave Alcorn, Jennifer Hedstrom, Sean Kleve, Michael Koszewski and James McKenzie:
“Contemporary chamber ensemble Clocks in Motion blends the classical concert hall with the rock n’ roll venue in a bold performance on Sunday afternoon, Oct. 26, at 1 p.m. in Mills Hall.
The program will pair one of the first pieces written for percussion ensemble with music by iconoclast Frank Zappa.
Zappa listed Edgard Varèse’s groundbreaking work, Ionisation, as one of his fundamental inspirations in becoming a composer.
Clocks will juxtapose this influential piece with Zappa’s Black Page, a drum solo that was later expanded to a full-band tune. Black Page’s uniquely virtuosic sound blends rock, contemporary, and experimental avant-garde music.
Guitarist Anthony Lanman joins the program as a guest performer on the world premiere of his 8-string electric guitar concerto, Automaton.
A lush quartet for mallet percussion, piano, and cello by Joseph Diedrich will also receive its world premiere.
Rounding out the program is John Cage’s Second Construction, a grooving classic in the percussion literature.
Here are more specifics about the program:
Ionisation: Although it is only 5 minutes long, Edgard Varèse’s seminal percussion piece laid the groundwork for 90-plus years of composition for the genre (and beyond, as displayed by Frank Zappa). Varèse (below) explores the coloristic possibilities of percussion with unique instruments including drums, woodblocks, sirens, cymbals, chimes, maracas, slapsticks, and more.
Black Page: Originally constructed as a drum solo in a style unique to Frank Zappa (below), Black Page is known for its impressive rhythmic complexity and polyrhythms. This meticulous, thrilling piece is in two parts: No. 1, a full-ensemble percussion unison featuring a “statistical density”; and No. 2, the “Easy Teenage New York Version,” which grooves through the same material with a full band.
Automaton: Says Anthony Lanman (below): “When Clocks in Motion asked me to write a piece for them, immediately their name set off a series of images in my head. I saw a lonely watchmaker — an unappreciated genius — who had a vision in his mind of a great automaton. I saw him slaving away in his workshop, creating the massive creature, and then, finally, releasing it (with the best of intentions) upon the world. Unfortunately, the automaton didn’t function as planned…
“This all broke down into a concerto for electric guitar and percussion, and was organized into three movements: I. Watchmaker’s Daydream – II. Workshop/Steam – III. …In Motion.”
Saturation: Writes Joseph Diedrich: Composed in 2013, Saturation combines the distinct timbral subtleties of mallet percussion, strings, and piano. Using UW-Madison composer Stephen Dembski’s constellation protocol, the piece embarks on an evolutionary journey, culminating in the discovery of tonality. Starting with distant, sparse reverberations, Saturation quickly becomes a wild musical adventure.
Second Construction: The 1940 work by John Cage (below) is scored for four players, and features piano prepared with cardboard, screws, and a metal cylinder carefully placed inside the instrument. The instrumentation is fascinating — water gong, temple bowls, almglocken, maracas and tam-tam are heard.
New music, new instruments and new sounds define Clocks in Motion’s fresh and innovative approach to contemporary classical performance. Hailed as “nothing short of remarkable” (ClevelandClassical.com), Clocks in Motion is a group that performs new music, builds its own instruments and breaks down the boundaries of the traditional concert program. Clocks in Motion consistently performs groundbreaking concerts involving performance art, theater, and computer technology.
Featuring world premieres alongside rarely performed classic works, this ensemble strives to create a new canon of percussion repertoire. You can hear how they make music on found objects in a YouTube video at the bottom.
Clocks in Motion works passionately to educate young audiences through master classes, residencies, presentations and school assemblies.
The ensemble’s unique skill sets and specialties contain an impressive mix of rock, jazz, contemporary classical, orchestral, marching and world styles.
Clocks in Motion has served as resident performers and educators at the Interlochen Arts Academy, Casper College, the University of Michigan, Baldwin-Wallace University, VIBES Fine and Performing Arts, Traverse City West High School, Traverse City East Middle School, Rhapsody Arts Center, and the Madison Museum of Contemporary Art. Formed in 2011, Clocks in Motion began as an extension of the University of Wisconsin-Madison’s Graduate Percussion Group, and now serves as the affiliate ensemble of the UW-Madison percussion studio.
At 6:30 p.m. in Promenade Hall of Overture Hall, the Madison-born percussionist and marimba-player Nathaniel Bartlett (below), who uses complex computer technology in his music, will perform an unusual concert.
Tickets are $16.
Here is a link to the full description of the artist and the concert:
ALERT: A reminder that Madison-born Vicki Powell, who trained at the UW-Madison School of Music, the Curtis Institute and the Juilliard School and who plays with the New York Philharmonic and other major groups, will perform two solos TONIGHT at 7:30 p.m. at the season-opening concert by the largely amateur but very good Middleton Community Orchestra, under conductor Steve Kurr.
The place is the Middleton Performing Arts Center that is attached to Middleton High School, 2100 Bristol Street, not far off of University Avenue.
On the programs is the Overture to “William Tell” by Rossini, the Fantasy for Viola and Orchestra by Johann Nepomuk Hummel, the Romance for Viola and Orchestra by Max Bruch and the Symphony No. 8 by Antonin Dvorak. Tickets are $10; all students get in for FREE. A meet-and-greet reception for the players and audience members follows the concert.
Here is a link to the Q&A with violist Vicki Powell that The Ear posted last week:
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 20 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
The Wisconsin Baroque Ensemble (below top) launched its new season in Madison last Sunday afternoon, not at its usual venue (Gates of Heaven Synagogue), but at St. Andrew’s Episcopal Church (below bottom).
The different location contributed to an enlargement of instrumental colors this time. Max Yount not only worked the harpsichord, but made good use of the church’s handsome Baroque organ in the numerous continuo functions.
In addition, Eric Miller (below) extended from his viola da gamba to show his new talents on the cornetto, while Theresa Koenig moved gracefully between dulcian (early bassoon) and recorders, and Monica Steger alternated on flute and recorder.
The frequent vocal collaborators, UW-Madison soprano Mimmi Fulmer (below top, seen at the Hillside Theater at Frank Lloyd Wright’s compound Taliesin in Spring Green) and mezzo-soprano Consuelo Sañudo were on hand, and patriarch Anton TenWolde (below bottom) on cello completed the group of seven performers.
Two of the nine composers represented — the German Johann Sebastian Bach (1685-1750) and the Swede Johan Helmich Roman (1694-1758) — stood apart as almost chronological afterthoughts, though Roman’s sonata for flute and continuo was given a predictably rousing rendition by Steger.
Otherwise, the focus was on music of the 17th century, especially its very early epoch. Miller gave us gamba renditions of Giovanni Bassano’s variations on a popular madrigal by Cipriano de Rore (1515-1565), two training pieces by Christopher Simpson (1602-1669), and an unaccompanied solo by the enigmatic Sainte-Colombe (1640-1700). (An entrancing sample of solo viol music by Sainte-Colombe is in a popular YouTube video at the bottom.)
Koenig presented a sonata for dulcian and continuo by Giovanni Antonio Bertoli (1598-1645), then joining Steger on recorders for a duo sonata by Giuseppe Scarani of the mid-17th century.
On the vocal side, the two singers joined in an impressive cycle of eight Italian duets, with continuo, by Sigismondo d’India (1582-1629). In these, D’India, an epigone of Claudio Monteverdi (below), contrived writing of individual elaborateness for each singer while also ingeniously integrating their parts.
Vocal music returned at the end, too, when Sañudo, joined by all the players, sang the opening aria of Bach’s Cantata 161, and then the two singers and almost all the players came together for an early carryover by Heinrich Schütz (below, 1585-1672) from his Italian training, a moralizing madrigal in German for two voices, two melody instruments, and continuo, which made a richly satisfying conclusion to the program. It was in these two last vocal works, too, that Miller forsook his gamba and took up his cornet.
What can we say? After some 17 years, the WBE is still going strong, offering us annual presentations of mostly rare Baroque chamber works, in elegant performances in intimate venues. They are the trailblazers in Madison’s early music scene, and they remain a vital component of that scene.
By Jacob Stockinger
This Friday night is, as The Wise Critic likes to call them, another big “Train Wreck.”
That is because there are so many fine but conflicting concerts to choose from.
Yesterday, The Ear posted an interview with David Ronis, who talked about his own background and about the University Opera’s production of Benjamin Britten’s comic opera “Albert Herring.” It opens Friday night at 7:30 p.m. in Music Hall with repeat performances at 3 p.m. on Sunday and 7:30 p.m. on Tuesday night.
Here is a link:
But that opera opening night is just the beginning.
Here are three other events that merit your attention and consideration:
On Friday night at 7:30 p.m. in Overture Hall of the Overture Center, The Westminster Abbey Choir of London, England opens the 10th anniversary season of the Overture Concert Organ (below), custom built by Klais of Bonn, Germany.
From the Madison Symphony Orchestra: “For nearly 1,000 years, inspiring choral music has filled the vast cathedral of London’s Westminster Abbey, the site of every British coronation since 1066. (At the bottom in a popular YouTube video, you can hear the choir singing British composer John Rutter’s “The Lord Bless You and Keep You” at the 60th wedding anniversary of Queen Elizabeth II and Prince Philip.)
“Now, this renowned 40-voice choir (below) comes to Madison to sing with the Overture Concert Organ in a program of music from the 11th century to the Renaissance and 20th century, featuring the works of Orlando Gibbons, George Frideric Handel, Sir Hubert Parry and William Walton.
“Praised by the Sydney Morning Herald as “…One of the great choral powerhouses of our time,” The Choir of Westminster Abbey has performed for numerous notable events including, Evening Prayer in the presence of Pope Benedict XVI in 2010 and the wedding of the Duke and Duchess of Cambridge in 2011, which was seen by a worldwide television audience of over two billion people. In June 2012, the Choir made a historic visit to Rome, when it sang, at the Pope’s invitation, alongside the Sistine Chapel Choir.
“When not touring the world with destinations such as Sydney, Hong Kong, Washington, D.C., and Moscow, The Choir of Westminster Abbey works on a celebrated series of recordings for Hyperion. Their critically acclaimed recording Mary and Elizabeth at Westminster Abbey received the Gramophone Critics’ Choice Award and has been hailed as “a showcase for English choral singing at its most charismatic.”
General admission for the concert is $20 and tickets can be purchased at www.madisonsymphony.org/westminster, the Overture Center Box Office or (608) 258-4141. Student rush tickets are $10 on the day of show with a valid student ID (see www.madisonsymphony.org/studentrush).
This concert is sponsored by Pleasant T. Rowland Foundation, W. Jerome Frautschi Foundation, and Alfred P. and Ann M. Moore.
To see the Overture Concert Organ series of concerts for 2014-15 or to subscribe at a 25 percent savings, visit:
www.madisonsymphony.org/organseason14-15 or call (608) 257-3734.
PRO ARTE QUARTET
On Friday night at 7:30 p.m.in Mills Hall, the Pro Arte Quartet (below, in a photo by Rick Langer), which has been artists-in-residence at the University of Wisconsin-Madison School of Music since 1941, will perform a FREE concert.
The program is: String Quartet in D Major, Op. 71 No. 2 (1793) by Franz Joseph Haydn; String Quartet No. 4 (1936) by Alexander Zemlinsky (1936); and the popular String Quartet in F Major, Op. 96 “American” (1893) by Antonin Dvorak.
On Friday night at 7 p.m., Edgewood College will present its Fall Choral Concert in the St. Joseph Chapel, 1000 Edgewood College Drive. Admission is FREE.
The Edgewood Chamber Singers, under the direction of Albert Pinsonneault (below top), will be joined by the Women’s Choir, under the direction of Kathleen Otterson (below bottom) and the Men’s Choir, under the direction of Sergei Pavlov.
There is no admission charge.
Sorry, The Ear has received no word about specific works on the program.
By Jacob Stockinger
You may recall that the longtime director of University Opera William Farlow retired last spring. While no permanent successor has been named yet, the impressively qualified David Ronis, from the Aaron Copland School of Music at Queens College, City University of New York (CUNY), was chosen from a national search and is serving as a guest director this academic year.
Ronis (below, seen talking to the cast on stage) makes his University of Wisconsin-Madison debut this Friday night at 7:30 p.m. in Music Hall, at the foot of Bascom Hill, with a production of British composer Benjamin Britten’s comic opera “Albert Herring.” (The opening scene from a Los Angeles Opera production can be heard at the bottom in a YouTube video.) Additional performances are on Sunday afternoon at 3 p.m. and Tuesday night at 7:30 p.m.
Tickets are $22 general admission; $18 for senior; and $10 for student. They are available at the door and from the Wisconsin Union Theater Box Office or call (608) 265-ARTS (2787)/ Buy in person and you will save the service fees.
Here are links with more information about the opera and about Ronis, including a fine profile interview done by Kathy Esposito, the public relations and concert manager at the UW-Madison School of Music:
And here is a link to David Ronis’ personal website:
Finally, here is the email Q&A that David Ronis (below, in a photo by Luke Delalio) gave to The Ear:
Can you give readers a brief introduction to yourself, including when and how you started learning music, your early training and formative experiences, your major professional accomplishments and some personal information like hobbies and other interests as well as current and future plans for your career?
I grew up on Long Island, did my undergraduate degree (a B.F.A. in Voice) at Purchase College, and have lived in Manhattan ever since. I studied both piano and voice as a kid and, in high school, was very much involved in musical theater. After graduating from Purchase, I supported myself by doing a lot of professional choral singing.
Soon after, I started getting hired to sing character tenor roles in opera companies in U.S, Europe and Asia, which I did for a number of years. One of the highlights was being a part of Leonard Bernstein’s A Quiet Place/Trouble in Tahiti when it was done at La Scala Milan, the Kennedy Center and the Vienna State Opera.
At one point in the mid-’90s, when I had less than a full year of regional opera work, I started auditioning for Equity musical theater jobs and was cast in the Los Angeles company of Disney’s Beauty and the Beast.
In opera circles, I was considered to be a “good actor.” But, to forgive myself (and others), I didn’t really know from good acting! In LA, my new colleagues and friends were actors, as opposed to singers and musicians, and I started seriously questioning my own (lack of) acting technique. After three years of doing Beauty –- in both LA and on the national tour -– I went back to New York, got into in a heavy-duty acting class, and started working in spoken theater, TV commercials (I have some very funny stories about that), and independent films, as well as continuing to sing in opera regionally.
My work in theater completely changed my perspective on stage work in opera and I found myself newly critical of much of the operatic acting I saw.
One day, my friend Paul Rowe (below) –- who teaches voice at the UW-Madison — was in New York hanging out at my apartment (this is very vivid in my mind) and he said something like, “David, you should put this together. You’re now an accomplished actor as well as a singer and you have a pretty unique perspective on how one affects the other.” Bingo!
Long story short: I started teaching Acting for Singers classes, doing small directing projects, and very soon got hired at Queens College to direct the Opera Studio. Almost immediately, this transition from performing to teaching just felt right.
I was hired as an Adjunct Lecturer at Queens with only a bachelor’s degree, and decided that I should probably have at least a master’s. So I enrolled in a terrific M.A. L.S. (Master of Arts in Liberal Studies) program at a de-centralized SUNY school, Empire State College. The M.A.L.S. was probably one of the most difficult things I’ve ever done. It is a self-designed, inter-disciplinary research degree in which the candidates have to articulate their areas of academic inquiry and pursue them by creating individual courses and working with tutors. Over 2 ½ years, I wrote about 300 pages of material focused on operatic acting and production, research that I still regularly call upon in my teaching.
What are my principal influences? I’d say that my principal acting teacher, Caymichael Patten, is a big one. Cay’s a terrific, tough teacher who tells it like she sees it. She has an uncanny knack for “being inside your head –with you.” I learned a huge amount from her and, in many ways, have modeled my teaching on Cay’s. I also have a number of friends – all opera directors working in academia as well as professionally, who are on the same page as I am as far as operatic acting training. They’ve been big influences too -– Stephen Wadsworth (below, who teaches at the Juilliard School) and Robin Guarino, to name just a couple.
As for the future, who knows? I’ve actually never been one to have a detailed life plan. I’ve been very fortunate that opportunities have come my way and I’ve just followed my nose. I do know one thing -– that my passion for directing and teaching seems to be growing (if that’s even possible) and that I very much enjoy working in a university environment.
As an East Coast native, how do you like the Midwest, Madison and the especially the UW-Madison?
I’ve spent plenty of time in the Midwest, mostly working. So I “get” the Midwest and I’m comfortable here. I’m finding what “they say” about Madison to be true -– that it’s a pretty unique place within the Midwest — culturally, politically, intellectually.
I think these are things that make people who are kind of East Coast-centric, like myself, feel more at home, when “home” means lots of intellectual and artistic stimulation. What’s not to like about a city where everyone reads the New York Times and The New Yorker magazine and goes to the Madison Symphony Orchestra!
Why did you choose “Albert Herring” by Benjamin Britten (below top) to do this semester and “The Magic Flute” by Mozart (below bottom) to do second semester? Have you staged them before? What would you like audience members here to know about your productions of them?
I make repertoire decisions based on a variety of factors. This year, we needed to do a piece with small orchestral forces in the fall and a full orchestra show in the spring.
I also like to do shows that involve a good number of students. Both the Britten and the Mozart fit those descriptions.
Also, the “who do we have at school” factor is big. We need to do operas that we can cast well from the student population.
And, most importantly, I consider the educational value of various shows. Albert Herring is not only a great piece of music and theater, but there’s so much that the students learn from working on it. The roles are difficult, both vocally and musically. And since it’s a big ensemble show, students are challenged to develop their ensemble singing and acting skills. So far, I’m very pleased with the results.
I’ve directed The Magic Flute before. We’re going to do a version of a production I did some years ago that locates the drama vaguely in a South Asian environment. Flute, for all of its brilliance, is kind of a dramaturgical mess. Who are the truly good and bad guys/gals? Where do we start and where do we end up and what do each of the characters learn for having gone on the journey?
My take on the story very indirectly alludes to a conflict between East (Sarastro) and West (Queen of the Night), and attempts to examine the two opposing forces on the most basic, human level – even if they are iconic figures. Why makes the Queen tick? Why did Sarastro “steal” her daughter and why is he “holding her captive?” These are the questions that intrigue me.
Was there an Aha! Moment – a work or performer, a concert or recording – that made you realize that you wanted to have a professional life in music and specifically in opera?
My Aha! moment? OK, you’re going to think I’m a nerd. As a high school senior, I took a philosophy elective in which I was reading people like Schopenhauer and Nietzsche. At the time, I was obsessed with an LP called “The Genius of Puccini” -– essentially excerpts from operas by Puccini (below) –- which I would play over and over again in my room. I recall going into my parents’ room one night, with record blaring in the background, and ranting on about what I was reading and how it described exactly what filled me up like nothing else. (Cue the big ensemble from the first act of Turandot). From that moment, it was all downhill!
Is there anything else you would like to add or say?
I’d just like to encourage people to come to both University Opera productions. We’ve got a terrific cast for Albert Herring, not to mention an incredibly talented and articulate young conductor in Kyle Knox (below)– Kyle is truly someone to keep your eye on.
We’ve been having so much fun during rehearsals – laughing a lot! I firmly believe that spirit transfers across the proverbial footlights.
If any of your readers are hesitant (perhaps because they tend to respond to 19th century Romantic pieces and might be reticent to go to an opera with which they’re not familiar), I can confidently say that Albert Herring is a very accessible piece –– extremely entertaining and, at times, quite moving. The physical production is coming along –- all in all, I’m very excited about the show.
ALERT: Today at 2:30 p.m. in Overture Hall is the final performance of this season’s second concert by the Madison Symphony Orchestra under the baton of John DeMain. Pianist Olga Kern (below) is the soloist in Sergei Rachmaninoff‘s Piano Concerto No. 1 in F-sharp minor. Other music includes the Suite from the ballet “Swan Lake” by Peter Tchaikovsky and the Symphony No. 6 by Dmitri Shostakovich. For information about tickets, the artists and the program, visit:
Here are reviews of Friday night’s opening night performance:
By John W. Barker of Isthmus:
By Jess Courtier for The Capital Times:
And by Greg Hettmansberger, who writes the Classically Speaking blog for Madison Magazine:
By Jacob Stockinger
The much admired but elusive, eccentric and enigmatic Russian pianist Grigory Sokolov (below) has signed up with Deutsche Grammophon and will release a live recital –- he refuses to make studio recordings – in January.
For the news plus an interesting interview and profile of Sokolov, here is a link to a story in the British magazine Gramophone. It includes some of his quirks such as not playing pianos older than five years and his specific repertoire favorites:
Italian conductor Daniele Gatti is named the new maestro of the famed Dutch Concertgebouw Orchestra in Amsterdam. He starts in 2016 and sounds like he might be quite a bit of a contrast to past Concertgebouw conductors such as Bernard Haitink. Here is a story:
The Atlanta Symphony Orchestra continues its lockout over labor disputes, thereby postponing or canceling the opening of the new season. But last weekend ASO music director Robert Spano conducted the Milwaukee Symphony Orchestra in the German Requiem of Johannes Brahms.
Here is a link to a story on NPR (National Public Radio) to yet another turmoil in the world of American symphony orchestras:
REMINDER: If you can’t or won’t go hear superstar cellist Yo-Yo Ma and pianist Kathryn Stott in music by Johannes Brahms, Igor Stravinsky, Astor Piazzolla and others at their SOLD–OUT recital at the Wisconsin Union Theater TONIGHT, you can stream it LIVE and for FREE by going to this website at 8 p.m.:
By Jacob Stockinger
Talk about mixing politics and art!
And especially at a time so close to a contemporary conflict — Hamas, Gaza and Israel — that reflects the continuing tensions, frictions and bloodshed depicted in the original art decades ago.
No wonder, then, that the Metropolitan Opera has been protested and has received death threats over the new production of American composer John Adams’ controversial reality-based opera about Israel and Palestinian terrorists called “The Death of Klinghoffer.”
Due to pressure from the pro-Israeli lobby and some Jewish groups, the opera was already canceled as part of this season’s “Live From The Met in HD” telecasts.
Both detractors and defenders of the opera are deeply displeased with the Met.
But the actual production — which has gone on without incident in other cities at other times — continues in rehearsal as it heads to its opening this Monday night. (At bottom is a YouTube video with the director, conductor and composer of “The Death of Klinghoffer.”)
And here is another story from The Los Angeles Times:
And finally here is a terrific and well-balanced, well-sourced summary story, which includes an interview with librettist Alice Goodman (below) — who converted from Judaism to Christianity and is now an Episcopalian priest in England — about the opera and the protests. It was broadcast Friday on NPR (National Public Radio):
What do you think about the opera “The Death of Klinghoffer”?
Would you be a defender?
Or a detractor and protester?
The Ear wants to hear.
REMINDER: This Saturday night, superstar cellist Yo-Yo Ma (below right) will make his seventh appearance at the Wisconsin Union Theater at 8 p.m. in Shannon Hall. His recital features works by Igor Stravinsky, Johannes Brahms, Olivier Messiaen, Heitor Villa-Lobos, Astor Piazzolla and others with piano accompanist Kathryn Stott (below left). The event is SOLD OUT to the general public, although some student tickets may remain. For more information, here is a link:
BUT: If you didn’t get a ticket to the sold-out Yo-Yo Ma and Kathryn Stott concert Saturday night, October 18, in Shannon Hall in the Wisconsin Union Theater, don’t fret. The concert will be webcast if you go to the page above at 8 p.m.
By Jacob Stockinger
The Ear loves the sound of the viola, with its mellow mediating between the higher violin and the lower cello.
And he will have the chance to hear it in some unusual repertoire this coming Wednesday night, Oct. 22, when the Madison-born violist Vicki Powell (below top) returns to solo with the Middleton Community Orchestra (below bottom, in a photo by William Ballhorn) under conductor Steve Kurr.
The MCO opens its fifth season at 7:30 p.m. on Wednesday in the Middleton Performing Arts Center, 2100 Bristol Street, that is attached to Middleton High School. Tickets are $10 general admission; students get in for FREE. Advance tickets can be bought at the Willy Street Coop West.
The program includes the Overture to “William Tell” (which contains the brass fanfare theme to TV show “The Lone Ranger”) by Gioachino Rossini; the Fantasy for Viola and Orchestra by Johann Nepomuk Hummel; the Romance for Viola and Orchestra by Max Bruch; and the Symphony No. 8 by Antonin Dvorak.
For more information about the amateur but very accomplished ensemble, including how to join it and support it and find out what the coming season will bring, call (608) 212-8690 or visit: http://middletoncommunityorchestra.org
Violist Vicki Powell (below) recently gave an email interview to The Ear:
Could you briefly introduce yourself to readers and tell us a bit about yourself, including when you started music lessons, your early preparation and your life in Madison as well as your personal interests (hobbies, etc.) and professional career plans?
Greetings from New York City, the city that never sleeps and that is certainly never lacking in cultural events. I am a native Wisconsinite, raised in Madison, but for the past eight years I have been living on the East Coast.
After earning my Bachelor’s of Music at the Curtis Institute, where I studied with Roberto Diaz and Misha Amory, I moved to New York City to pursue my Master’s at the Juilliard School, and have lived in the city ever since.
My life consists of a potpourri of musical activities, from performing with the Jupiter Chamber Players, to playing with the New York Philharmonic, to collaborating with ballet companies alongside my new music group Ensemble39. I’ve traveled across the globe and collaborated with many incredible musicians, but my most fond memories are from my time back home, the formative years of my musical being.
I began taking violin lessons with Maria Rosa Germain at the age of four after hearing my brother, Derek, play the violin. I have such a vivid memory of the moment when I decided that I wanted to play the violin: It was dusk, and I was curled up on the green shag carpet of our basement floor, the last bits of daylight leaking in through the windows above. Derek was practicing the Waltz by Johannes Brahms from Suzuki, Book Two a few feet away.
I was exhausted after an afternoon of monkeying around on the jungle gym, and the waltz was the most soothing lullaby to my ears, transporting me to that surreal state of half sleep where time seems to stand still. I felt so peaceful, so warm, so content, the effects combining to make the moment so magical that the only logical thing to me upon waking was that I would some day be able to recapture that sensation and make music as beautiful.
My main violin studies were with Eugene Purdue (below, in a photo by Thomas C. Stringfellow), of the famed “Buddy” Conservatory of Music, with whom I studied for nine years. Mr. Purdue also introduced me to the wonderful world of chamber music, taking on the role of devoted coach to my string quartet, the Élève Arte (wannabes of the Pro Arte String Quartet).
The challenge to my string quartet was that there were three of us violinists, and no violist to speak of, so we took it upon ourselves to switch around our roles in order for us each to have a turn at playing the viola. As the years rolled on, it became clear to us that in order to compete at competitions, it was not practical for us to be lugging so many instruments onstage (there exists some comical video footage of this phenomenon).
At this point, I decided that my role in life was not that of diva (ahem, First Violin). Although I find the role of Second Violin extremely vital to the ensemble, challenging, thrilling and full of guts, I was drawn to the uniquely dark tone of the Viola.
To me the viola (below) represented the real meat and soul of the string quartet, and the tone of the viola was the perfect vehicle for expressing all of the rage, pain and suffering that I felt (Bela Bartok’s works were the perfect outlet for those emotions).
Most violists also play the violin. What attracted you to the viola? What would you like the public to know about the viola, which seems less well-known and more mysterious than, say, the violin or the cello?
Having now overcome my teenage angst, I still adore the viola and its role in music -– to be entrusted with the core of harmony, the real color within every texture, gives me such a sense of quiet power with which I can subtly control the direction of a phrase and the shape of an entire work.
Mr. Purdue once shared a piece of wisdom relating to his wife, Sally Chisholm (below), who teaches at the UW-Madison School of Music and performs with the Pro Arte Quartet. She was my first formal viola teacher and the person responsible for expanding my creative horizon beyond the physical realm of music-making.
Those words of wisdom were: “People feel at ease when playing with Sally, and they easily credit themselves for sounding so magnificent. However, it is Sally who, through her playing, acts as such a strong guiding force that the flow of musical intention is undeniable.” That is a powerful statement that has stayed with me to this day, and which I strive to achieve every single day.
Was there an Aha! Moment – an individual piece or composer or performance or recording, when you knew you wanted to pursue music as a career and be a violist?
I can’t imagine pursuing a life in anything unrelated to music and the arts, but it was not always that way.
As a teenager, I refused even to dream of becoming a musician –- I’m a very realistic person, and the idea of fighting my way through a world that is so competitive and which is not quite so financially lucrative was not one that appealed to my sensibilities. During my early high school years, I focused my attentions on math and the sciences, preparing myself for a life as a dentist or pathologist.
Then my “Aha!” moment came with my 16th birthday when I gave my debut as a solo violist on the nationally syndicated radio show From the Top on NPR (National Public Radio). It was the first time I had ever played for an audience to which I had no connection — the show was taped in Dallas, Texas — and I suppose the whirlwind story behind my debut as a violist sans string quartet helped to convince me that a life in music would never be boring.
I had such a blast meeting new people, and the thrill that came with being onstage was unforgettable that from that point forward I was hooked.
How do you think classical music can attract more young people?
We so often hear that classical music is dying, a sentiment with which I strongly disagree. Times have changed, and the world has turned to an era of short attention spans and an addiction to social media. I myself am victim to a few of these [shortcomings], but because of them, I am also aware of the enormous amount of interest in the classical world.
I believe that in order to attract more young (and old) fans of classical music, we must be conscious of providing inviting points of entry.
I am very fortunate to be privy to several hip events around New York City that target young people looking to be cultured and have a great time doing so. A few examples are: Groupmuse, Wine by the Glass, NYC House Concerts, the Le Poisson Rouge (below) nightclub. They all introduce music in a social setting where it’s cool to explore, and where you don’t feel constrained by rules of concert-watching etiquette.
What can you tell us about Hummel’s Fantasy for Viola and Orchestra?
Hummel (below) was a contemporary of Mozart and Haydn, both of whom played the role of mentor for their younger counterpart. Hummel is most well-known for his fantasies, which are said to be “the peak and keystone of virtuosic performance.” The Fantasy for Viola and Orchestra takes on different operatic themes, three of which appear in the version that I will be performing with the Middleton Community Orchestra. (You can hear the Hummel Fantasy for Viola and Orchestra performed in a YouTube video at the bottom.)
What can you tell us about the Bruch Romance for Viola and Orchestra
The Romance by Max Bruch (below top) holds a very special place in my heart. It was the very last work I performed — with the Wisconsin Chamber Orchestra (below) — before departing Madison to begin my studies at the Curtis Institute of Music eight years ago! The lush, tonal soundscape will draw in any sucker for Romantic music.
Is there something else you would like to say or add?
I’m very much looking forward to performing at home again, with people that are like family to me. Mindy Taranto, cofounder of the Middleton Community Orchestra, has been such a great friend and supporter to me throughout the years, and I am thrilled to finally have the opportunity to collaborate with her and the orchestra.
By Jacob Stockinger
A good friend and blog fan writes:
The highly praised production features maestro John DeMain (below, in a photo by Prasad) , the longtime music director and conductor of the Madison Symphony Orchestra, which performs an all-Russian program this weekend. DeMain is also the artistic director of the Madison Opera. He frequently guest conducts around the nation and the world.
DeMain has conducted, to large audiences and critical acclaim, excerpts of “Porgy and Bess” here in Madison. It has long been a specialty of his. In fact, DeMain won a Grammy for his all-black cast in New York City in 1976. He also conducted a production that was broadcast on PBS several years ago by the now–defunct City Opera of New York.
The San Francisco Opera production stars two highly acclaimed singers: bass-baritone Eric Owens as Porgy and soprano Laquita Mitchell as Bess.
But don’t look for a local production of the entire opera.
“When you see the big cast,” this fan explains, “it becomes very clear why we in Madison and the Madison Opera cannot do “Porgy and Bess” in Madison. It is just too big.”
Here are the specifics: “Porgy and Bess” will be broadcast on Friday night at 8-11 p.m. on The Wisconsin Channel (Cable Channel 972). It will be broadcast again on Sunday at 4-7 p.m. on the flagship WPT channel (Channel 21, Cable Channel 600 in HD).
The Ear thinks that it is too bad that the PBS broadcasts won’t be shown on a big screen in some cinema, like the “Met Live in HD” series. It would be fun to see the production in a group.
Here is a link to a preview from Wisconsin Public Television:
Here is a link to a review from a SFGATE website for San Francisco:
And here are links to the San Francisco Opera website that also includes a blog that talks about “Porgy and Bess” and also has complete cast information:
Finally, to whet your appetite, here is a YouTube video with excerpts of favorite moments from the San Francisco Opera production of “Porgy and Bess”:
ALERT: This week’s FREE Friday Musicale, to be held from 12:15 to 1 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, will feature “Triple Play” — trumpeter David Miller, cellist Amy Harr and pianist Jane Peckham in music of Eric Ewazon, William Schmidt, and Johannes Brahms. The concert is in the historic Landmark Auditorium.
By Jacob Stockinger
The early music and period instrument group Wisconsin Baroque Ensemble will perform a concert of vocal and instrumental chamber music of largely the 16th and 17th centuries.
PLEASE NOTE: The concert will be performed at 3 p.m. on this Sunday, October 19, at Saint Andrew’s Episcopal Church — That is a change of venue from the usual Gates of Heaven Synagogue in James Madison Park. The church is located at 1833 Regent Street, on Madison’s near west side across from Randall Elementary School.
Performers are UW-Madison professor soprano Mimmi Fulmer; mezzo-soprano Consuelo Sañudo; recorder and dulcian players Theresa Koenig; traverse, recorder and harpsichord player Monica Steger; viola da gamba and cornetto players Eric Miller; baroque cello player Anton TenWolde; and organist and harpsichord player Max Yount.
Works by Scarani, Heinrich Schuetz, d’India, J.S. Bach, Bertoli, and Simpson will be featured.
Tickets at the door only: $20 for the general public, $10 for students.
Here is the complete program: Prelude for Solo Viola da gamba by Monsieur de Sainte-Colombe (ca. 1640–1700); “Ancor che col partire” from “French Motets, Madrigals and Songs” by Giovanniu Bassano (ca. 1561-1617) viola da gamba solo; “Music for Two Voices” (1615) by Sigusmondo d’India (ca. 1582-1629); Sonata for Dulcian and Basso continuo by Giovanni Antonio Bertoli (1598-1645); Sonata XII for Traverse and basso continuo by Johan Helmich Roman (1694-1758); INTERMISSION; Sonata decima quarta a tre, duoi canti e basso by Giuseppe Scarani (1628–1641); Two Divisions for the Practice of Learners by Christopher Simpson (1606–1669); “Komm, du süsse Todesstunde” (Come, Sweet Hour of Death, the tenor aria from which can be heard at bottom in a YouTube video), from Cantata 161 by Johann Sebastian Bach (1685-1750); “Tugend ist der beste Freund,” SWV 442, by Heinrich Schütz (1585-1672).