ALERT: The 40th Anniversary Season Finale Concert by the UW-Madison‘s Wisconsin Brass Quintet will take place Friday night at 8 p.m. in Mills Hall. Admission is FREE and open to the public. (Members of the Wisconsin Brass Quintet, shown below in a photo by Katrin Talbot, are, from left, Jessica Jensen on trumpet, Daniel Grabois on horn, John Stevens on tuba, John Aley on trumpet, and Mark Hetzler on trombone.) The program is a serious and challenging one. As trombonist Mark Hetzler told the Wisconsin State Journal, “This [brass] music, while it is virtuosic and exciting, is also quite intellectual and cerebral. Imagine modern music for string quartet. This kind of music branches into those deeper places like that sort of music would.” On the program are: “Gravikord,” written for the quintet’s 40th birthday by UW horn professor Daniel Grabois; “Magnum Mysterium,” by local celebrity composer John Harbison; “Suite of Madrigals,” by Carlo Gesualdo, arranged for brass quintet by Mark Hetzler; and “Adam’s Rib,” by James MacMillan. And here is another first: If you cannot attend in person, consider watching it LIVE on your computer via streaming! It starts at 8 p.m. CDT; subtract or add hours as your time zone requires.
Read a story by Gayle Worland in last Sunday’s Wisconsin State Journal:
By Jacob Stockinger
William Farlow, the director of University Opera at the UW-Madison, has done it again: He is offering listeners the chance to see and hear a rarely staged opera.
The UW Symphony Orchestra will accompany the student singers and be conducted by James Smith.
The opera will be sung in Italian with English surtitles by Christine Seitz.
The opera, according to director Farlow, “is a vibrant, youthful love story.” The opera takes place in the idyllic pastoral setting of Alsace-Lorraine, and Farlow has elected to set it in 1891, the year the opera premiered.
Three performances will be given in Music Hall (below): Friday night at 7:30 p.m.; Sunday afternoon at 3 p.m.; and Tuesday night at 7:30 p.m.
Farlow’s casts include undergraduate and graduate students from the University of Wisconsin-Madison School of Music.
Most roles are multiple cast for this opera. The title role of wealthy landowner Fritz will be shared by Alex Gmeinder (March 15 and 19) and Aldo Perelli (March 17). Cassie Glaeser (15) and Shannon Prickett (17 and 19) will sing opposite them as Suzel, the peasant girl Fritz comes to love. The rabbi David, Fritz’s matchmaking friend, will be sung by Jordan Wilson at all three performances. Bethany Hickman (15) and Lindsay Metzger (17 and 19) will share the role of Beppe, a gypsy. Erik Larson in the role of Hanezò, Josh Sanders as Federico, and Catie Leigh Laszewski as Catarina complete the cast. (Below is a photo by Brent nicastro of Shannon Prickett, Also Perelli and Lindsay Metzger.)
Production staff includes costume designers Sydney Krieger and Hyewon Park, technical director/set designer Greg Silver, lighting designer Steven M. Peterson, scenic artist/set designer Liz Rathke, guest vocal coach Thomas Kasdorf and chorus master Susan Goeres. This production is made possible by a gift from an anonymous donor, as well as additional funding from Opera Props.
Single tickets are $22 general, $18 senior/student and $10 UW-Madison students. Tickets can be ordered at www.uniontheater.wisc.edu/boxoffice or by calling (608) 265-ARTS.
Director William Farlow recently gave an email Q&A to The Ear:
Can you briefly tell us something about the origin and story of “L’amico Fritz” and why it is so rarely performed or heard?
It is based on the novel “L’ami Fritz” by Emile Erkmann and Alexandre Chatrian. I believe that most companies are reluctant to produce the opera because they feel, wrongly, that is must be coupled with another short opera.
Why did you pick it for the University Opera
For the same reason I pick all my operas at UW –- to give my singers the best roles suited to their individual voices.
What do you think of Mascagni as a composer? How do you compare this music and libretto to his much more famous opera “Cavalleria rusticana”?
Mascagni is an excellent composer. As much as I love “Cavalleria,” “Fritz” shows many other dimensions of his talent -– lyricism and inventive orchestration.
Is the opera’s libretto metaphorically relevant to the world situation today? Or is it just a simple rustic love story?
Yes, a simple love story, but very relevant. It concerns our response to feeling love for another person.
What else would you like to say or have the public know about either the opera or this production?
Such a lovely, sadly neglected piece – with so much gorgeous music! (Listen to the YouTube video of the famous “Cherry Duet” with Luciano Pavarotti and Renee Fleming at the bottom.)