1) In case you don’t already know them, here are the results of last night’s Final Forte: First Prize went to violinist Julian Rhee; Second Prize went to pianist Vivian Wilhelms; and Honorable Mentions went to harpist Maya Pierick and pianist Isabella Wu.
Here is a link to a complete story about the high school concerto competition:
2) This week’s FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison at 900 University Bay Drive, will feature soprano Consuelo Sanudo (below) and pianist Jeff Gibbens who will perform music by Henri Duparc, Claude Debussy, Arnold Schoenberg and Franz Schubert.
By Jacob Stockinger
It has really been a busy past couple of weeks, with so many concerts that The Ear couldn’t even preview all of them. So it’s time to catch up and offer some critical appraisals of what I heard.
Let me begin with some background.
The supremely gifted, articulate and critically acclaimed American pianist Jeremy Denk, who has performed two solo recitals in Madison for the Wisconsin Union Theater, is fond of saying the he strives to make music sound as radical today as it was when it was first composed and first heard.
There is wisdom in that approach, which balances out the other great movement of the 20th-century that opened up our ears to another kind of difference. I am referring to the use of period instruments and historically informed performance practices to recapture how the music originally sounded.
But lately I had two examples that showed me just how exciting such an established “museum” composer as Wolfgang Amadeus Mozart (below) can be if made to sound and look contemporary and radical to our modern ears without going backwards.
The two examples I have in mind are from recent performances of late works, when Mozart was in full command of his art: The opera “The Magic Flute” as presented by University Opera under the guest stage director David Ronis, who hails from New York City and teaches at the Aaron Copland School of Music at Queens College and the City University of New York as well as at Hofstra University; and the well-known penultimate Symphony No. 40 in G Minor, K. 550, as performed by the Wisconsin Chamber Orchestra under Andrew Sewell.
THE MAGIC FLUTE
The award-winning David Ronis did several things to The Magic Flute that The Ear really liked and found effective.
He made some judicious cuts in an otherwise overlong work.
He used surtitles for the German text.
He used spoken contemporary vernacular English for the dialogue. That not only made the opera understandable, but also lent drive to push it along and give it momentum as well as contemporaneity.
Most of all, Ronis also used cinematic Bollywood-like dance gestures and choreography (below, in photos by Michael R. Anderson) – along with the bright fusion of East-West hybrid costumes and sets that added such movement and energy, color and humor, to the score.
I mean, don’t we see enough of opera singers just standing still, arms outstretched, with only their mouths moving?
Of course, some people and critics did not like the changes, and found them downright treasonous and disrespectful or just plain wrong.
Silly them. The Ear says the updating worked just fine. Great art is there to experiment with, not just depict. Art lives in time. It is why director Peter Sellars is such a forceful and creative influence in the world of classical music. If only classical music could be less classical and more musical! Entertainment is nothing to be ashamed of. It is, after all, why the performing arts exist.
I also think the changes are one reason why there were four sold-out performances -– not just the usual three -– and why I saw so many young people in the audience. It was, in short, a fun production.
To my eyes and ears, this production — coupled with his production of Benjamin Britten‘s “Albert Herring” in the fall — showed what a smart move it would be to hire David Ronis (below, in a photo by Luke DeLalio) full-time to lead the University Opera. He clearly knows how to get the best out of students, has a very personal artistic vision and is willing to shake things up – which both we and The Great Artists such as Mozart can use.
THE BIG G-MINOR SYMPHONY
As for the Mozart symphony – the big late one in G minor not the little early one — it was just part of an outstanding concert turned in by Sewell and the Wisconsin Chamber Orchestra with the impressive guest cellist Amit Peled (below) and his unbelievably resonant cello that belonged to and was played by Pablo Casals. Together, man and instrument justifiably brought down the house.
But other parts of the program, which included works by Frank Bridge and David Popper, should not be overlooked or underestimated.
Conductor Andrew Sewell (below) has long demonstrated his ability to work with such Classical-era composers as Franz Joseph Haydn and Mozart as well as Franz Schubert and Ludwig van Beethoven. And here, in a very familiar work, you could hear why.
While Mozart was one of music’s great melodists, Sewell’s interpretation emphasized tempo, rhythm and repetitive motifs even as he brought out the various voices, counterpoint and melodic lines.
This Mozart had drive and pep. (You can hear the familiar first movement, with an interesting abstract graph profile, in a YouTube video at the bottom.)
In fact, the third Minuet movement sounded downright modern – a kind of percussive precursor to minimalism.
This was exciting Mozart, far from the genteel and primly elegant and blandly pleasant Mozart that The Ear refers to as Music-Box Mozart.
This playing by the Wisconsin Chamber Orchestra (below) was precise and dramatic. It made you sit up and take notice. It engaged you.
It also showed why Mozart was such an exception to his age –- why his contemporaries and those who followed him so revered his talent and music. He was a radical in his day but we often overlook how he pushed the boundaries of music closer to modernism.
So The Ear offers shout-outs and hearty thanks to both David Ronis and Andrew Sewell for helping us to hear Mozart once again as a contemporary — not just a statically beautiful blast from the past.
Both cases proved to be an exciting and unforgettable experience. The Ear hopes we are in for more of them, particularly in Mozart’s symphonies and piano concertos.
Did you hear the opera and/or the symphony?
What did you think of the approaches to Mozart?
The Ear wants to hear.