The Well-Tempered Ear
Classical music: Renowned organist Hector Olivera will play classics and also improvise spontaneously in Overture Hall on Tuesday night
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By Jacob Stockinger
At 7:30 p.m. on this Tuesday night, Feb. 11, in Overture Hall, the renowned Argentinian organist and composer Hector Olivera (below) will make his local debut on the Overture Concert Organ Series sponsored by the Madison Symphony Orchestra.
Olivera will perform on the Klais Overture Concert Organ (below)
All tickets are $20.
The program includes works by: Johann Sebastian Bach; Cesar Franck; Wolfgang Amadeus Mozart; Astor Piazzolla; Louis Vierne; Marco Enrico Bossi; and William Ralph Driffill.
For the specific works on the program, plus information about buying tickets, biographical background and reviews of his past performances, go to: https://madisonsymphony.org/event/organ-hector-olivera/
Says Greg Zelek (below), the MSO organist and Juilliard School graduate who also organizes the organ concert series:
“Known as one of the most exciting organists of the 20th century, international concert organist Hector Olivera will entertain and exhilarate the audience with an unforgettable performance.
“Born in Buenos Aires, Argentina, Mr. Olivera has performed all over the world and has had audiences leaping to their feet with applause for years.
“His debut performance at Overture Hall will feature organ classics like Vierne’s Carillon de Westminster, as well as transcriptions like “Oblivion” by another Argentine native, Astor Piazzolla.
“He will close the concert with an improvisation on a submitted theme that is sure to enthrall and amaze everyone in attendance.”
Want proof or a preview?
You can hear Olivera improvise on a traditional Chinese folk song, first sung to him, during a concert in Shenzhin, China, in the YouTube video below:
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Classical music: “Into the Woods” proved a complete, first-rate theatrical experience
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
By Jacob Stockinger
Larry Wells – the very experienced Opera Guy for The Well-Tempered Ear blog – attended two performances of “Into the Woods” at the Wisconsin Union Theater, and filed this review. (Photos are by Beau Meyer for the UW-Madison Department of Theatre and Drama.)
By Larry Wells
The University Theatre and University Opera’s recent joint production of “Into the Woods” was a feast for fans of Stephen Sondheim (below). It was a complete theatrical experience with excellent singing, a nuanced orchestral accompaniment, skilled acting and enchanting staging.
The nearly three-hour work is an amalgamation of several well-known fairy tales exploring themes such as parent-child relationships, loss of innocence, self-discovery, the consequences of wishes being fulfilled, and death – but all in an amusing, literate, fast-paced kaleidoscope of witty dialogue, catchy music and sophisticated lyrics.
The production employed an attractive, ever-changing set, designed by John Drescher, that was vaguely reminiscent of Maurice Sendak.
Stage director David Ronis (below, in a photo by Luke DeLalio) utilized the large cast and what had to be an equally large number of backstage crew members in a captivating succession of ensemble pieces and solo numbers. I was never aware of the passing of time. Not looking at my watch is my acid test of a production’s success.
Among the many standout performances, Bryanna Plaisir (below) as the Witch was comical in her delivery and quite amazing in the physicality of her performance. There were a number of times when she flew, and each time I was taken by surprise at her effortlessness. Her initial song, accompanied mostly by percussion, was mesmerizing.
There were two roles that were double cast: Elisheva Pront and Miranda Kettlewell (below) as the Cinderellas; and Meghan Stecker and Zoe Bockhorst as the two Little Red Riding Hoods.
Both Pront and Kettlewell possess excellent voices.
Stecker was the more girlish of the two Red Riding Hoods, whereas Bockhorst (below left) portrayed a slightly more canny character. Both were very funny in their encounter with Cobi Tappa’s Wolf (below right).
Tappa is a physical actor whose tall lankiness conveyed the Wolf’s lupine nature flawlessly. He also portrayed the Steward, and I was completely captivated by his performance, as was the appreciative audience.
Joshua Kelly (below) was the narrator and also played the baker’s father. His was a professional quality performance from beginning to end – enunciating so clearly that he was completely understandable throughout.
Jack was played by Christian Michael Brenny. His portrayal of a simple-minded boy was touching, and his singing was outstanding.
Emily Vandenberg (below left) as the wife of the baker (played by Michael Kelley, below right) was another outstanding performer – an excellent comic actress and an accomplished vocalist.
Mention must also be made of Rapunzel and Cinderella’s princes, Tanner Zocher and Jacob Eliot Elfner. Their two duets, “Agony” and “Agony Reprise,” were enthusiastically received by the audience not only for their delivery but also for such lyrics as “…you know nothing of madness ‘til you’re climbing her hair…”.
Sondheim’s way with words continues to amaze me. In describing a decrepit cow, Jack’s mother gets to sing “…while her withers wither with her…”. The Wolf gets to sing the line “…there’s no possible way to describe what you feel when you’re talking to your meal…”
Chad Hutchinson (below) conducted the orchestra in a finely shaded performance – never overpowering and always supportive.
There were many other excellent performances and memorable moments. Suffice it to say that altogether cast, crew, artistic and production staff created a show that I enjoyed on two consecutive evenings. In fact I was completely entranced both times.
Postscript: The first evening I sat in front of a person who coughed more or less continually the entire first act. Mercifully she left at the intermission. Next to me was a woman who alternated between audibly clearing her throat and blowing her nose — when she wasn’t applying moisturizer to her hands — throughout the entire show. Stay home if you’re sick. And remember that you are not at home watching your television. You are in a theater.
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