The Well-Tempered Ear

Classical music: Madison Opera’s festive and fun 16th annual Opera in the Park is this Saturday night

July 17, 2017
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By Jacob Stockinger

It serves as a preview of the indoor winter opera season.

But one of the summer’s major events in Madison is primarily a fun time unto itself — with outdoors picnicking and socializing, and lots of outdoor music making, some of it with the audience helping to “conduct” with glow-in-the-dark light sticks.

The Madison Opera’s annual FREE Opera in the Park concert will take place this coming Saturday night starting at 8 p.m. in Garner Park, on Madison’s west side near the junction of Mineral Point Road and Rosa Road. (You can get a taste of the event in the YouTube video from 2010 at the bottom.)

The park opens at 7 a.m. Blankets, chairs, food and beverages are allowed. The rain date is the next day — Sunday, July 23.

Here is what Kathryn Smith (below, in a photo by James Gill), the general director of Madison Opera, has to say about the event:

“Opera in the Park has become a Madison summer tradition since the first concert in 2002. When the weather is good, we have over 15,000 people in the audience, which is the highest per-capita attendance of any such opera event in the U.S.

“I think there are many reasons for its success, from the beautiful music to the beautiful park, and the fact that our community enjoys spending time together outside in the summer.

“We don’t make massive changes each year, but it is of course a new set of singers and a new program, so it’s a fresh musical experience.

“This year, for example, we have two arias from zarzuelas or traditional Spanish musical comedies,, including the zarzuela version of “The Barber of Seville” – which will be complemented by an aria from Rossini’s “The Barber of Seville,” naturally.

“Audience members might also choose to vary the contents of their picnic basket each year – perhaps with Bizet’s “Carmen” and “The Barber of Seville” on the concert, they might want to include Spanish foods.

“I try to invite principal artists from our upcoming season when possible, so that audiences can get to know singers they can then hear in full roles later in the year.

“This summer our singers include soprano Cecilia Violetta López (below), who will be in “Carmen” in November;

tenor David Walton (below), who will be in Mozart’s “The Abduction from the Seraglio” in February;

and mezzo-soprano Adriana Zabala (below), who will be in Daniel Catan‘s “Florencia en el Amazonas” in April.

“Baritone Will Liverman (below) is not in the upcoming season, but he has had major success here as “The Barber of Seville” and in last season’s “Charlie Parker’s Yardbird,” so I’m delighted he is able to join us this summer in the park.

“Putting on Opera in the Park is a complex production, from renting the generators and the stage to coordinating with the City Parks Department and the Madison Police.

Full Compass Systems and Bag End donate the sound system and their services to run it every year, and there are hundreds of people involved, from our production team to our volunteers, from the IATSE (International Alliance of Theatrical Stage Employees) stage crew to the Madison Opera Chorus and Madison Symphony Orchestra.

“I often say that Opera in the Park is the most important thing Madison Opera does, and I think everyone involved believes that as well.

Now if only the weather will cooperate …”

For more information about Opera in the Park, including the times; the complete concert program that includes selections from Leonard Bernstein’s “West Side Story” on the occasion of the composer’s centennial; detailed biographies of the soloists and the guest conductor Joseph Mechavich (below); reservations for the supporters’ Prelude Dinner at 6:30 p.m.; rules about reserving seating in the park; and how to become a volunteer, go to:

http://www.madisonopera.org/performances-2016-2017/park/


Classical music: Performances by this year’s seven Handel Aria Competition finalists are now on YouTube

July 6, 2017
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By Jacob Stockinger

Even if they change your opinion about who should have won what prize in this year’s fifth annual Handel Aria Competition, it’s too late.

That’s the thing about a competition: No second-guessing and no second chances — at least not this year.

But it’s not too late to enjoy the competition all over again

This past week, 14 performances by all seven finalists, who did two each, were posted on YouTube.

Here is the official announcement:

“The Handel Aria Competition is pleased to announce that first prize in the 5th annual competition, held on June 9 in Madison, Wisconsin, went to mezzo-soprano Nian Wang. Wang performed two fiery Handel arias, “Where Shall I Fly?” from Hercules and “Crude furie degl’ orridi abissi” from Serse (Xerxes).

Wang (below in a photo by Mary Gordon) is a New York-based mezzo-soprano originally from Nanjing, China. She graduated from the opera program at the Curtis Institute of Music, and in 2014 was selected as a San Francisco Opera Adler Fellow.

“Along with Wang, tenor Gene Stenger (below left, in a photo by David Peterson) won second prize and the audience favorite award, while mezzo-soprano Clara Osowski (below right) took third prize in the competition.

“Seven finalists (below), selected from a field of more than 100 singers, each sang two arias accompanied by the Madison Bach Musicians under the direction of Trevor Stephenson.

Finalists in the 2017 Handel Aria Competition are pictured below (top to bottom, left to right): Gene Stenger, Clara Osowski, Nicole Heinen, Brian Giebler, Nian Wang, Andrew Rader and Johanna Bronk.

UW-Madison baritone Paul Rowe, Craig Trompeter and Alessandra Visconti served as the professional judges for this year’s competition.

Every finalist received some votes for the hotly contested audience favorite prize.

The Handel Aria Competition was established in 2013 to encourage emerging singers to explore the operas and oratorios of George Frideric Handel. It is held annually in Mills Hall of the University of Wisconsin-Madison Mead Witter School of Music.

The competition, founded by Carol “Orange” and Dean Schroeder (below), was inspired by Mr. Schroeder’s passion for Handel’s operatic works.

Please note:  The arias by all seven finalists can now be seen on our YouTube channel. (As an example, winner Nina Wang‘s two arias are at the bottom.)

Bios of the winners and the other four finalists are on our web site.”


Classical music: Here are the winners of the fifth annual Handel Aria Competition

June 17, 2017
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By Jacob Stockinger

This posting should have appeared earlier, but The Ear regrets that other news, reviews and previews preempted it and apologizes for the tardiness.

In any case, in case you haven’t already heard, the fifth annual Handel Aria Competition took place a week ago Friday night, and was well attended.

The seven finalists were chosen from an international field of 107 applicants. For the third year in a row, they were accompanied by harpsichordist Trevor Stephenson, who conducted the Madison Bach Musicians.

In five years, the competition has certainly blossomed into a respected global event, and it shows all the signs of continuing to grow. The Ear is unaware of other competitions devoted to the prolific vocal music of George Frideric Handel, who is so often overshadowed by his Baroque contemporary Johann Sebastian Bach.

First prize went to mezzo-soprano Nian Wang (below center in the photo by David Peterson) from Nanjing, China; second prize and audience favorite to tenor Gene Stenger (below left) from New Haven, Connecticut; and third prize to mezzo-soprano Clara Osowski (below right) from Brooklyn Center, Minnesota.

The competition judges for this year were Paul Rowe, Craig Trompeter and Alessandra Visconti.

You can’t yet find an audio video clip of Wang’s performances on YouTube. But contestants from previous years are there, and no doubt soon there will be a YouTube video of Wang singing.

Here are more photos of Nian Wang performing and receiving the first prize flanked by other contestants and the founders of the competition, Orange and Dean Schroeder:

For more information about the winners, identities and biographies of the seven finalists (below), and the competition itself – including previous years and winners — go to:

https://handelariacompetition.com

and

https://handelariacompetition.com/2017-handelariacompetition-finalists/


Classical music: Bach, Beethoven and Brahms join beer and brats at the Wisconsin Union Theater’s new FREE Summer Serenades starting this Sunday afternoon at the Union Terrace

June 13, 2017
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By Jacob Stockinger

Spread the word but get your seat early!

This coming Sunday afternoon, beer and brats are about to mix with Bach, Beethoven and Brahms at Madison’s premier summer watering hole when the new FREE Summer Serenades begin at the landmark Union Terrace (below).

The Ear likes that combination a lot along with classical concerts that last only about an hour. No details on the programs yet, but hey — for an hour you can be a sport and chance it.

“Casual high-brow” increasingly seems the way to go, especially in Madison. And fittingly, a lot of the performers chosen by the Wisconsin Union Theater have ties to the UW-Madison as professors, graduates and students.

All hour-long concerts are FREE and take place on Sundays at 5 p.m., except on July 2, which will begin at 5:30 p.m.

The Willy Street Chamber Players (below)
Sunday, June 18, 2017

Named 2016 Musicians of the Year by The Well-Tempered Ear Blog, their programming is adventurous, combining beloved classics and new music from contemporary composers.

Stephanie Jutt, flute (below top) and Thomas Kasdorf, piano (below bottom)

Sunday, July 2, 2017 at 5:30

Two of Madison’s most esteemed musicians will delight with melodies from their upcoming CD and will celebrate the Fourth of July weekend with patriotic tunes.

 Isthmus Brass

Sunday, July 16, 2017

Comprised of the finest professional brass players in the Midwest, Isthmus Brass (below) is Wisconsin’s premiere large brass ensemble. It has performed on concert series and music festivals throughout the Midwest.

An Evening of Arias and Art Songs

Sunday, July 30, 2017

Hear a fun night of comic and classic melodies from your favorite operas. It features extraordinary lead singers from the School of Music and UW Opera Theater. Among them: Katie Anderson, soprano (below top); Courtney Kayser, mezzo-soprano (below middle); José Muñiz, tenor (below bottom); and accompanist Thomas Kasdof, piano.

Sound Out Loud and Lucia String Quartet

Sunday, August 13, 2017

Sound Out Loud (below) specializes in contemporary music from the early 20th century to the present. They expand the realm of possibilities within contemporary chamber music repertoire through the implementation of experimental techniques, the incorporation of a variety of instruments and musical styles from the Middle East and Asia, innovative performance practice, and the use of live electronics.

The Lucia String Quartet (below) has been performing at events throughout the Midwest for over 15 years. The string quartet’s repertoire puts a fresh spin on many favorite rock/pop songs as well as eloquently performing classical pieces.

Summer Serenades are presented by the Wisconsin Union Directorate’s Performing Arts Committee with support from the Bill and Char Johnson Classical summer Concert Series Fund.

This is the inaugural season But Ralph Russo, director of the Wisconsin Union Theater, adds: “The 2017 Summer Serenades is a pilot program. The coordinator has put together an excellent program in a very short time and I’m confident we’ll see a good audience response.

“Assuming all goes well I’m hopeful it will continue for many summers to come. But we won’t know for certain until we do a thorough evaluation at the end of summer and determine if the donor is interested and willing to continue funding the program.”


Classical music: How does the Trump administration sound in mock-opera terms?

June 10, 2017
4 Comments

By Jacob Stockinger

It has been quite the week for President Donald Trump (below top), what with the Senate Congressional hearing of fired FBI director James Comey (below bottom).

How would this week and other happening sound in opera lingo?

Here is a satire — a fake news send-up of Trumpland — done with a famous aria from “The Barber of Seville” by Rossini — that reminds The Ear of The Opera Man skits with comedian Adam Sandler many years ago on Saturday Night Live.

That’s when Sandler would sing the news headlines in opera terms with pseudo-Italian words.

Anyway, here is the video on YouTube, which has received a good number of hits.

If you like it, share it with friends – or even with enemies!

And tell us what you think of it.

The Ear wants to hear.


Classical music: The fifth annual Handel Aria Competition is this Friday night – and the event has grown into a major event with broad cross-cultural appeal

June 7, 2017
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By Jacob Stockinger

In a short time, it has become one of the year’s MUST-HEAR local events for fans of Baroque music, fine singing, and the music of composer George Frideric Handel.

This Friday night at 7:30 p.m. in Mills Hall on the University of Wisconsin-Madison campus, the fifth annual Handel Aria Competition will take place.

Handel Aria Competition tickets are $15 for general admission, and will be available at the door.

For the third year, the Madison Bach Musicians, led by the keyboardist founder and artistic director Trevor Stephenson, will accompany the seven finalists who were selected from over 100 applicants from China, Canada, Mexico, Puerto Rico and 26 states including Hawaii.

Finalists in the 2017 Handel Aria Competition are pictured below (left to right): Gene Stenger, Clara Osowski, Nicole Heinen (who studied at the UW-Madison), Brian Giebler, Nian Wang, Andrew Rader and Johanna Bronk.

In addition to the professional judging for first, second and third prize, there will be a cash prize for Audience Favorite.

The Handel Aria Competition is an annual event held in Madison, Wisconsin to promote the performance of Handel’s extensive vocal repertoire.

Once connected to the Madison Early Music Festival in July, it has evolved into a separate event due to logistics and staffing.

Founders Dean and Orange Schroeder (below) are enthusiasts of George Frideric Handel’s music and lifelong supporters of the arts.

They write:

“In the spring of 2013, we started the Handel Aria Competition with no real experience, using only the Handel Singing Competition in London – the world’s only, at that time – as a model. We were inspired by the recent groundswell of interest in Handel’s operas and oratorios, most of which have been rarely performed for some 300 years!”

Since then, the competition has grown from 50 to 105 applicants and features orchestral accompaniment as well as large, enthusiastic and often partisan audiences.

You can follow the competition, with news and background stories on the Facebook page for the Handel Aria Competition at https://www.facebook.com/search/top/?q=handel%20aria%20competition

For more information, including extensive biographies of the finalists and the results of past competitions as well as advice about how to apply for the competition and how to support it, go to the website HandelAriaCompetition.com

Countertenor Eric Jurenas, winner of the 2016 competition, can be heard in the YouTube video below:


Classical music: The Wisconsin Chamber Choir performs Bach’s “Magnificat” and other music by Handel and Schütz this Friday night and Sunday afternoon in Madison and Whitewater

April 27, 2017
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By Jacob Stockinger

The critically acclaimed Wisconsin Chamber Choir (below) will perform Johann Sebastian Bach’s Magnificat with full orchestra and additional works by Bach, George Frideric Handel and Heinrich Schütz on this coming Friday, April 28, at 7:30 p.m. at Luther Memorial Church, 1021 University Avenue, in Madison.

There will be an additional concert on Sunday, April 30, at 2 p.m. at the Young Auditorium, UW-Whitewater, 930 West Main Street, in Whitewater.

 

The Baroque splendor of Bach’s Magnificat will be performed by the Wisconsin Chamber Choir with its professional orchestra, Sinfonia Sacra.

Featured soloists include trumpet virtuoso John Aley, oboist Marc Fink, violinist Leanne League, New York-based tenor (and former Madisonian) Alex Gmeinder (below top) and mezzo-soprano Rachel Wood (below bottom, in a photo by Michael Cooper.)

Sharing billing with the Bach is Handel’s impressive Utrecht Te Deum, which, like the Magnificat, exalts in the colors of voices, trumpets, timpani, oboes, flutes and strings.

Rounding out the program are Bach’s double-choir motet, Fürchte dich nicht (Be Not Afraid), and a work by Bach’s great predecessor Heinrich Schütz: Nun danket alle Gott (Now Thank We All Our God).

Inspired by Mary’s song of praise from the Gospel of Luke (depicted below), the Magnificat is one of Bach’s most glorious and varied pieces. Its music offers a sampling of every style of music in Bach’s repertoire as a composer.

Imposing, concerto-like movements crowned by brilliant trumpet fanfares highlight the full chorus, whereas solo arias, duets and trios deepen the mood of the text in counterpoint with constantly changing instrumental colors—from lush strings to playful flutes to the dolorous oboe d’amore. (You can hear the “Magnificat” in the YouTube video at the bottom.)

In the solo movements the professional singers share the stage with highly accomplished members of the choir including Christopher Eggers and Nicole McCarty; Madison Savoyards regulars Bill Rosholt and Natalie Falconer; and many others.

The members of Sinfonia Sacra are drawn from the rosters of the Madison Symphony, the Wisconsin Chamber Orchestra, the Wisconsin Baroque Ensemble, and the music faculties of UW-Madison, UW-Whitewater and UW-Oshkosh.

Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Mozart and Brahms; a cappella works from various centuries; and world premieres. Artistic Director Robert Gehrenbeck (below), who directs choral activities at the UW-Whitewater, has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks.

Advance tickets for the April 28 performance at Luther Memorial Church in Madison are available for $20 ($10 for students) from www.wisconsinchamberchoir.org, via Brown Paper Tickets, or at Orange Tree Imports and Willy Street Coop (all three locations).

Advance tickets for the April 30 performance at Young Auditorium in Whitewater are available from www.uww.edu/youngauditorium/tickets


Classical music: Madison Opera’s “Magic Flute” proved enjoyable, opulent and superb

April 25, 2017
8 Comments

By Jacob Stockinger

The Ear’s friend and opera veteran filed this review:

By Larry Wells

I attended last Sunday’s matinee performance of the Madison Opera’s production of Wolfgang Amadeus Mozart’s “The Magic Flute.” (Performance photos are by James Gill for the Madison Opera.)

The opera’s mystifying combination of fairy tale and Masonic ritual has been better explained by others, including the legendary Anna Russell. Those who know her only through her analysis of Wagner’s “Ring” Cycle should seek out her lecture on “The Magic Flute, which is accompanied on the CD by an equally humorous look at Verdi’s “Nabucco.” A search through the iTunes store will easily yield these treasures.

The scenery and costumes (below), which were borrowed from Arizona Opera, were superb. I was captivated by the clever set, the opulent costumes and the amazing props.

The choice to have the spoken dialogue in English, while the sung parts remained in German with supertitles in English, was a smart move and helped move the ridiculous plot lines along.

The playing by members of the Madison Symphony Orchestra, under the direction of guest conductor from the Juilliard School, Gary Thor Wedow, (below) was, as usual, brilliant.

And the singing was, for the most part, first-rate.

Special mention should be made of Andrew Bidlack (below top) as a consistently arresting Tamino and Amanda Woodbury (below, right, with Scott Brunscheen as Monostatos) as a crystalline Pamina. Their first act duet was perfection.

Likewise, Caitlin Cisler played the Queen of the Night (below center) and her vocal fireworks were spectacular, plus she was a delight to watch in her bizarre winged costume. (You can hear the Queen of the Night’s astonishing and virtuosic aria in the YouTube video at the bottom.)

I enjoyed Alan Dunbar’s Papageno (below). He has a gift for comedy.

And probably my favorite characters, the three ladies (below, from left, with Tamino) portrayed by Amanda Kingston, Kelsey Park and Anna Parks were brilliantly sung and acted.

UW-Madison graduate Anna Polum (below) did not disappoint in the smaller role of Papagena, and we will be fortunate to hear her again soon in Johannes Brahms’ “German Requiem” with the Madison Symphony Orchestra next month.

The three spirits, sung by local schoolboys, were fun to watch with their steampunk attire and props, but they were vocally rather thin.

Nathan Stark’s Sarastro tested the limits of his vocal range. It’s a difficult role in any event since Sarastro has the unfortunate habit of stopping the opera’s action in its tracks whenever he appears.

The audience loved the whole thing, laughing at the comic absurdities and applauding whenever the music paused. But I cannot help wondering why “The Magic Flute” is such a popular opera. Its plot is basically incomprehensible, its second act goes on a half hour too long, the Queen of the Night’s downfall is never satisfactorily explained, and despite a number of memorable tunes, there are, in my mind, many more musically satisfying operas.

Next season we can look forward to yet another of the countless performances of Bizet’s “Carmen” and yet another Mozart opera “The Abduction from the Seraglio.” Madison does seem to love its Mozart. But we will also be hearing the late Daniel Catan’s lush, Puccini-esque “Florencia en el Amazonas,” for which I give praise.

I got to thinking about what other lesser performed operas that are not 200 years old might please the Madison crowd and quickly came up with: Benjamin Britten’s “A Midsummer Night’s Dream”; Gian Carlo Menotti’s “The Consul”; Leonard Bernstein’s “Candide”; Douglas Moore’s “The Ballad of Baby Doe”; Samuel Barber’s “Vanessa”; and Ralph Vaughan Williams’ “Sir John in Love.”

Each of these is as melodic as “The Magic Flute” and each has certainly more compelling storylines.

What are your suggestions?


Classical music: Local music critic John W. Barker will host a fundraiser this Wednesday night for the Fifth Handel Aria Competition

April 22, 2017
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By Jacob Stockinger

The Ear has received the following information to post:

John W. Barker (below right), local music critic for Isthmus and The Well-Tempered Ear and an arts supporter extraordinaire, will present “Handel and Other Friends,” a fundraiser for the Handel Aria Competition, at Immanuel Lutheran Church, 1021 Spaight Street, on this Wednesday night, April 26, at 7:30 p.m.

Performers will include:

  • Madison Savoyards
  • Karlos Moser
  • Trevor Stephenson of the Madison Bach Musicians
  • Paul Rowe and Cheryl Bensman Rowe
  • Pro Arte Quartet
  • Mosaic Chamber Players
  • Claire Powling, Rebecca Buechel and Talia Engstrom from the U.W. Madison Opera Program singing Handel duets

A highlight of the evening will be the official announcement of the seven national finalists in the Fifth Annual Handel Aria Competition (below is contestant and winner soprano Chelsea Morris).

Tickets to the April 26 fundraiser are $25 general admission, and $40 for special donor seating. They are available in advance at Orange Tree Imports, 1721 Monroe Street, online at Brown Paper Tickets, and at the door.

We are delighted to have received over 100 applicants from Canada, Mexico, Puerto Rico and 26 states — including Hawaii — for this year’s competition. Please plan to join us on Friday, June 9 at 7:30 p.m. in Mills Hall in the Humanities Building, University of Wisconsin-Madison Mead Witter School of Music for the Fifth Annual Handel Aria Competition.

The Madison Bach Musicians, under the direction of Trevor Stephenson, will again accompany the finalists. In addition to the professional judging for first, second and third prize, there will be a cash prize for Audience Favorite. (In the YouTube video below is Christina Kay singing from Handel’s “Joshua” during the 2016 Handel Aria Competition.)

Tickets will be $15 each and go on sale in May.

For more information, or to make a contribution, please go to www.HandelAriaCompetition.com


Classical music: Mozart’s music requires the rhythms of both speech and dance, says maestro Gary Thor Wedow, who will also restore lost libretto text when he conducts two performances of “The Magic Flute” this weekend for the Madison Opera. Here is Part 2 of his interview with The Ear.

April 19, 2017
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By Jacob Stockinger

The Madison Opera will stage Wolfgang Amadeus Mozart’s The Magic Flute this Friday night, April 21, at 8 p.m. and this Sunday afternoon, April 23, at 2:30 p.m. in Overture Hall of the Overture Center. (Production photos are courtesy of the Arizona Opera from which the Madison Opera got the sets and costumes for its production.)

Yesterday’s post was the first of two parts. It has a plot synopsis and links to more information about the cast and production.

Here is a link to Part 1:

https://welltempered.wordpress.com/2017/04/18/classical-music-mozart-masterfully-melds-the-sensual-and-the-cerebral-says-maestro-gary-thor-wedow-who-will-conduct-two-performances-of-the-magic-flute-this-weekend-for-the-madiso/

The opera runs about 2 hours and 45 minutes with one intermission.

Tickets are $18 to $130.

“The Magic Flute” will be sung in German with English supertitles.

For more about the production and cast, go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/

And also go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/cast/

Here is Part 2 of The Ear’s recent email interview with conductor Gary Thor Wedow (below, conducting in an orchestra pit):

Are there certain “tricks” or “secrets” that you try to bring to conducting Mozart? Have you conducted “The Magic Flute” before? Do Mozart’s operas in general and this opera in specific present challenges? Where do you place the opera musically, both compared to other operas in general and in regard to its place in Mozart’s work?

I feel keenly that Mozart and all 18th-century music (probably continuing to this day) is either based on a rhetorical idea or a dance form; that music is either speaking or dancing. This style of music is “pre-French Revolution,” so No Two Notes are Created Equally! The lilt of language or the buoyancy of the dance has to infuse every moment; hierarchy and shape prevail.

I’ve been fortunate to have conducted The Magic Flute frequently, in many varied productions; it’s always been a part of my musical life. Because it’s a fairy tale, it lends itself to inventive and imaginative productions. Stage director Dan Rigazzi’s production (below) for Madison Opera is a whimsical one, influenced by the surrealist painter Magritte, steampunk and more, all rolled into one beautiful show.

Mozart was fascinated with German Singspiel, as it was opera in the language of the people. The Magic Flute is his masterpiece in this genre, though there are earlier works. There is the early Zaide – incomplete, but filled with gorgeous, innovative music –and also the more mature, sumptuous and comic The Abduction from the Seraglio; they are both rich and entertaining pieces.

The Magic Flute, I feel, has a special place in the opera repertoire for several reasons: its Masonic connections that were very important to Mozart, the drama, and its central themes that trace themselves back to ancient Egypt.

It also is a brilliant combination of comedy and deep spiritual drama in the guise of a heroic rescue tale. It uses an incredibly wide range of the most beautiful music written in every major genre: sacred music, opera seria, bel canto, folk song and complex Baroque counterpoint.

What would you like listeners to pay special attention to in the music of “The Magic Flute”?

I would say “Hang on!” Whatever style of music we are in, we are going to switch gears in a fairly short time. It’s a roller coaster, an Ed Sullivan Show, American Idol, and the Barnum and Bailey Circus all rolled into one.

This is your third time conducting at Madison Opera. Do you have an opinion about Madison musicians and audiences?

My previous two experiences in Madison have been the Opera in the Park concerts in 2012 and 2016 (below). These have been among the most sublimely satisfying moments of my musical life: a cornucopia of music played by this brilliant symphony orchestra with great singers.

The audiences have been magically focused and involved; the players are magnificent, dedicated musicians, and the community is very supportive of Madison Opera. It’s electric.

Is there anything else you would like to say about the music or this performance?

Magic Flute devotees might be startled to hear some new text in these performances, particularly in Tamino, Pamina and Sarastro’s arias and the duet with Pamina and Papageno. “Bei Männern” is now “Der Liebe.” (You can hear it in the YouTube video at the bottom.)

Let me explain by telling you a mystery story. After Mozart died, Constanze was desperate for money. Mozart’s Flute manuscript conducting score belonged to Schikaneder, the librettist and producer, but it seems that Constanze had another original score: the first original manuscript, which she then sold to a nobleman who eventually allowed it to be published.

This must have been a “composing score” that Mozart wrote first, before making the conducting score with the help of his assistant. The text deviates in several sections in notable ways. Probably Schikaneder, perhaps assisted by his Masonic brothers, “improved” the text, but Mozart had already shaped his music to the first text.

In most sections the differences are minimal and the new text was indeed an improvement. But in some cases I feel the original text was what inspired Mozart to write and orchestrate the way he did. Our marvelous singers have generously agreed to make the changes and I think we will all see how it fits the music so much better.

Sadly, Constanze’s manuscript was lost in the wars, but many scholars had already seen it and considered it to be genuine. I love how it shows how fluid the creative process is and how it spurs us to look anew at Mozart’s creative process.

On with the show!


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