By Jacob Stockinger
This coming week, the Madison Symphony Orchestra (MSO) will present organist Samuel Hutchison (below) and acclaimed singers Andrew Bidlack and Kyle Ketelsen performing as a trio in vocal and instrumental music from oratorios and operas.
The concert is Tuesday night, Feb. 21, at 7:30 p.m. in Overture Hall of the Overture Center, 201 State Street.
Principal Organist and Curator for the Madison Symphony Orchestra Samuel Hutchison joins forces with two outstanding singers in the first half to perform a program of favorite arias and overtures from Handel’s Messiah, Mendelssohn’s Elijah, and Rossini’s Stabat Mater.
Opera will be the focus of the second half, featuring arias and selections from Bizet’s Carmen, Tchaikovsky’s Eugene Onegin and Gounod’s Faust.
For the full program, go to: http://www.madisonsymphony.org/organopera
Featured by Opera News as one of their top 25 brilliant young artists, tenor Andrew Bidlack (below) — who is replacing David Portillo — makes his debut in Overture Hall following performances at The Metropolitan Opera, Lyric Opera of Chicago, the Welsh National Opera and London’s Covent Garden.
Bass-baritone Kyle Ketelsen (below, in a photo by Dario Acosta), who lives in nearby Sun Prairie, has sung with major opera companies throughout the world including The Metropolitan Opera, the Lyric Opera of Chicago and the State Opera of Berlin. He is praised for his vibrant stage presence and his distinctive vocalism.
In the YouTube video at the bottom, you can hear Kyle Ketelsen sing the role of Don Escamillo in a Barcelona, Spain, production of Bizet’s “Carmen.” He is singing the same role in the Metropolitan Opera’s current production of “Carmen.”
General Admission for each Overture Concert Organ performance is $20. Tickets can be purchased at madisonsymphony.org/organopera, (608) 258-4141 or the Overture Center Box Office.
Student Rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $10 tickets.
This performance is sponsored by the Pleasant T. Rowland Foundation. Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund.
With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra (MSO) commissioned the Overture Concert Organ, which is the stunning backdrop of all MSO concerts.
By Jacob Stockinger
The Ear has received the following information to post about a local opera production that is both exciting and an inspired choice to mark February as Black History Month:
For more information about the cast and the production as well as about purchasing tickets ($25-$114), go to:
With music by Swiss composer Daniel Schnyder (below top) and a libretto by writer and poet Bridgette A. Wimberly (below bottom), the acclaimed opera “Charlie Parker’s Yardbird” tells of the legendary jazz musician and the people closest to him.
The opera, which melds jazz and opera, is set on the day that saxophone great Charlie Parker died in 1955. As his body lies unclaimed in a New York City morgue, Parker returns in spirit to the jazz club Birdland, determined to compose a final masterpiece. Family and friends blend in and out of his memories, including his three wives, his mother, his friend Dizzy Gillespie and even his drug dealer.
Charlie Parker’s Yardbird premiered in June 2015 at Opera Philadelphia (below is tenor Lawrence Brownlee, in a photo by Dominic Mercier, in the title role of Charlie Parker in the Philadelphia production) and was subsequently presented by the company at the Apollo Theater in New York City in April 2016. (You can hear an excerpt in the YouTube video at the bottom.)
The New York Times praised it for its “pulsing, jazz-infused score,” while the Wall Street Journal said, “its rhythms snap and swing, its melodies – including real arias – seize the ear, its ensembles crackle with energy.”
Madison Opera will be only the second company to present this work, which is sung in English with projected text and runs 90 minutes without an intermission.
“I saw Charlie Parker’s Yardbird when it premiered in Philadelphia and instantly knew it would be a perfect opera for Madison,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director. “The very American story and the exciting jazz-inflected music fit perfectly into our ever-expanding range of repertoire.”
She adds, “It’s not a straightforward narrative of Parker’s life, but rather elements of his life as refracted through his memories and imagination, and particularly his relationships with the women in his life.”
Madison Opera’s cast includes both debuts and returning favorites, as well as a number of singers who created their roles in the world premiere.
Joshua Stewart (below), a young American tenor who has sung at La Scala, Bayerische Staatsoper, and Opera de Lausanne, debuts in the tour de force role of Charlie Parker.
Angela Brown (below) returns following her performance at Opera in the Park 2016 as Addie Parker, Charlie’s mother, a role she created in Philadelphia.
Will Liverman, who sang Figaro in Rossini’s The Barber of Seville here in 2015, sings jazz legend Dizzy Gillespie, a role he created in Philadelphia.
Krysty Swann debuts as Rebecca Parker, Charlie’s first wife. Angela Mortellaro, who sang Galatea in Handel’s Acis and Galatea in 2013, returns as Doris Parker, Charlie’s third wife, a role she created in Philadelphia.
Rachel Sterrenberg debuts as Chan Parker, his final wife, a role she created in Philadelphia. Baroness Pannonica de Koenigswarter, in whose hotel suite Parker died, is sung by Julie Miller in her Madison Opera debut.
Directing this production is Ron Daniels (below), who staged the world premiere and was the opera’s dramaturge, involved in the creation and workshop process.
John DeMain (below, in a photo by Prasad) conducts, with members of the Madison Symphony Orchestra in the pit.
DeMain says: “I am so happy to be a part of Madison Opera’s Midwest premiere of Charlie Parker’s Yardbird. Parker was consumed with music, breathing it day and night. All of us who are passionate about performing and listening to music can identify with this phenomenal musician and will not want to miss this jazz-infused opera, the perfect expression of Parker’s range and depth as a musician.”
Composer Daniel Schnyder will attend the opening night performance and join Smith for the Pre-Opera Talk that evening at 7 p.m. in the Wisconsin Studio.
In addition to the performances, Madison Opera and its community partners are hosting a series of related events, collectively known as “Extending the Stage,” which culminate in a concert of Charlie Parker’s music with composer Daniel Schnyder and the UW-Madison’s Blue Note Ensemble.
These events include Opera Novice; community previews; Opera Up Close; discussions of the life and music of Charlie Parker (below); and presentations of rare jazz films.
All events are open to the public and the majority are free of charge.
RELATED EVENTS: EXTENDING THE STAGE
Opera Novice: Jazz Opera? Friday, Jan. 20 | 6-7 p.m. The Margaret C. Winston Madison Opera Center, 335 W. Mifflin Street. FREE and open to the public
New to opera? Passionate about Puccini, but not sure about a jazz opera? Join General Director Kathryn Smith for a short, fun, and informative evening exploring the history of jazz and opera, including a live performance of an aria from Charlie Parker’s Yardbird. With plenty of time to ask questions, it’s the perfect jump-start for the opera-curious.
Community Preview of Charlie Parker’s Yardbird, Tuesday, Jan. 24 | 7-8 p.m. Capitol Lakes Retirement Community, 333 W. Main St. FREE and open to the public
Join a Madison Opera staff member for a multimedia look at Charlie Parker’s life, the history of the opera Charlie Parker’s Yardbird, and some insights into Madison Opera’s production.
Opera Up Close, Sunday, Feb. 5 | 1-3 p.m. The Margaret C. Winston Madison Opera Center, 335 West Mifflin Street. Admission: $20; free for full-season subscribers and full-time students with ID; $10 for two-show subscribers. Tickets available at the door.
Come even closer with a behind-the-scenes preview of Charlie Parker’s Yardbird. A multimedia presentation on Charlie Parker and the history of this opera will be followed by a roundtable discussion with the leading artists of Madison Opera’s production. There is no better way to get “up close” to this acclaimed new opera.
A Charlie Parker Concert and Discussion with Daniel Schnyder and the Blue Note Ensemble Thursday, Feb. 9 | 7:30 p.m. Morphy Recital Hall, UW-Madison. FREE and open to the public
Composer Daniel Schnyder joins UW-Madison’s Blue Note Ensemble for an evening featuring music by Charlie Parker, with solos performed by both Schnyder and UW-Madison saxophone students. The evening includes an aria from Charlie Parker’s Yardbird and a discussion about Parker and the opera with Schnyder, UW-Madison Professor of Saxophone Les Thimmig, and General Director Kathryn Smith.
Pre-Opera Talks: Friday, Feb. 10 |7 p.m. and Sunday, Feb. 12 | 1:30 p.m. Wisconsin Studio at Overture Center. FREE to ticket holders
Attend an entertaining introduction to Charlie Parker’s Yardbird one hour prior to curtain. On Friday night, composer Daniel Schnyder will join General Director Kathryn Smith to talk about the piece. Be sure to arrive early, as space is limited.
An Evening of Rare Jazz Films: Alicia Ashman Library. Friday, Feb. 3 | 7 p.m.; Goodman South Madison Library. Tuesday, April 11 | 6 p.m. FREE and open to the public (Below is footage of Charlie Parker playing and of people discussing the man and his artistic achievement.)
Jazz archivist Gary Alderman will present and explain films of the historically significant innovators of modern jazz, including the only two known existing videos with sound of Charlie Parker.
Among the other musicians shown will be those relevant to Parker’s music and career, including Lester Young, Coleman Hawkins, John Coltrane, Dizzy Gillespie and Miles Davis.
The Life and Music of Charlie Parker: DeForest Area Public Library: Monday, Feb. 13, 6:30 p.m.; Alicia Ashman Library: Friday, Feb. 24, 7 p.m.; Fitchburg Public Library: Sunday, Feb. 26, 2 p.m.; Oregon Public Library: Friday, March 10, 6:30 p.m. FREE and open to the public
UW-Madison Professor of Saxophone Les Thimmig (below) will talk about Charlie Parker’s life and music, as well as the history of bebop.
More information is available at www.madisonopera.org/education.
By Jacob Stockinger
Baseball season is done.
Football season is almost over.
Basketball season is here.
It is also a good story about good luck to run today, on Friday the 13th, a date that is traditionally synonymous with bad luck.
The story concerns J’Nai Bridges (below) who started out wanting to be a professional basketball player.
That dream fell apart dramatically and suddenly — though she doesn’t reveal if it was an injury or some other cause.
But then good luck unexpectedly stepped in.
During her senior year in high school, she signed up for choir as an elective and her teacher immediately recognized her gift.
She started late, but she had the right attitude to stay open to new discoveries and new possibilities.
And now she has gone on to a career in opera and is a rising star singing major roles in major opera houses around the world.
The Ear thinks that Bridges’ words reflect wisdom that others should share in.
For one, her moving story also highlights the importance of a liberal arts education, where you can try out many different subjects you have no idea about and see what you like and how you do. That gives students a chance to explore their untapped interests and potential.
It also runs contrary to some of the current politicians who want to reform secondary and higher education into a kind of trade school or vocational training ground for work and careers.
It also is a fine summary of the role that music plays both for the performer and for the audience.
Here is a link to the moving and informative story:
ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”
Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to:
By Jacob Stockinger
At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.
The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.
There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.
The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122, Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio St. John Passion, the tenor aria Ach, mein Sinn.
Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org
Tickets at the door are: $30 for general admission; $25 for students and seniors 65 and over. Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)
Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord
ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Shannon Farley, viola, with Chris Allen, guitar; Leah King and Jason Kutz, piano; Elspeth Stalter Clouse and Ela Mowinski, violin; Leslie Damaso, mezzo-soprano; and Morgan Walsh, cello. They will perform the Piano Quintet in A Major, Op. 81, by Antonin Dvorak; Three Songs for Mezzo-soprano, viola and piano by Frank Bridge; “Beau Soir” (Beautiful Evening) for guitar and viola by Claude Debussy; and a Romance for violin by Amy Beach as arranged for viola and piano. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
Can the past help us understand and weather the present time with its conflicts and chaos?
In fact her latest album, for the Erato-Warner label, of arias from Baroque operas from the 17th and 18th centuries is dedicated to that proposition. The album’s title is “In War and Peace: Harmony Through Music” (below).
It includes arias from opera by George Frideric Handel (one of which you can hear in the YouTube video at the bottom), Henry Purcell, Niccolo Jommelli, Leonardo Leo and Claudio Monteverdi, and it features two world premiere recordings as well as familiar works.
She boils much of her viewpoint down to one question: In the widest of chaos, how can you find peace?
Sure seems timely, given foreign wars and domestic political strife.
Here is a link with the interview and some fetching music:
Listen to it.
See what you think.
Then let the rest of us know what you think, and whether you agree or disagree, and whether you have other works that come to mind.
The Ear wants to hear.
ALERT: Today is Veterans Day. What piece of classical music should be played to mark the event? The Ear suggests the War Requiem by Benjamin Britten. Leave your choice in the COMMENT section.
By Jacob Stockinger
Today’s post features a guest review of Madison Opera’s “Romeo and Juliet” by Larry Wells. Wells has been enjoying opera since he was a youngster. He subscribed to the San Francisco Opera for nearly 20 years, where he last saw “Romeo and Juliet,” sung by Alfredo Kraus and Ruth Ann Swenson.
More recently he lived in Tokyo and attended many memorable performances there over nearly 20 years. These included Richard Strauss rarities such as “Die Ägyptische Helena” and “Die Liebe der Danae” as well as the world’s strangest Ring Cycle by Richard Wagner and a space-age production of Puccini’s “Turandot,” featuring Alessandra Marc singing “In questa reggia” while encased in an inverted cone.
By Larry Wells
Last Sunday’s matinee performance of Charles Gounod’s “Romeo and Juliet” by Madison Opera at the Overture Center was a feast for the eyes. The costumes, sets, lighting and staging were consistently arresting. (Performance photos are by James Gill.)
But we go to the opera for music and drama.
The tragedy of Romeo and Juliet is well known. Gounod’s opera substitutes the tragedy with melodrama, and therein lies one of the work’s flaws. Despite sword fights, posturings and threats as well as one of opera’s lengthiest death scenes, one leaves the theater thinking that a vast amount of theatrical resources have been squandered on something insubstantial.
However, despite its dramatic flaws, the opera’s music has somehow endured. And Sunday’s performance milked the most out of the music that could have been expected.
The star of the show was the Madison Symphony Orchestra under the expert direction of Maestro John DeMain (below). He knows how to pace a performance, how to build an exciting climax and how to highlight a solo instrument.
He is an incredibly intelligent conductor, and we are fortunate to have him in Madison. I want to make special mention of the beautiful harp playing, which, according to the program, was accomplished by Jenny DeRoche.
The second star on the stage was the Madison Opera Chorus (below). The chorus plays a significant part in many of the opera’s scenes, and the singing was stirring when it needed to be and tender when it was called for.
As for the soloists, highest praise must go to UW-Madison alumna soprano Emily Birsan (below right) for her portrayal of Juliet. Her solo arias, particularly her big number in the first act as well as her subsequent lament, were stunning.
Her Romeo, tenor John Irvin (below left), sounded a little forced during his forte moments, but he sang magnificently in his quiet farewell to Juliet after their balcony scene. (You can hear the famous balcony scene, sung by Roberto Alagna and Angela Gheorghiu in the YouTube video at the bottom.)
Their voices blended beautifully in the opera’s multiple duets. And the wedding quartet, where they were joined by Allisanne Apple’s nurse (below, rear right) and Liam Moran’s Friar Lawrence (below, middle center), was a highlight of the performance.
The opera abounds with minor characters, all of which were ably portrayed. Special mention should be made of Stephanie Lauricella (below, far right) for her fantastic moments as Romeo’s page; Madison’s Allisanne Apple for her amusing portrayal of Juliet’s nurse Gertrude; Sidney Outlaw (below, second from left) as a robust Mercutio; and Philip Skinner as a powerful Lord Capulet.
I have wondered why this opera is still performed. Its music is lovely but unmemorable, and its dramatic impact is tenuous.
I left the performance thinking that it had been a good afternoon at the theater – certainly more interesting than the Packers’ game – but wishing that one of a couple dozen more meaty operas had been performed in its place.
Since we are celebrating the 400th anniversary of the death of Shakespeare, how much more interesting would have been Benjamin Britten’s “Midsummer Night’s Dream”?
By Jacob Stockinger
It will be sung in French with English subtitles and will last about three hours with one intermission.
Tickets are $18-$130.
With soaring arias, impassioned scenes and plenty of sword fights, Gounod’s gorgeous opera brings the famous tragic tale of young love to vivid life.
Set in 14th century Verona, Italy, the opera follows the story of Shakespeare’s legendary star-crossed lovers. The Montague and Capulet families are caught in a centuries-old feud.
One evening, Romeo Montague and his friends attend a Capulet ball in disguise. The moment Romeo spots Juliet Capulet, he falls in love, and she returns his feelings. Believing they are meant for one another, they proclaim their love, setting in motion a chain of events that will change both their families.
“Romeo and Juliet is one of the most famous love stories in Western literature,” says Kathryn Smith (below, in a photo by James Gill), the general director of Madison Opera. “Gounod’s operatic version of it is equally beloved, and it’s exciting to present an amazing cast that brings such vocal and dramatic depth to their story.
“I’m also delighted that we are performing the opera the same weekend that Shakespeare’s First Folio goes on display at the University of Wisconsin-Madison‘s Chazen Museum of Art, enabling our community to enjoy a very Shakespearean weekend.”
Gounod’s operatic adaption of the tragedy of “Romeo & Juliet” premiered in 1867 at the Théâtre Lyrique in Paris. While Gounod is now better known for “Faust,” “Romeo and Juliet” was a bigger success at its premiere, and has stayed in the repertoire for 150 years due to its beautiful music, genuine passion mingled with wit, and exciting fight scenes.
“Having conducted Gounod’s Faust so often, I’m thrilled to finally have the opportunity to conduct his romantic masterpiece,” says John DeMain (below, in a photo by Prasad), the artistic director of Madison Opera who will conduct the two performances.
“The vocal and orchestral writing is lyrical and downright gorgeous,” DeMain adds. “We have a glorious cast, the Madison Opera Chorus and the Madison Symphony. What more could a conductor ask for!” (You can hear Anna Netrebko sing Juliet’s famous aria “Je veux vivre” — “I want to live” – in the popular YouTube video at the bottom.)
Madison Opera’s cast features both returning artists and debuts.
John Irvin (below top) and Emily Birsan (below bottom) return to sing the title roles of Romeo and Juliet. Irvin sang Count Almaviva in the 2015 production of The Barber of Seville, while Birsan returns from singing at Opera in the Park 2016 and Musetta in last season’s La Bohème.
Sidney Outlaw, who sang at this past summer’s Opera in the Park, makes his mainstage debut as Romeo’s friend, Mercutio. Liam Moran, who sang Colline in last season’s La Bohème, sings Frère Laurent, who unites the two lovers in the hope of uniting their families. Madisonian Allisanne Apple (below) returns as Gertrude, Juliet’s nurse.
Making their debuts are Stephanie Lauricella as Romeo’s page, Stephano; Chris Carr as Tybalt, Juliet’s cousin; Philip Skinner as Lord Capulet; and Benjamin Sieverding as the Duke of Verona. Former Madison Opera Studio Artist Nathaniel Hill returns as Gregorio, while current Studio Artist James Held sings the role of Paris.
Directing this traditional staging is Doug Scholz-Carlson (below), who directed Gioaccchino Rossini’s “The Barber of Seville,” Aaron Copland’s “The Tender Land” and Benjamin Britten‘s “The Turn of the Screw” for Madison Opera. Scholz-Carlson is the artistic director of the Great River Shakespeare Festival and has directed the original “Romeo and Juliet,” among many Shakespeare plays.
He will discuss the differences between staging “Romeo and Juliet” as a play and as an opera in another posting tomorrow.
For more information about the production, the cast and tickets, go to:
By Jacob Stockinger
For generations, the conquests of the legendary Don Juan were treated as seductions.
But were they really rape?
One blog writer for slate.com – Bonnie Gordon, who teaches a class on music and gender at the University of Virginia — draws a link between the charismatic historic nobleman and the current charges of “womanizing” and allegations of sexual assault made against Republican presidential candidate Donald Trump (below).
She raises questions about what is sexual assault, seduction and rape – and how the definitions of a “rape culture” have changed over time and depending on whether it comes from a man’s or a woman’s point of view.
She pegged her essay to LAST weekend’s broadcast performance of the opera by “Live From the Met in HD” with Simon Keenlyside in the title role. In the YouTube video at the bottom, with English subtitles, Don Juan’s servant Leporello sings an aria about his master’s thousands of “conquests.”
But despite the week that has passed since the broadcast of the production, to The Ear the essay still seems relevant as the national election approaches.
Here is a link to that essay:
What do you think about the essay and its main argument or point?
The Ear wants to hear.
By Jacob Stockinger
This week will be a busy one at the University of Wisconsin-Madison School of Music, which is now funded in large part by the Mead Witter Foundation.
The big event is the long-awaited groundbreaking for the new performance center. That, in turn, will be celebrated with three important and appealing concerts.
Here is the lineup:
From 4 to 5:30 p.m., an official and public groundbreaking ceremony for the new Hamel Music Center will take place at the corner of Lake Street and University Avenue. (Below is an architect’s rendering of the completed building.)
At 8 p.m. in Mills Hall, pianist Christopher Taylor (below) will perform the “Goldberg” Variations by Johann Sebastian Bach on the two-keyboard “Hyperpiano” that he has invented and refined. (You can hear the opening aria theme of the “Goldberg” Variations played by Glenn Gould in the YouTube video at the bottom.)
For more information about the concert and the innovative piano, visit:
Tickets are $18 and are available at the Wisconsin Union Theater box office. Last The Ear heard, the concert was close to a sell-out.
At 7 p.m. in Mills Hall, UW-Madison faculty bassoonist Marc Vallon (below, in a photo by James Gill), who studied and worked with the recently deceased French composer and conductor Pierre Boulez, will lead a FREE “Breaking Ground” concert of pioneering music from the 17th, 19th, 20th and 21st centuries.
For more information and the complete program, go to:
At 3 p.m. in Mills Hall, the Wisconsin Brass Quintet will give a FREE concert.
For more information about the group and the program, go to:
By Jacob Stockinger
The Ear has received the following announcement from UW Opera Props, the support organization for University Opera at the University of Wisconsin-Madison School of Music.
We invite you to attend a benefit concert showcasing the University of Wisconsin-Madison opera program’s talented students, along with special guest artist, distinguished alumna and mezzo-soprano, Lindsay Metzger (below top) who will be accompanied by pianist Daniel Fung (below bottom).
Please join us for a program of songs and arias, followed by a reception. Enjoy conversation with the singers, faculty and other musical friends, along with light refreshments including artisanal cheeses, fruit, wine, juices and chocolatier Gail Ambrosius’s delicious creations.
The concert is this Sunday, Sept. 18, at 3 p.m. followed by light refreshments and conversation. Sorry, no word about the composers or works to be sung.
The concert will take place in the Landmark Auditorium at the Frank Lloyd Wright-designed First Unitarian Society of Madison Meeting House, 900 University Bay Drive, Madison
Admission is a contribution of $25 in advance ($30 at the door), and $10 for students. All proceeds go to UW Opera student scholarships.
For more information, visit:
Lindsay Metzger (below) hails from Mundelein, Illinois. She spent two summers as an apprentice artist with Des Moines Metro Opera and was a studio artist in 2014-15 with Milwaukee’s Florentine Opera (Gannett in Donizetti’s L’elisir d’amore).
Among her other recent portrayals have been Daphne/Marc-Antoine Charpentier’s La descente d’Orphée aux enfers (Chicago’s Haymarket Opera Company), Cherubino in Mozart’s Le nozze di Figaro (La Musica Lirica in Novafeltria, Italy), Nella in Puccini’s Gianni Schicchi (DuPage Opera Theatre), the title role in Handel’s Ariodante, Béatrice in Berlioz’ Béatrice et Bénédict, and Beppe in Mascagni’s L’amico Fritz (all at the University of Wisconsin-Madison).
With Lyric Unlimited’s community-engagement program “Opera in the Neighborhoods,” Metzger was heard in the title role in Rossini’s La Cenerentola.
A soloist featured frequently in numerous Chicago-area venues, Metzger debuted with the Grant Park Symphony singing the soprano solo in Gabriel Fauré’s Requiem.
She was awarded the Paul Collins Fellowship from University of Wisconsin-Madison, the Virginia Cooper Meier Award from the Musicians’ Club of Women, and an Encouragement Award from the Metropolitan Opera National Council District Auditions.
Metzger is an alumna of the University of Wisconsin-Madison and DePaul University. Last season at Lyric she was featured in Mozart’s Le nozze di Figaro (debut) and Richard Strauss’ Der Rosenkavalier. In the 2016-17 season the mezzo-soprano will perform in Massenet’s Don Quichotte and Bizet’s Carmen.