The Well-Tempered Ear

Classical music: Saturday afternoon, Live From the Met in HD closes this season with an acclaimed production of “Dialogues of the Carmelites.” Here is a background story, two rave reviews, and next season’s 10 operas

May 10, 2019
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ALERT:The Brass Choirs of the Wisconsin Youth Symphony Orchestras will present an afternoon of brass music this Saturday afternoon, May 11, at 2:30 p.m. in Mills Concert Hall, 455 North Park Street, in Madison. Directed by Tom Curry, the program features brass musicians from WYSO’s Concert, Philharmonia and Youth Orchestras. The concert is FREE and OPEN TO THE PUBLC. Music to be played is by Johann Sebastian Bach, George Frideric Handel, Giovanni Gabrieli, Charles Gounod, Edward Elgar, Paul Hindemith, Alan Hovahaness and Karel Husa.

CORRECTION: The Madison Youth Choirs will perform its “Legacy” concerts this weekend in the Capitol Theater of the Overture Center on Saturday and Sunday — NOT Friday, as mistakenly listed and then corrected in the original post, which is below: https://welltempered.wordpress.com/2019/05/08/classical-music-the-madison-youth-choirs-will-explore-the-theme-of-legacy-in-three-concerts-this-saturday-and-sunday-in-the-capitol-theater-of-the-overture-center/

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

This Saturday afternoon, May 11, the last production of this season’s “Live From the Met in HD” series, broadcast worldwide via satellite to cinemas, is Francis Poulenc’s “Dialogues of the Carmelites.”

By all accounts, it would be hard to end on a higher, stronger or more darkly dramatic note, given the outstanding music and performance of the score as well as the superb acting. (There is a brief preview of short scenes in the YouTube video at the bottom.)

The world premiere of the opera took place in 1957 at La Scala in Milan, Italy. One of the most successful operas of the later decades of the 20th century,  “Dialogues of the Carmelites” is a rare case of a modern work that is equally esteemed by audiences and experts, according to program notes from the Metropolitan Opera.

The opera focuses on a young member of the order of Carmelite nuns, the aristocratic Blanche de la Force, who must overcome a pathological timidity in order to answer her life’s calling. The score reflects key aspects of its composer’s personality: Francis Poulenc (below) was an urbane Parisian with a profound mystical dimension, and the opera addresses both the characters’ internal lives and their external realities.

The opera takes place between 1789 and 1794 in Paris and in the town of Compiègne in northeastern France, the site of the Carmelite nuns’ convent.

Its historical basis is the martyrdom of a group of 16 Carmelite nuns and lay sisters from Compiègne, who chose to offer themselves as victims for the restoration of peace to France during the French Revolution.

The Met uses the classic John Dexter production of Poulenc’s devastating story of faith and martyrdom.

Mezzo-soprano Isabel Leonard (below right) sings the touching role of Blanche and soprano Karita Mattila (below left), a legend in her own time, returns to the Met as the Prioress.

The conductor for the performance is the Met’s highly acclaimed new music director Yannick Nézet-Séguin, who also leads the Philadelphia Orchestra and the Metropolitan Orchestra of Montreal.

The high-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at noon and runs until 3:10 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)

The encore HD showings are next Wednesday, May 15, at 1 p.m. and 6:30 p.m.

The opera will be sung in French with supertitles in English, German and Spanish.

Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.

The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the far west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.

Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:

https://www.movietickets.com/movies

Here is a link to the Metropolitan Opera’s website where you can find the titles, dates, casts, production information and video clips of all 10 productions this past season — PLUS an announcement, with dates and titles, for next season’s 10 productions (which feature five new productions but no Verdi):

https://www.metopera.org/season/in-cinemas/

Here is a background story that focuses on the French-Canadian conductor Yannick Nézet-Séguin, who leads the orchestra in this production and is the new music director of the Metropolitan Opera:

https://www.nytimes.com/2019/05/02/arts/music/met-opera-dialogues-des-carmelites.html

Here is a rave review of “Dialogues of the Carmelites” by senior classical music critic Anthony Tommasini for The New York Times:

https://www.nytimes.com/2019/05/05/arts/music/dialogues-des-carmelites-met-opera-review.html

And here is another rave review from New York Classical Review:

http://newyorkclassicalreview.com/2019/05/met-closes-season-with-a-riveting-devastating-carmelites/

Here are links to a synopsis and program notes:

https://www.metopera.org/discover/synopses/dialogues-des-carmelites/

https://www.metopera.org/season/2018-19-season/dialogues-des-carmelites/

And here is a Wikipedia history of the hi-def broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.

https://en.wikipedia.org/wiki/Metropolitan_Opera_Live_in_HD


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Classical music: The Madison Symphony Orchestra finishes its season with first-time performances of a piano concerto by Mozart and a Slavic Mass by Janacek

May 3, 2018
1 Comment

By Jacob Stockinger

This weekend the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) concludes its current season with “Mass Appeal,” a program that includes two first-ever performances.

One work is the Piano Concerto No. 22 in E-Flat Major, K. 382, with Christopher O’Riley as the soloist. The other work is the massive “Glagolitic Mass” by the Czech composer Leos Janacek.

The concerts are in Overture Hall of the Overture Center, 201 State St., on Friday, May 4, at 7:30 p.m.; Saturday, May 5, at 8 p.m.; and Sunday, May 6, at 2:30 p.m.

Tickets cost $18-$90. Ticket information is lower down.

MSO music director John DeMain (below, in a photo by Prasad) had the following comments about the program:

“The concert opens with the exhilarating Overture to the opera Don Giovanni by Wolfgang Amadeus Mozart,

“Janacek’s monumental Glagolitic Mass is a very dramatic work. The soloists who are joining us will fill Overture Hall with voluptuous sound, and the Madison Symphony Chorus will bring its high level of professionalism, adding to the thrilling auditory experience that is so characteristic of Janacek. (NOTE: You can hear the dramatic and brassy opening of the Glagolitic Mass in the YouTube video at the bottom.)

“This work also features the organ in a movement all its own, and will give our audiences a chance to once again experience the beauty and power of the Overture Concert Organ as played by MSO’s Principal Organist Greg Zelek (below).”

“Mozart’s opera Don Giovanni was completed in 1787. Mozart’s musical genius is evident in the subtle shadings of darkness he injects into even the most outwardly cheerful moments of the overture — which was most recently performed by the MSO in 2003.

“Composed in December of 1785, Piano Concerto No. 22 was the first concerto by Mozart (below) to include clarinets, his favorite woodwind, in its scoring. The concerto is considered to be a particularly elegant work, filled with ornate, often complicated, writing for the soloist that carries a natural sense of aristocratic poise.

“The Glagolitic Mass, considered to be one of the century’s masterworks and Janacek’s finest choral work, has often been viewed as a celebration of Slavic culture. With text in Old Church Slavonic, the five movements correspond to the Roman Catholic Ordinary of the Mass, omitting “Dona nobis pacem” in the Agnus Dei.

“The piece begins and closes with triumphant fanfares dominated by the brass and prominently features the organ throughout.

“Janacek (below) wanted it to be a Mass “without the gloom of the medieval monastic cells in the themes, without the same lines of imitation, without the tangled fugues of Bach, without the pathos of Beethoven, without the playfulness of Haydn,” rather he talks of the inspiration of nature and language.

“Acclaimed for his engaging and deeply committed performances, pianist Christopher O’Riley (below, in a photo by Dan Williams) is known to millions as the host of NPR’s From the Top, which spotlights gifted young classical musicians.

“O’Riley’s repertoire spans a kaleidoscopic array of music from pre-baroque to present-day. He performs around the world and has garnered widespread praise for his untiring efforts to reach new audiences.

Christopher O’Riley has performed as a soloist with virtually all of the major American orchestras, including the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Chicago Symphony, National Symphony, and San Francisco Symphony. He last appeared with the Madison Symphony Orchestra in 1995, making for a highly anticipated return with his performance this season.

Soprano Rebecca Wilson (below, in a photo by Jeremy Lawson) has been praised as a “staggeringly talented singer” by St. Louis Magazine. She has appeared with Union Avenue Opera, in the role of Gutrune in Richard Wagner’s Götterdämmerung (Twilight of the Gods) and has performed throughout the Chicago area in many roles.

Hailed as possessing a voice of “spell-binding power and intensity” (The Register-Guard), mezzo-soprano Julie Miller (below, in a photo by Devon Cass) has appeared as a soloist with many orchestras and in many major concert halls across the country.

Tenor Rodrick Dixon (below, in a photo by Dan Demetriad) is a classical crossover artist who possesses a voice of extraordinary range and versatility. His body of work covers 25 years of television, recordings, live theater and concerts, including PBS Specials with tenors Victor Cook, and Thomas Young; “Hallelujah Broadway,” starring his wife, Alfreda Burke; the Miss World Pageant broadcast from China and Washington, D.C., on the “E” channel in 126 countries.

Dixon recently appeared in the annual Freedom Awards. His eclectic discography includes recordings for Sony BMG, EMI Records and Naxos.

Bass Benjamin Sieverding (below, in a photo by Lu Zang) has been recognized by critics nationwide for his “surprising depth” (Boulder Daily Camera), as well as his “natural gift for comedy” and “full, rich sound” (Ann Arbor Observer).

As an active soloist and recitalist, Sieverding performs both regionally and internationally. Sieverding is a three-time district winner and regional finalist of the Metropolitan Opera National Council Auditions.

The Madison Symphony Chorus (below, in a photo by Greg Anderson) gave its first public performance on February 23, 1928, and has performed regularly with the Madison Symphony Orchestra ever since. The chorus (below) is directed by MSO assistant conductor Beverly Taylor and is comprised of more than 150 volunteer musicians who come from all walks of life and enjoy combining their artistic talent.

One hour before each performance, Beverly Taylor (below), Director of Choral Activities and Professor at the UW-Madison,will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please view the Program Notes by MSO trombonist and retiring UW-Whitewater professor J. Michael Allsen at: http://www.allsenmusic.com/NOTES/1718/8.May18.html

The Symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk (free for all ticket-holders).

Single Tickets for the 2017–2018 season finale May concerts are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit https://www.madisonsymphony.org/groups.

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 $12 or $18 tickets. More information is at: https://www.madisonsymphony.org/studentrush

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.

Major funding for the May concerts is provided by Mirror 34 Productions, Fiore Companies, Inc., the Steinhauer Charitable Trust, Diane Ballweg, and WPS Health Solutions. Additional funding provided by Carla and Fernando Alvarado, Forte Research Systems and Nimblify, William Wilcox and Julie Porto, and Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


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