|By Jacob Stockinger
Here is the latest on a popular tradition to kick off the New Year:
The Vienna Philharmonic’s annual New Year’s Day concert, From Vienna: The New Year’s Celebration 2017,” conducted for the first time by Gustavo Dudamel, will air on Great Performances on PBS stations across the country on Sunday, January 1.
It will air at 10 a.m.-noon on Wisconsin Public Radio, and at 6:30-8 p.m. on Wisconsin Public Television. (At noon, WPR will broadcast another celebratory work for the New Year: the Madison Symphony Orchestra under John DeMain performing the Ninth Symphony “Choral,” with its “Ode to Joy” finale, by Ludwig van Beethoven,)
For more than 75 years, the Vienna Philharmonic has ushered in the New Year with the light and lively, quintessentially Austrian music of Johann Strauss, his family, and their contemporaries, performed at the Golden Hall of Vienna’s Musikverein.
Since 1987, the concert has featured a different conductor each year, and this year Mr. Dudamel, 35, will be the youngest-ever to lead the popular and festive New Year’s concert.
The Vienna Philharmonic’s New Year’s Day concert is broadcast in over 90 countries and will have an estimated 50 million television viewers, making it the largest worldwide event in classical music.
Among traditional waltzes, polkas and other works, Mr. Dudamel will conduct Strauss’s famous “Blue Danube” Waltz on the occasion of the work’s 150th anniversary, and pieces by Otto Nicolai, founder of the Vienna Philharmonic.
Host Julie Andrews (below) will also take the viewer to picturesque Viennese landmarks, including Otto Nicolai’s study in the Haus der Musik, and will join Mr. Dudamel in visiting the student musicians of Superar, the El Sistema organization for Central Europe. Mr. Dudamel was famously a product of the El Sistema program in his native Venezuela, and this broadcast will offer a special look at these talented musicians of tomorrow.
While the Vienna Philharmonic, which celebrates its 175th anniversary this year, honors tradition and history with the New Year’s concert, it also looks to the future with the debut of its new concert attire designed exclusively for the orchestra by Dame Vivienne Westwood and Andreas Kronthaler.
Chairman of the Vienna Philharmonic, Andreas Großbauer, recognizes the importance of linking the past and present and uniting practicality with modern elegance. “In the age of video streaming and HD broadcasts, it is increasingly important how an orchestra appears onstage. In Vivienne Westwood and Andreas Kronthaler, we have found a design duo which suits the high standards of the Vienna Philharmonic brand.”
The new philharmonic suit features an updated design to the traditional garments worn by the orchestra. Customarily, men of the Philharmonic have performed in the Stresemann, a semi-formal suit with striped formal trousers, grey waistcoat and necktie for daytime concerts and a formal tailcoat, striped formal trousers, and white waistcoat and bow tie for evening performances, while the women have chosen their own formal black concert attire.
Vivienne Westwood and her design partner and husband, Andreas Kronthaler, who are known for their nonconformist yet historically inspired fashion, have redesigned and modernized the traditional day and evening suits with contemporary functionally in mind. The designers have also created a first-ever Philharmonic ladies suit for both day and evening concerts.
The new suits are tailored in the traditional cut of Savile Row Bespoke and feature a modern black cutaway jacket, worn in lieu of the tailcoat, paired with the traditional striped trousers and waistcoat.
For day concerts, the men will wear a silver-grey waistcoat and tie embroidered with the Vienna Philharmonic logo, and for evening concerts, a white waistcoat and bow tie inspired by a classic white-tie suit. The ladies suit features a black collarless coat and slim-cut trousers. For day concerts, the suit is paired with a silver-grey top that complements the men’s day suits, and for evening, a black silk top.
Here is a summary and the playlist:
Vienna Singverein Concert Choir
Gustavo Dudamel, Conductor
Julie Andrews, Host
FRANZ VON SUPPE Queen of Spades, Overture (Pique Dame)
C.M. ZIEHRER Right This Way, Waltz – Ballet
OTTO NICOLAI Moon Chorus
OTTO NICOLAI The Merry Wives of Windsor
JOHANN STRAUSS Pepita Polka
JOHANN STRAUSS The Extravagant, Waltz
JOHANN STRAUSS, SR Indian Galop
JOSEF STRAUSS The Nasswald Forest Maiden, Ländler
JOHANN STRAUSS Let’s Dance, Quick Polka – Ballet
JOHANN STRAUSS A Thousand and One Nights, Waltz
JOHANN STRAUSS Tick Tock Quick Polka
EDUARD STRAUSS With Pleasure! Quick Polka
JOHANN STRAUSS On the Beautiful Blue Danube, Waltz
JOHANN STRAUSS, SR Radetzky March
By Jacob Stockinger
This posting is both a news story and a holiday gift guide of classical recordings you might like to give or get.
It features the classical music nominations for the 59th annual Grammy Awards that were just announced this past week.
As you can see, several years ago, the recording industry decided that the Grammys should put more emphasis on new music and contemporary composers as well as on less famous performers and smaller labels as well as less well-known artists and works. You don’t see any music by Bach, Beethoven or Brahms this year, although you will find music by Mozart, Handel, Schumann and Dvorak. And clearly this is not a Mahler year
The winners will be announced on a live TV broadcast on Sunday night, Feb. 12, on CBS.
“Corigliano: The Ghosts of Versailles” — Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra)
“Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement” — Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot, Augustin Hadelich & Seattle Symphony)
“Reflections” — Morten Lindberg, engineer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)
“Shadow of Sirius” — Silas Brown & David Frost, engineers; Silas Brown, mastering engineer (Jerry F. Junkin & the University Of Texas Wind Ensemble)
“Shostakovich: Under Stalin’s Shadow: Symphonies Nos. 5, 8 & 9” — Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)
PRODUCER OF THE YEAR, CLASSICAL
Marina A. Ledin, Victor Ledin
Judith Sherman (pictured below with the Grammy Award she won last year. She came to Madison to record the double set of new commissions for the centennial of the University of Wisconsin-Madison’s Pro Arte Quartet)
Robina G. Young
BEST ORCHESTRAL PERFORMANCE
“Bates: Works for Orchestra” — Michael Tilson Thomas, conductor (San Francisco Symphony). You can hear excerpts in the YouTube video at the bottom.
“Ibert: Orchestral Works” — Neeme Järvi, conductor (Orchestre De La Suisse Romande)
“Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100” — Mariss Jansons, conductor (Royal Concertgebouw Orchestra)
“Rouse: Odna Zhizn; Symphonies 3 & 4; Prospero’s Rooms” — Alan Gilbert, conductor (New York Philharmonic)
“Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9” (below) — Andris Nelsons, conductor (Boston Symphony Orchestra)
BEST OPERA RECORDING
“Corigliano: The Ghosts of Versailles” (below) — James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus)
“Handel: Giulio Cesare” — Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico)
“Higdon: Cold Mountain” — Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program for Singers)
“Mozart: Le Nozze Di Figaro” — Yannick Nézet-Séguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra of Europe; Vocalensemble Rastatt)
BEST CHORAL PERFORMANCE
“Himmelrand” — Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble)
“Janáček: Glagolitic Mass” — Edward Gardner, conductor; Håkon Matti Skrede, chorus master (Susan Bickley, Gábor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir of Collegium Musicum & Edvard Grieg Kor)
“Lloyd: Bonhoeffer” — Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; the Crossing; below)
“Penderecki Conducts Penderecki, Volume 1” — Krzysztof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir)
“Steinberg: Passion Week” — Steven Fox, conductor (The Clarion Choir)
BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE
“Fitelberg: Chamber Works” — ARC Ensemble
“Reflections” — Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene
“Serious Business” — Spektral Quartet
“Steve Reich” — Third Coast Percussion (below)
“Trios From Our Homelands” — Lincoln Trio
BEST CLASSICAL INSTRUMENTAL SOLO
“Adams, J.: Scheherazade.2” — Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony)
“Daugherty: Tales of Hemingway” — Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony)
“Dvořák: Violin Concerto & Romance; Suk: Fantasy” — Christian Tetzlaff; John Storgårds, conductor (Helsinki Philharmonic Orchestra)
“Mozart: Keyboard Music, Vols. 8 & 9” – Kristian Bezuidenhout
“1930’s Violin Concertos, Vol. 2” – Gil Shaham; Stéphane Denève, conductor (The Knights & Stuttgart Radio Symphony Orchestra)
BEST CLASSICAL SOLO VOCAL ALBUM
“Monteverdi” — Magdalena Kožená; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel)
“Mozart: The Weber Sisters” — Sabine Devieilhe; Raphaël Pichon, conductor (Pygmalion)
“Schumann & Berg” — Dorothea Röschmann; Mitsuko Uchida, accompanist
“Shakespeare Songs” — Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker)
“Verismo” — Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia)
BEST CLASSICAL COMPENDIUM
“Daugherty: Tales of Hemingway; American Gothic; Once Upon A Castle” — Giancarlo Guerrero, conductor; Tim Handley, producer
“Gesualdo” — Tõnu Kaljuste, conductor; Manfred Eicher, producer
“Vaughan Williams: Discoveries” — Martyn Brabbins, conductor; Andrew Walton, producer
“Wolfgang: Passing Through” — Judith Farmer & Gernot Wolfgang, producers; (Various Artists)
“Zappa: 200 Motels – The Suites” — Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers
BEST CONTEMPORARY CLASSICAL COMPOSITION
“Bates: Anthology of Fantastic Zoology” — Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra)
“Daugherty: Tales of Hemingway” — Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony)
“Higdon: Cold Mountain” — Jennifer Higdon, composer; Gene Scheer, librettist (Miguel Harth-Bedoya, Jay Hunter Morris, Emily Fons, Isabel Leonard, Nathan Gunn & the Santa Fe Opera)
“Theofanidis: Bassoon Concerto” — Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia)
“Winger: Conversations With Nijinsky” — C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)
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 cellist Leonardo Altino playing Suites Nos. 1, 5 and 6 for unaccompanied cello by Johann Sebastian Bach. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
WYSO will kick-off its 51st season with the Evelyn Steenbock Fall Concerts on this Saturday, Nov. 12, and next Saturday, Nov. 19. Nearly 500 young musicians will display their talents to the community during the concerts, which are dedicated to music teachers.
Kenneth will be playing cello and Cynthia will be conducting in the Cello Concerto by British composer Philip Sawyers. (You can hear Kenneth Woods conduct the opening movement of the cello concerto in the YouTube video at the bottom.)
The Youth Orchestra, under the direction of James Smith, will also be playing Symphony No. 2 by Ralph Vaughan Williams and Overture to the opera “Der Freischuetz” by Carl Maria von Weber.
Cynthia Woods (below) is currently the Music Director of the Cambridge Symphony Orchestra and the conductor for the Youth Preparatory Orchestra at the New England Conservatory, where she serves on the violin, chamber and conducting faculty.
Along with her conducting activities, Ms. Woods is also a frequent speaker and writer. She has been a guest lecturer at institutions such as MIT and the Longy School of Music of Bard College, a panelist for radio shows such as WGBH’s Callie Crossley, and a frequent contributor to The Boston Herald’s State of the Arts blog. Cynthia was a member of WYSO from 1984–1989 in Concert, Philharmonia and Youth Orchestra.
For more background about Cynthia Woods, go to:
Kenneth Woods (below) is currently the Artistic Director and Principal Conductor of the English Symphony Orchestra. As a cello soloist and chamber musician, Wood’s collaborators have included members of the Toronto, Chicago and Cincinnati symphonies, the Minnesota, Gewandhaus and Concertgebouw orchestras and the La Salle, Pro Arte, Tokyo and Aubudon String Quartets.
He also is currently cellist of the string trio Ensemble Epomeo, with whom he performs regularly in the UK, Europe, and the USA. He writes a popular blog, “A View From the Podium.” Kenneth was a member of WYSO from 1980–1986 in Concert, Philharmonia and Youth Orchestra. He also studied cello at the University of Wisconsin-Madison School of Music with Parry Karp, of the Pro Arte Quartet.
For more background and an interview with Kenneth Woods, go to:
Schedule and Programs
November 12, 2016 – 1:30 P.M., Mills Hall
November 12, 2016 – 4 P.M., Mills Hall
CONCERT ORCHESTRA (below)
November 19, 2016 – 7 P.M., River Arts Center
YOUTH ORCHESTRA (below)
The Evelyn Steenbock Fall Concerts will be held in Mills Concert Hall in the UW Humanities Building, 455 N. Park Street, Madison, and at the River Arts Center, 105 Ninth St. Prairie du Sac, Wisconsin.
WYSO concerts generally run about an hour and a half in length, providing a great orchestral concert opportunity for families.
Tickets are available at the door, $10 for adults and $5 for youth 18 and under.
This project is supported by Dane Arts with additional funds from the Evjue Foundation, Inc., the charitable arm of The Capital Times. This project is also supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
By Jacob Stockinger
The Ear has received the following announcement from the Madison Symphony Orchestra:
The Madison Symphony Orchestra (MSO, below), with Music Director John DeMain conducting, opens its 91st season – and its 23rd season under Maestro DeMain — with three works by 20th-century composers.
Science, music and stunning visuals come together with Gustav Holst’s The Planets accompanied by a spectacular, high-definition film featuring NASA imagery. (Below is a photo of Jupiter, “The Bringer of Jollity” to Holst. The musical depiction of Jupiter — performed by James Levine conducting the Chicago Symphony Orchestra — is in the YouTube video at the bottom.
The concerts are in Overture Hall on this Friday., Sept. 23, at 7:30 p.m.; Saturday, Sept. 24, at 8 p.m.; and Sunday, Sept. 25, at 2:30 p.m.
A national hero in his homeland, Enescu rarely included hints of his Romanian heritage in his music, except when he composed the Romanian Rhapsodies as a teenager. Romanian Rhapsody No. 1 captures a series of Romanian folk songs, including melodies of increasingly wild Gypsy dances. This is MSO’s first performance of this work.
In the Chaconne, American composer John Corigliano (below) draws the audience in with a foreboding and haunting signature tune, which he wrote for the powerful film about music, The Red Violin. His film score for the movie earned him an Academy Award in 1999 for his original music. This will be the first time MSO has performed this Oscar-winning work, and features MSO Concertmaster Naha Greenholtz.
Greenholtz (below) has captivated audiences as Concertmaster of the MSO and the Quad City Symphony Orchestra. A Canadian violinist, Greenholtz was born in Kyoto, Japan, where she began her violin studies at age three.
Since her solo debut at 14, she continues to perform internationally, most notably with: the Oregon Symphony, Calgary Philharmonic, National Ballet of Canada, Omaha Symphony, and Memphis Symphony.
The Planets is known as Holst’s most popular work. The musical movements were inspired by characteristics connected with astrology’s seven planets. For instance, ominous sounding Mars, the Bringer of War, is followed by the calmly flowing Venus, the Bringer of Peace. (Below top is Mars and below bottom is Venus.)
The performances will be accompanied by a high-definition film projecting celestial images above the main stage.
According to New York Times senior critic Anthony Tommasini, the film shows “photographs from rovers and satellites, radar images and computer-generated graphics … combining to give the audience the impression of circling individual planets and sometimes flying over their awesomely barren landscapes.” (Below is a close-up of the surface of Mars.)
The Madison Symphony Women’s Chorus (below top, in a photo by Greg Anderson), under the direction of Beverly Taylor, will be part of the final movement of The Planets, and the Overture Concert Organ (below bottom) is featured at several moments in the piece.
This is the first time MSO’s performance of The Planets will be accompanied by the high-definition film.
One hour before each performance, Randal Swiggum, the artistic director of the Elgin Youth Symphony Orchestra Artistic, 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 at: http://www.allsenmusic.com/NOTES/1617/1.Sep16.html or madisonsymphony.org/planets.
Before all of the concerts and at intermission, Friends of University of Wisconsin–Madison Astronomy will have an interactive display in the lobby concertgoers can experience.
The Symphony recommends that 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 and the astronomy exhibit (free for all ticket-holders).
Single Tickets are $16 to $87 each and are on sale now at madisonsymphony.org/planets, 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, madisonsymphony.org/groups.
Student rush tickets can be purchased in person on the day of the concert at the Overture Box Center Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: 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 September concerts is provided by: NBC15, Diane Ballweg, Capitol Lakes, Friends of University of Wisconsin–Madison Astronomy, The Gialamas Company, Inc., and Nicholas and Elaine Mischler. Additional funding is provided by: Analucia and Mark Allie, for their beloved “Doc” Richard Greiner; Judith and Nick Topitzes, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
A REMINDER: Tonight at 8 p.m., Wisconsin Public Television will air a one-hour broadcast of the 50th anniversary concert in Overture Hall by the various groups in the Wisconsin Youth Symphony Orchestras.
For more information, here is a link:
By Jacob Stockinger
The Ear has received the following news release, which should interest a lot of local arts fans. Unfortunately, it contains some grant jargon. But the bottom line is clear: Both the Wisconsin Chamber Orchestra and Madison Ballet will use the money see if and how they can share their resources and thereby become more secure, efficient and financially stable. You may recall that Madison Ballet had to abruptly cancel its past season when donations for its production of “Peter Pan” fell short:
The Wisconsin Chamber Orchestra and Madison Ballet have been awarded a $30,000 Community Impact grant from Madison Community Foundation to explore an innovative and shared resource business model for the two organizations.
The award will fund a comprehensive feasibility study that will assess the resources of each organization and identify opportunities for efficiency and growth.
Madison Ballet and the Wisconsin Chamber Orchestra, both well-established arts organizations, have long been providing world-class performances and creative programming in the community.
But as competition for non-profit funding increases, these two organizations are looking for creative business solutions to maintain excellence, support program growth, and ensure long-term sustainability.
“We are so pleased that Madison Community Foundation is supporting this project,” says Madison Ballet’s General Manager Gretchen Bourg. “All businesses—especially those in the non-profit sector—are realizing the need for new models for success and sustainability. This study is an exciting first step toward a truly innovative way of serving our community.”
The feasibility study represents Phase 1 of a larger project that could result in a business model in which the Wisconsin Chamber Orchestra and Madison Ballet share key administrative functions, minimizing redundant costs and leveraging each organization’s unique strengths.
Each would retain the signature artistic and outreach programs for which they are known.
Mark Cantrell, CEO of the WCO says “This grant provides a wonderful opportunity to explore ways for our two organizations to come together to help build a better community.”
“I have worked together with Earle [Smith] for the past 16 years. We arrived in Madison within a year of each other and have always maintained an excellent artistic and working relationship,” says Andrew Sewell (below), music director of the WCO. “Our two organizations have performed together for their annual Nutcracker performances, as well as collaborated on special projects such as the Halloween concert, Concerts on the Square® and most recently the 10th anniversary concert of Overture Center. I’m excited to explore the benefits this unique arts organizational model may represent for both groups.”
Madison Ballet’s Artistic Director, W. Earle Smith (below), echoes support for the project: “I am very grateful to the Madison Community Foundation for this opportunity to find better ways to engage our audiences and support our artists.”
The boards of directors of Madison Ballet and Wisconsin Chamber Orchestra expect to select a consulting firm to conduct the study by the end of May. Data from the study will be used to identify next steps in strategic planning for long-term sustainability.
The Wisconsin Chamber Orchestra, led by Maestro Andrew Sewell, is a vibrant and thriving professional orchestra dedicated to advancing Wisconsin communities through the transformative power of music.
The WCO performs for over 240,000 people per year, including Concerts on the Square (below)®, Masterworks, Holiday Pops, Handel’s Messiah, Youth Concerts, and other performances across the state. For more information, visit wcoconcerts.org.
Madison Ballet touches the lives of 50,000 individuals in the community each year through engaging outreach programs and unforgettable performances.
Its annual presentation of The Nutcracker remains an essential part of many families’ holiday traditions, and it has broken new ground with innovative productions like the original rock ballet, Dracula.
By Jacob Stockinger
The Ear has received the following note from Edgewood College (below):
The Edgewood Chamber Orchestra, under the direction of Blake Walter (below, in a photo by John Maniaci) will perform a concert on this Sunday, February 21 at 2:30 p.m. in St. Joseph Chapel, 100 Edgewood College Drive.
Included on the program are: the Secret Marriage Overture by Domenico Cimarosa; the incidental music from “Kuolema” by Jean Sibelius (heard at bottom in as YouTube video); the ballet suite from “Le Roi s’amuse” (The King Has Fun) by Leo Delibes, and the Symphony No. 38 in D Major, K. 504, “Prague,” by Wolfgang Amadeus Mozart.
Founded in 1993 with a generous endowment established by benefactors William O. Hart and Vernon Sell, the Edgewood Chamber Orchestra fulfills a unique role in the Madison community, providing high-quality performances and unique educational opportunities.
The ensemble is the permanent, in-house chamber orchestra of the College, and is known for featuring world-class soloists and distinctive programming.
Admission for this event is $5, with tickets available at the door, and is free with an Edgewood College ID.
ALERT: The Ear’s friend and radio host colleague Rich Samuels writes: “I’ll be airing the performance of Felix Mendelssohn‘s Octet in E-flat Major, Op. 20, by the Willy Street Chamber Players (below) on this Thursday morning (Dec. 31) at 7:14 on my “Anything Goes” broadcast on WORT-FM 88.9. (It was recorded July 31, 2015 by WORT at Madison’s Immanuel Lutheran Church). I think this was the high point of the ensemble’s inaugural season. It’s nice to know WSCP will be back next summer and that they have a special event scheduled on Jan. 23 and 24.”
By Jacob Stockinger
Both organizations are outstanding friends of classical music, although sometimes The Ear wishes there was more music and fewer British mysteries — which this year interfere with arts programming and push music broadcasts later.
NEW YEAR’S EVE
On Thursday night from 10 to 11:30 p.m., Wisconsin Public Television will air an all-French program from New York City with Alan Gilbert (below top) conducting the New York Philharmonic and guest soloist mezzo-soprano Susan Graham (below bottom). “Live From Lincoln Center” will broadcast “La Vie Parisienne” (Parisian Life) program includes music by Jacques Offenbach and Camille Saint-Saens.
The Ear likes the program and wonders if it was decided before or after the recent terrorist attacks in Paris.
However, The Ear is very disappointed by the late hour of the airing. It would be better if young people and children could hear and see it. He would much prefer prime-time broadcasts from 8 to 9:30 p.m. or maybe 9 to 10:30 p.m.
What do readers think?
NEW YEAR’S DAY
On Friday morning from 10 a.m. to noon, Wisconsin Public Radio will air a broadcast from Vienna’s Golden Hall (below) of “New Year’s Concert From Vienna,” with waltzes and polkas by the Strauss family as well as some other music.
This is the 75th anniversary of the event that will be broadcast to more than 90 countries and seen by some 50 million people. It is billed as the world’s largest classical music event.
Latvian conductor Mariss Jansons, who leads the Concertgebouw of Amsterdam and appears regularly with major orchestras around the world, is returning for his third stint as the conductor of the Vienna Philharmonic for this program.
Here is a link with more information, which is hard and confusing to find on the website (look under Seasonal Programming, not the regular schedule):
In the afternoon from 1:30 to 3 p.m. and in the evening form 10 to 11:30 p.m., the 32nd annual television version of “Great Performances” will be broadcast by Wisconsin Public Television. Actress Julie Andrews (below) returns to host for the seventh time, and dancers from the Vienna State Ballet will be featured along with great landscape shots of Vienna and its historical landmarks.
And of course there will be the final clap-along encore: The Radetzky March, which you can hear conducted by Daniel Barenboim in a YouTube video at the bottom.
Once again, The Ear recalls that it used to air at a much earlier, more family-friendly hour.
For more information, go to:
Maybe next year will see earlier broadcast times and more information about the programs and broadcast’s duration on the web and the regular radio schedule.
By Jacob Stockinger
The semester at the University of Wisconsin-Madison School of Music is just about over. Winter Break starts next week and lasts until mid-January.
Performances are just about over as students focus on final papers, final exams and degree recitals.
But The Ear went to a couple of performances by several groups that he thinks deserve shout-outs.
Too bad the audience wasn’t larger. The program was such a welcome relief from the hectic nature of the holidays. It proved to be a parenthesis of calm amid so much loudness and busyness.
The program featured Igor Stravinsky’s Neo-Classical ballet suite “Apollo” (Apollon, Musagete or Master of the Muses) on the first half. The second half was the “String Suite” by Czech composer Josef Suk, who was the student and eventual son-in-law of Antonin Dvorak. Historically, it may be a second-tier work, but it certainly has its lovely moments. And the overall pastoral mood was perfect for the occasion.
These are both deceptive scores that sound easy and transparent but are difficult to play and are loaded with many subtleties. The UW Chamber Orchestra played extraordinarily well and thoroughly convincingly.
One last thing to praise: Each piece lasted about 30 minutes. Add in the intermission and the whole program clocked in at about 90 minutes. It started at 7:30 p.m. and The Ear was home by just after 9.
That shorter concert time was refreshing and welcome, and allowed me to do things after the performance. In some important ways, shorter does not mean less!
UW CHORAL UNION and UW SYMPHONY ORCHESTRA with TYANA O’CONNOR
A week ago Saturday night, on Dec. 11, The Ear went to the all-20th century program performed by the campus and community UW Choral Union and the UW Symphony Orchestra with graduate student and guest soprano soloist Tyana O’Connor, all under the baton of Beverly Taylor.
The program featured the Overture to “The Wasps” by Ralph Vaughan Williams; the Symphony of Psalms by Igor Stravinsky; and the eminently listenable Gloria by Francis Poulenc, which you can hear in a YouTube video at the bottom.
It was an original and engaging program, one that possessed a certain joy that wasn’t ruined even by the ticketing fiasco and by the long wait to get into the hall.
That meant it worked well with the holidays, but not in the obvious way that certain oratorios like “Messiah” by George Frideric Handel or cantatas by Johann Sebastian Bach do. And all parties performed very well.
Here is what choral director Beverly Taylor had to say about the program in an interview with The Ear:
Special notice goes to the winds and brass (below) of the UW Symphony Orchestra, which replace the upper string (violins and violas) in the Stravinsky’s score. They performed outstandingly, often with the mastery of professionals, in a score that is thorny with polyrhythms and dissonances.
And even though I had heard soprano soloist Tyana O’Connor in this semester’s Opera Scenes, I was unprepared for the power of her voice in the Poulenc. Perhaps she was sick earlier, or under-rehearsed; or maybe she didn’t want to overwhelm her duet partner; or maybe her strong and beautiful voice was simply swallowed up by the acoustics of Music Hall. Whatever the case, she was terrific in this performance and easily sang over the tight orchestra and the well prepared chorus without straining.
So thanks you to all these musicians, and to so many other student performers, both singers and instrumentalists, who gave The Ear so many memorable and moving moments during the past semester and will do so again this coming semester.
Have a fine Winter Break, all of you!
You have earned it.