The Well-Tempered Ear
Classical music: The 7th annual Handel Aria Competition, which has grown in international stature and ties, will take place this Friday night at 7:30 p.m. in Mills Hall. Here are the 7 finalists and more information
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By Jacob Stockinger
The final round of the seventh annual Handel Aria Competition will be held on this Friday night, June 7, at 7:30 p.m. in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music. (Below is soprano Suzanne Karpov, the winner last year. You can hear her prize-winning performance in the YouTube video at the bottom. To whet your appetite, you can also find many other outstanding competition performances from past years on YouTube.)
As in recent years, the accompaniment will be provided by the Madison Bach Musicians (below), a period instrument Baroque music ensemble under the direction of harpsichordist Trevor Stephenson that uses historically informed performance practices.
Tickets will be $15 each for general admission, and will be available at the door.
The seven finalists were chosen from a field of 100 singers from five countries.
Three prizes are awarded by the guest judges, and the audience also gets to award its own prize — which doesn’t always agree with the judges.
The finalists are (below, from the upper left):
- Emily Yocum Black, soprano
- Jonathan Woody, bass-baritone
- Katherine Cecelia Peck, soprano
- Scott J. Brunscheen, tenor
- Sarah Moyer, soprano
- Morgan Balfour, soprano
- Ryne Cherry, baritone
To read extensive biographies about each of these singers, go to the competition’s home website.
There is other important news to announce. The competition has a new director, Wisconsin native Sarah Brailey (below), a soprano who is pursuing graduate work at the UW-Madison while maintaining a busy concert schedule and blossoming career. She is also a co-founder of the free monthly Just Bach midday concerts that started this past season.
Read her biography and be impressed: https://sarahbrailey.com/about/
This year also saw the competition foster music education with its first showcase concert by high school singers performing Handel arias at the Capitol Lakes Retirement Community near the Capitol Square.
Finally, an international link has been established.
There is a new cooperative initiative with the esteemed London Handel Festival! The first prize winner of this year’s Handel Aria Competition will be invited to give a lunchtime recital in London at Handel’s own parish church, St. George’s in Hanover Square, next spring. (It is contingent, of course, on being able to coordinate the singer’s schedule with that of the London Handel Festival.)
The winner will receive a travel grant of up to $750, and the London Handel Festival will provide a home stay, professional accompaniment and even a small stipend.
The Handel Festival in London, now in its 18th year, was one of the inspirations in starting the Handel Aria Competition in the U.S.
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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
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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/
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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: FREE Handel aria concert by area high school singers is this Saturday afternoon at Capitol Lakes
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, will feature flutist Marilyn Chohaney, of The Oakwood Chamber Players, with pianist Joseph Ross and clarinetist James Smith. The program is salon music by Arnold Bax, Florent Schmitt, Claude Debussy and Dmitri Shostakovich. Sorry, no titles have been given. The concerts run from 12:15 to 1 p.m.
By Jacob Stockinger
On this coming Saturday afternoon, Jan. 26 at 2 p.m. at Capitol Lakes Retirement Community, 333 West Main Street – two blocks off the Capitol Square — there will be an hour-long program featuring five young singers performing Handel arias.
There will also be a guest performance of a Handel duet by the Handel Aria Competition’s new artistic director Sarah Brailey (below top) and founding artistic director Cheryl Bensman-Rowe (below bottom).
You can hear Brailey, who won the Handel Aria Competition in 2015 and is now doing graduate work at the UW-Madison’s Mead Witter School of Music while pursuing her growing career, in the YouTube video at the bottom.
Karlos Moser, professor emeritus of the UW-Madison Mead Witter School of Music’s opera program, will accompany on the piano.
The performance is FREE and OPEN TO THE PUBLIC.
“Our goal is to encourage high school singers in the Madison, Wisconsin area to explore works from Handel’s vocal repertoire,” says Brailey.
All participating high school singers will receive a $100 Handel Aria Competition scholarship towards voice lessons or membership in the Madison Youth Choirs.
The high school singers who will perform are: Allana Beilke from Madison West High School; Daphne Buan from Verona Area High School; Ava DeCroix from Middleton High School; Cecilia League from McFarland High School; and Virginia Morgan from Madison West High School.
The students are all very active in the local arts scene and have participated in Wisconsin Badger All-State Choir, the Madison Opera Youth Apprentice Program, the Madison Symphony Chorus, the 50th anniversary Wisconsin School Music Association State Honors Treble Choir, and have won numerous awards in the National Association for Teachers of Singing Student Auditions and the State Solo and Ensemble Festival.
The program will include selections from operas and oratorios “Agrippina,” “Joshua,” “L’Allegro,” “Semele” and “Solomon.”
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Classical music: University Opera’s “Poppea” proves engaging, satisfying and timely. Performances remain this afternoon at 2 and Tuesday night at 7:30
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By Jacob Stockinger
Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the University Opera and filed this review, with rehearsal photos of students, who alternate roles in different performances, by Michael R. Anderson.
By Larry Wells
The only other time I attended a performance of Claudio Monteverdi’s “The Coronation of Poppea” (1643) was in the early 1980s at The San Francisco Opera. Despite the appearance of Tatiana Troyanos as Poppea, I remember being baffled by both the static nature of the music and the grandness of the production of what seemed should be an intimate opera.
That memory, in addition to my being a fan of 20th-century music, made attending the opening performance of University Opera’s performance Friday evening fraught with foreboding.
Despite the production being a lengthy three hours, I must praise the ensemble and director David Ronis — who never disappoints — for keeping my attention throughout the evening as I witnessed an intimate retelling of the passion between Nero and Poppea (portrayed below by Benjamin Hopkins and Anja Pustaver).
The opera was staged in Music Hall on a semicircular platform with the small instrumental ensemble directly to the front side of the audience. Stunning lighting and beautiful costumes made up for the minimal set. I was seated in the center of the first row of the balcony and must say that the sightlines and the sound were superb, even though it was very hot up there. (Below is the coronation scene with Hopkins and Pustaver in the center.)
The ensemble was conducted by Chad Hutchinson (below) whom I had heard conduct the UW Symphony Orchestra the night before in a rousing Tchaikovsky’s Fifth Symphony. The plucked instruments – harp, guitars, theorbo (I had to look it up, too) and harpsichords – were the backbone of the accompaniment. Strings and recorders completed the orchestra, and they were a delight to the ear – totally delicate and restrained.
The plot of the opera involves love triangles and political intrigue. The supertitles created by David Ronis (below, in a photo by Luke Dalalio) were amusing and colloquial. So much of the political posturing by Nero, whose main motivation is consistently self-interest, seemed to be pertinent to our time.
Nero was sung by countertenor Thomas Aláan who has a voice of great agility and expressiveness. His lover, Poppea, who yearns to be his empress, was sung by Talia Engstrom. Hers is a voice of great suppleness and flexibility. Throughout the evening she acted and sang with great subtlety, and I admired her performance very much.
I had been primed for the opera’s very final duet (heard in the YouTube video at the bottom) to be the most sublime moment of the opera, but I was much more aroused by the farewell duet between Nero and Poppea toward the end of the first act. It was highly charged vocally and erotic in its beauty and delivery.
Other characters included Seneca, portrayed by bass Benjamin Galvin (below left front, surrounded, from left to right, by Eliav Goldman, Jack Innes, Jiabao Zhang, Jake Elfner and Noah Bossert.) The lower range of his voice is profound and impressive.
Kevin Green (below right with Pustaver) portrayed the hapless Ottone, and his baritone voice shows promise.
It was, however, a night for the female singers. Cayla Rosché’s Ottavia was beautifully sung. She was completely believable as the spurned wife of Nero. Likewise Kelsey Wang’s Drusilla, Ottone’s second choice, was also wonderfully sung.
In the first scene we were introduced to Fortuna, Virtù and Amore who shone vocally. Throughout the remainder of the opera they silently hovered in the background as visual reminders of the forces driving the plots. Love, portrayed by Emily Vandenberg, eventually triumphed and got to sing a bit more.
There were moments of humor sprinkled throughout the production. I do not know how historically informed they were, but they did help to lighten the heaviness of the political intrigue and amorous complexities.
Some were perhaps unintentional – particularly the absurdly amusing wig that Fortuna wore. But Professor Mimmi Fulmer, in the small role as Nutrice, had a moment of complete hilarity. Her performance – both vocally and as an actress – underlined the contrast between earnestly serious, focused students and a relaxed, confident professional. (Below is the final scene with Nero and Poppea).
Altogether, it was a surprisingly engaging evening. There remain chances to see it this afternoon and Tuesday evening. It is not a brief or light evening of entertainment, but it is wholly engaging, thought provoking, timely and certainly something out of the ordinary.
Two more performances take place in Music Hall: today at 2 p.m. and Tuesday night at 7:30 p.m. For more information including how to get tickets – adults are $25, seniors are $20 and students are $10 — go to: https://www.music.wisc.edu/event/university-opera-monteverdis-the-coronation-of-poppea/
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Classical music: The international Handel Aria Competition launches a new showcase concert for local high school singers
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By Jacob Stockinger
The Ear has received the following announcement to post:
The Handel Aria Competition (below are the 2017 finalists) was established seven years ago to encourage emerging artists ages 18-35 from around the world to perform Handel’s vocal works.
We are pleased to introduce our newest project, the Handel Aria Competition High School Singers Showcase. Our goal with this event is to encourage high school singers in the Madison, Wisconsin area to explore works from George Frideric Handel’s extensive vocal repertoire.
We are inviting local voice teachers to help one or more of their students prepare a Handel aria or duet to be performed at the Handel Aria Competition High School Singers Showcase.
This concert, which will be free and open to the public, will take place at Capitol Lakes, 333 West Main Street in downtown Madison, at 2 p.m. on Saturday, Jan. 26, 2019. Piano accompaniment will be provided, and each singer will receive a $100 scholarship towards voice lessons.
Voice teachers with students who might be interested are encouraged to contact Handel Aria Competition Artistic Director Sarah Brailey (below) — herself a winner of the competition and now a graduate student at the UW-Madison — at handelariacompetition@gmail.com for more information. A limited number of performance slots are available on a first-come basis.
PLEASE NOTE: The 7th annual Handel Aria Competition will be Friday night, June 7, 2019 in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music. (Below is a soprano Suzanne Karpov, First Prize winner of the 2018 competition. Many other performances from past years are on YouTube.)
Auditions for the competition via YAP Tracker, an online way to audition for opera and vocal competition, will open soon – and the deadline will be April 1, 2019
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Classical music: A busy week at the UW-Madison brings an early opera and an all-Bernstein brass and winds program plus orchestral and choral concerts that will be LIVE-STREAMED
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By Jacob Stockinger
A busy week brings an early opera plus orchestral and choral concerts with live streaming to the UW-Madison’s Mead Witter School of Music.
Here are details:
On Thursday and Saturday nights, the UW-Madison Mead Witter School of Music will LIVE STREAM concerts by the UW Symphony Orchestra and the UW Concert Choir.
“We plan to do more live streaming of ensemble groups, especially large ones, and of non-ticketed events,” says concert manager Katherine Esposito. “It is more and more becoming the norm for music schools.”
Here is the all-purpose Live Streaming link where you can see what events will be live-streamed: https://www.music.wisc.edu/video/
At 7:30 p.m. on Thursday night, Nov. 15, in Mills Hall, the UW Symphony Orchestra (below top) will perform a FREE concert under director Chad Hutchinson (below bottom).
The program is American composer Jennifer Higdon’s “Blue Cathedral” and the Symphony No. 5 by Peter Ilyich Tchaikovsky.
For information about the program and the concert, go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-2/
On Saturday night, Nov. 17, at 8 p.m. in Mills Hall, the Concert Choir (below) will perform a FREE concert featuring the “Hymn to St. Cecilia” by British composer Benjamin Britten and “Lamentations of the Prophet Jeremiah” by Argentinian composer Alberto Ginastera as well as works by several other composers.
Conductors will be Beverly Taylor (below), the director of choral activities at the UW-Madison, and graduate student Michael Johnson.
For details about the program and individual performers, go to: https://www.music.wisc.edu/event/uw-concert-choir-2/
On Friday night, Nov. 16, at 7:30 p.m. in Music Hall there is the first of three performances by the University Opera of Italian baroque composer Claudio Monteverdi’s “The Coronation of Poppea,” directed by David Ronis (below, in a photo by Luke Delalio).
Other performances are on Sunday afternoon, Nov. 18, at 2 p.m. and Tuesday night, Nov. 20, at 7:30 in Music Hall. (Sorry, no photos of the UW production. But you can hear a famous duet from another professional production in the YouTube video below.)
Tickets are $25 for adults, $20 for seniors and $10 for students.
Chad Hutchinson will conduct the orchestra.
For more information about the plot of the opera, comments by the two singers playing Emperor Nero, the production and tickets, go to: https://www.music.wisc.edu/event/university-opera-monteverdis-the-coronation-of-poppea/
And here is a link to a press release about the opera: https://www.music.wisc.edu/2018/10/09/university-opera-poppea2018/
On Sunday night, Nov. 18, at 7 p.m. in Mills Hall, the UW Brass Ensemble and the Winds of Wisconsin join forces under conductor Scott Teeple for an FREE all-Leonard Bernstein (below) program. For details, go to: https://www.music.wisc.edu/event/uw-wind-ensemble-and-winds-of-wisconsin-joint-concert/
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Classical music: Soprano and past winner Sarah Brailey is the new artistic director of the Handel Aria Competition
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By Jacob Stockinger
The Ear has received the following announcement to post about a well-established and international annual event that takes place in Madison:
“We are delighted to announce that soprano Sarah Brailey is the new artistic director of the Handel Aria Competition.
“Sarah was one of our first finalists, in the second year of the event, and she won first prize the following year. Her wonderful performances of “M’adora l’idol mio” from Teseo (in the YouTube video at the bottom) and “Ferma l’ali” from La resurrezione from the 2015 Handel Aria Competition can be seen on our YouTube channel.
“Sarah recently returned to the University of Wisconsin-Madison to study for her DMA (Doctor of Musical Arts) with voice professor and bass-baritone Paul Rowe.
“She continues to maintain a busy international touring schedule, and in addition has already co-founded a monthly Madison midday concert series entitled Just Bach. Please take a moment to read her fascinating and impressive bio.
“As we welcome Sarah to her new position, we want to express our boundless gratitude to Cheryl Bensman-Rowe. Cheryl, the co-director of the Madison Early Music Festival, was the artistic director of the Handel Aria Competition from the very start, and we would never have been able to launch this event without her enthusiasm, musical knowledge and organizational skills.
“The seventh annual Handel Aria Competition will take place on Friday, June 7, 2019 in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music.”
Tags: #ArtisticDirector, #BaroqueMusic, #BaroqueOpera, #BlogPost, #BlogPosting, #CherylBensman-Rowe, #FacebookPost, #FirstPrize, #GeorgeFridericHandel, #HandelAriaCompetition, #HandelOpera, #JustBach, #MadisonEarlyMusicFestival, #MeadWitterSchoolofMusic, #OperaMusic, #OperaSinger, #PaulRowe, #UniversityofWisconsin, #UniversityofWisconsin-Madison, #VocalMusic, #YouTubeChannel, #YouTubevideo, annoucement, annual, Artistic director, Arts, Baroque, bass-baritone, biography, Chamber music, Cheryl Bensman Rowe, Classical music, composer, Concert, conductor, Early music, Facebook, finalist, first, first prize, George Frideric Handel, Handel Aria Competition, international, Jacob Stockinger, Just Bach, Madison Early Music Festival, Mead Witter School of Music, Midday, monthly, Music, new, opera, Orchestra, past, Paul Rowe, prize, professor, schedule, singer, Singing, soprano, Teseo, tour, touring, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, voice, winner, Wisconsin, YouTube, YouTube channel
Classical music: The Madison Bach Musicians celebrate 15 years with three performances this weekend of “Arias and Sonatas” by Bach and Handel
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By Jacob Stockinger
Two towering geniuses of the Baroque era – Johann Sebastian Bach (below top) and George Frideric Handel (below bottom) — were born in the same year, 1685, and just a little over 100 miles from each other.
Yet the two masters never met!
To mark their 15th anniversary, the Madison Bach Musicians will open their new season with three performances of a program “Arias and Sonatas” by the two great composers.
The program will include selections from Handel’s Violin Sonata in F major, Nine German Arias, Lascia chi’o ping (heard sung by Joyce DiDonato in the YouTube video at the bottom), Tornami a vagheggiar; and Bach’s Laudamus te (B minor Mass), Öffne dich (Cantata 61), Ich bin vergnügt in meinem Leiden (Cantata 58), and Prelude and Fugue in C major (Well-Tempered Clavier, Book II).
Advance-sale discount tickets are $30 general admission and are available at Orange Tree Imports, and Willy Street Co-op (East and West).
Online advance tickets at www.madisonbachmusicians.org
Tickets at the door are $33 for general admission, $30 for seniors (65+) with student rush tickets costing $10 at the door.
Here are the performance times and places.
Each performance offers a FREE pre-concert lecture by MBM founder, music director and keyboardist Trevor Stephenson (below), who will also appear at NOON TODAY (Wednesday, Oct. 3) with host Norman Gilliland on Wisconsin Public Radio’s “The Midday.”
This Friday, Oct. 5, with a 7:15 p.m. lecture and 8 p.m. performance at the Grace Episcopal Church (below top and bottom) at 116 W. Washington Ave., in Madison on the downtown Capitol Square.
This Saturday, Oct. 6, with a 7:15 p.m. lecture and 8 p.m. performance at Immanuel Lutheran Church (below top and bottom) at 1021 Spaight Street in Madison.
This Sunday afternoon, Oct. 7, with a 2:15 p.m. lecture and 3 p.m. performance followed by an outdoor wine reception at historic Park Hall at 307 Polk Street in Sauk City. The Park Hall venue has limited seating, so it is recommended to buy tickets in advance either online or at Willy St. Co-Op (East or West), or at Orange Tree Imports.
The major guest artist is soprano Chelsea Shephard (below). Praised by Opera News for her “beautiful, lyric instrument” and “flawless legato,” she won the 2014 Handel Aria Competition in Madison. She returns to perform with the Madison Bach Musicians after appearing in MBM’s production last season of Henry Purcell’s opera “Dido and Aeneas.”
Other performers include the Madison Bach Musicians concertmaster Kangwon Kim (below) on baroque violin.
Also, James Waldo (below) will perform on baroque cello. Known for his “nuanced, richly ambered” interpretations of Bach (LucidCulture in New York City), Waldo has lived and breathed period performance his whole life, having been raised in the home of two musicians who specialized in recorder, traverso and Renaissance choral music.
After graduate studies at Mannes College of Music and nine years living and working in New York City, he returned to Madison last fall to begin his DMA studies at UW-Madison’s Mead Witter School of Music with Professor Uri Vardi. He recently participated in an all-Bach program for Midsummer’s Music in Door County, and is the regular principal cellist of Cecilia Chorus, performing twice a year in Carnegie Hall.
Tags: #BachCantata, #BaroqueEra, #BaroqueMusic, #BaroqueOpera, #BlogPost, #BlogPosting, #CapitolSquare, #CarnegieHall, #CeciliaChorus, #ChelseaShephard, #ChoralMusic, #ChristianChurch, #DidoAndAeneas, #DoorCounty, #EpiscopalChurch, #FacebookPost, #GeorgeFridericHandel, #Germandances, #GraceEpiscopalChurch, #HandelAriaCompetition, #HarpsichordContinuo, #HarpsichordMusic, #HenryPurcell, #HistoricallyInformedPerformancePractices, #HistoricBuilding, #ImmanuelLutheranChurch, #InstrumentalMusic, #JesusChrist, #JohannSebastianBach, #JoyceDiDonato, #LutheranChurch, #MadisonBachMusicians, #MannesCollege, #MartinLuther, #MassinBMinor, #MeadWitterSchoolofMusic, #MIdsummer'sMusic, #NewYorkCity, #NormanGilliland, #OperaNews, #OrangeTreeImports, #ParkHall, #PeriodInstrument, #PreludeandFugue, #PublicRadio, #RadioHost, #RenaissanceMusic, #SaukCityWisconsin, #TheMidday, #TrevorStephenson, #UniversityofWisconsin, #UniversityofWisconsin-Madison, #UriVardi, #ViolinSonata, #Well-TemperedClavier, #WillyStreetCo-op, #WineReception, #WisconsinPublicRadio, #YouTubevideo, anniversary, aria, Arts, Bach, Baroque, beautiful, blog, Book, breathe, Cantata, Capitol Square, Carnegie Hall, Cecilia Chorus, cellist, Cello, Chamber music, Chelsea Shephard, choral music, Christ, Christian, Christianity, church, Classical music, composer, Concert, concertmaster, conductor, Dido and Aeneas, discount, Door County, downtown, Early music, east, Episcopal, Episcopalism, Facebook, fall, founder, fugue, genius, George Frideric Handel, German, Grace Episcopal Church, Handel Aria Competition, historic, historic building, Home, host, Immanuel Lutheran Church, instrument, Jacob Stockinger, Jesus, Johann Sebastian Bach, Joyce DiDonato, keyboardist, lecture, legato, live, Lutheranism, lyric, Madison, Madison Bach Musicians, Mannes College, Mannes College of Music, mass, Mass in B Minor, Master, Mead Witter School of Music, Midsummer's Music, Midsummer's Music Festival, Music, Music director, New York City, news, Norman Gilliland, online, opera, Opera News, Orange Tree Imports, perform, performance, Prelude, principal, production, program, public radio, Radio, reception, recorder, Sonata, summer, The Midday, The Well-Tempered Clavier, traverso, Trevor Stephenson, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Uri Vardi, Violin, vocal music, web site, Website, weekend, west, Willy Street Co-op, Wine, Wisconsin, wisconsin public radio, year, YouTube
Classical music: Can the annual Handel Aria Competition be improved? Here are two modest proposals from a fan. What do you think?
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By Jacob Stockinger
Here is a guest posting by George Savage, a blog follower who is a self-described musical amateur. In his youth he sang in choirs and had a bit solo part of Morales in his college production of Bizet’s Carmen. Then, a long musical hiatus until his 60th birthday celebration, when he sang Leonard Cohen’s song “Hallelujah,” black hat in hand, knees on floor.
Most of his adult life was spent teaching literature and composition at the University of Wisconsin-Whitewater, specializing in the American Renaissance. To the extent he has stayed connected to the world of music, it is through his daughter Kelly Savage, who has a D.M.A in harpsichord from Stony Brook University and now teaches at the San Francisco Conservatory of Music.
By George Savage
As my bio indicates, I am a musical amateur, meaning simply that I am a lover (French amateur) of music. For the past three years, I have had this love rekindled through the annual Handel Aria Competition in Madison, Wisconsin.
The vocal quality has consistently been high — especially this year! — and it is fun to vote for the Audience Favorite, even when the judges disagree with your assessment.
(Editor’s note: This year the Audience Favorite was mezzo-soprano Lindsay Metzger, below top, while the three judges awarded First Prize to soprano Suzanne Karpov, below bottom. Here is a link to story about all the winners: https://welltempered.wordpress.com/2018/06/11/classical-music-here-are-the-winners-of-friday-nights-sixth-annual-handel-aria-competition/).
My heartfelt congratulations go to Dean and Carol “Orange” Schroeder (below) for establishing this annual competition in 2013 and for the many supporters who have made this competition a success.
I have two modest proposals, though, for improvement, one minor and one major.
A minor proposal: Unless you have an encyclopedic knowledge of opera — and I know that some people reading this have that knowledge — you will not know the context of the arias.
I propose that the program notes contain a brief context for each of the arias. Alternatively, the singers – below are the seven finalists this year — could introduce their songs with a similar brief context.
A major proposal: As I listened this year to Handel piece after Handel piece after Handel piece, I wondered: “Could there be some variation?”
I started to think of other festivals that started with a single-artist focus but then gradually expanded, such as the Shaw Festival in Niagara-on-the-Lake, Canada, or, closer to home, the American Players Theatre in Spring Green, Wisconsin.
Both summer theater venues began with a single focus – Shaw and Shakespeare — but then evolved while at the same time staying true to their precipitating muse.
There is still lots of Shaw at the Shaw festival and lots of Shakespeare at APT. The same is true of the Carmel Bach Festival, which started with Bach but now has expanded to include many other forms of classical music. The same holds true for the famous Mostly Mozart Festival in New York City, which continues to expand its repertoire beyond Mozart.
In that spirit, I wonder if the singers at the Handel Competition, back up by the period-instrument Madison Bach Musicians, could in future events sing two selections — the first an aria by Handel and the second a non-Handel Baroque aria of the singer’s choice.
I think many singers would welcome the expanded repertoire and the audience would appreciate the added variety. The judging would be murkier, but it would be a good kind of murky.
I hope these proposals will engender a discussion: Should the competition be tweaked, or should it stay the same?
Your thoughts on these two proposals would be appreciated as well as other suggestions of your own.
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Classical music: Here are the winners of Friday night’s sixth annual Handel Aria Competition
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By Jacob Stockinger
The sixth annual Handel Aria Competition took place Friday night in Mills Hall on the UW-Madison campus at the Mead Witter School of Music.
It was, as usual, much fun.
Such serious fun deserved a bigger audience. But The Ear suspects that the opening night of the Bach Dancing and Dynamite Society at the Overture Center and the aria competition cut into each other’s audience. Maybe that scheduling conflict can be avoided in the future.
Everyone seems to agree that every year, as word of the competition continues to spread far and wide, the singers get better. This year, the seven finalists – five sopranos and three mezzo-sopranos chosen from 113 international applicants — were all terrific.
Special thanks should also go to the Madison Bach Musicians, who in a short amount of rehearsal time turned in outstanding accompaniment in music that can be hard to follow because or ornaments and embellishments as well as subjective interpretations and the Baroque singing style.
The wide repertoire included recitatives and arias from “Semele,” “Giulio Cesare,” “Rodelinda,” “Theodora,” “Hercules,” “Ariodante,” “Judas Maccabeus” and “Ricardo Primo, re d’Inghilterra” (Richard the First, King of England).
The biggest disappointment – in truth not very big — was that the competition had no male voices. There were no tenors, countertenor, baritones or basses to add to the variety. (You can hear the 2017 Audience Favorite, tenor Gene Stenger, in the YouTube video at the bottom.)
But that is how judging on merit works, so who can argue?
Once again, The Ear and many of his voice-savvy friends disagreed with the three professional judges. That seems to happen every year. But there will be more about that, as well as some other observations, another time.
In the meantime, let us celebrate the results.
Here, from left to right in a photo by David Peterson, are this year’s winners: soprano Sarah Hayashi, Second Prize; soprano Suzanne Karpov, First Prize; mezzo-soprano Lindsay Metzger, Audience Favorite; and mezzo-soprano Sarah Coit, Third Prize.
All of the performances will be posted on YouTube at a later date, which The Ear will announce when it happens.
For more information about the seven finalists and the three professional judges, as well as updated news and how you can support the ever-expanding competition, go to:
https://handelariacompetition.com
https://handelariacompetition.com/2018-competition/
Tags: #BachDancingandDynamiteSociety, #BaroqueMusic, #BaroqueOpera, #BaroqueSingingStyle, #GeorgeFridericHandel, #HandelAriaCompetition, #HandelOpera, #JohannSebastianBach, #KingofEngland, #LindsayMetzger, #MadisonBachMusicians, #MadisonWisconsin, #MeadWitterSchoolofMusic, #NewsUpdate, #OrchestralAccompaniment, #OvertureCenter, #RehearsalTime, #SarahCoit, #SarahHayashi, #SchedulingConflict, #SuzanneKarpov, #UniversityofWisconsin, #UniversityofWisconsin-Madison, #YouTubevideo, accompaniment, aria, Ariodante, Arts, audience, baritone, Baroque, bass, celebrate, Cello, Chamber music, Classical music, Competition, composer, conflict, countertenor, Early music, earlymusic, embellish, embellishment, England, favorite, George Frideric Handel, Giulio Cesare, Hercules, international, interpretation, Jacob Stockinger, Johann Sebastian Bach, Judas Maccabeus, judge, King, Madison, Madison Bach Musicians, merit, Mezzo-soprano, Music, news, Orchestra, ornament, photo, photograph, prize, recitative, rehearsal, results, Ricardo Primo, Richard the First, Rodelinda, Semele, soprano, style, subjective, support, tenor, Theodora, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, update, Viola, Violin, vocal music, Wisconsin, YouTube
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