The Well-Tempered Ear

Classical music: Opera director David Ronis of CUNY is named to succeed William Farlow. University Opera’s production of Hector Berlioz’ charming “Beatrice et Benedict” is a fine and fitting tribute to the longtime tenure of retiring director William Farlow. The last performance is tonight at 7:30 p.m.

April 15, 2014
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EDITOR’S NOTE: Please note that some reviews of productions last weekend are being delayed to make room for previews of the many upcoming concerts and musical events this week.

NEWS:  David Ronis (below) of Queen’s College and the Aaron Copland School of Music at the City University of New York (CUNY) has just been named as the interim one-year visiting director of University Opera, to succeed William Farlow. Here is a link to the official press release with his impressive resume on the blog Fanfare:

http://uwmadisonschoolofmusic.wordpress.com/2014/04/14/ronis_press_release/

David Ronis BIG BW USE

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

The University Opera at the University of Wisconsin-Madison has a long history of including rarities in its productions, rarities that audiences are not likely to see elsewhere.

For his farewell offering as he retires at the end of this academic year, director William Farlow (below, in a photo by Katherine Esposito) has put on a particularly enterprising novelty. That “Beatrice et Benedict: — is the last and most successful of the three operas by the early French Romantic composer Hector Berlioz.

William Farlow by Kathy Esposito

Berlioz (below) wrote the libretto as well as the music, freely adapting his stripped-down version from the play “Much Ado About Nothing by” Shakespeare — an author whose works he adored. Berlioz cast it in the form of the opéra comique, combining set-piece musical numbers with spoken dialogue. It was the same form used not only by Jacques Offenbach, but also by Georges Bizet for his “Carmen.” Nevertheless, Berlioz infused the form with his own individual wit, imagination, and personality. The score is full of absolutely beautiful music, with a dip into satire as well. (You can hear the opera’s Overture performed by Sir Neville Marriner and the Academy of St. Martin in the Fields at Carnegie Hall in You Tube video at the bottom.)

berlioz

The UW Opera presented this opera before, in 1988, in the days of Karlos Moser, in a semi-staged concert performance. This time, Farlow has given it a complete staging, employing mostly exemplars of the gifted vocal talent the University of Wisconsin-Madison School of Music has been drawing lately.

(The last of three performances is tonight at 7:30 p.m. in Music Hall at the foot of Bascom Hill.)

In the performance I attended Sunday night, the feuding lovers, the two title characters, Shakespeare’s Beatrice and Benedick, were sung by the agile soprano Lindsay Metzger and high tenor Daniel López-Matthews. (Below right and left, respectively, in a photo by Max Wendt). The other pair of lovers, Hero and Claudio, were portrayed by the powerfully voiced soprano Anna Whiteway and tenor Jordan Wilson. The local commander, Don Pedro, was taken by bass Erik Larson.

berlioz UW Opera Beatrice et Benedict 2 CR Max Wendt

To these the cast added two veterans. Edgewood College teacher and mezzo-soprano Kathleen Otterson (below) is a long-standing veteran of UW Opera and Madison music-making, always welcome any time, in anything, including the role here of Ursula, Hero’s friend. And baritone Benjamin Schultz, a returned alumnus, sang the comic role that Berlioz invented, Somarone, as a caricature of the pompous rivals and academics who were the composer’s life-long opposition.

Kathleen Otterson 2

Following a frequent practice when this opera is presented outside of France, the vocal numbers were sung in the original French, while the revised dialogue was given in English. It’s a workable solution to a problem for singers who can sing in French, but really can’t speak it well. Fine as the singing was, it was clear that they were not uniformly comfortable singing French.

Still, many moments were truly gorgeous, notably the Hero-Ursula duet in Act I, and the ladies’ trio in Act II, as well as the offstage wedding chorus.

By and large, Farlow’s stage direction was careful: in the vocal set pieces often relatively static, though, that was certainly preferable to too much action. In the case of Somarone’s Act I scene, Schulz was made to go much too far beyond satire, into exaggerated silliness. And Beatrice’s over-acting in Act I really compromised the character’s self-assured sassiness before her “fall.”

Still, even with so much of the dueling wordplay of Shakespeare’s original removed, Metzger and López-Matthews engaged well as the couple who had to be tricked into discovering that their outward hostility covered a profound attraction.

A particular asset was the pit orchestra that conductor James Smith (below) was able to work up very successfully to Berlioz’s tricky requirements.

Smith_Jim_conduct07_3130

William Farlow departs leaving us with many debts to him, including this demonstration that Berlioz’s gem of a comic opera really deserves more regular presentation.

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Classical music: Retiring University Opera director William Farlow bids farewell to the University of Wisconsin-Madison with three performances of Hector Berlioz’s “Beatrice et Benedict” on this Friday night, Sunday afternoon and next Tuesday night.

April 10, 2014
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By Jacob Stockinger

This weekend’s performances by the University Opera of the charming Shakespeare-based operaBeatrice et Benedict” by the early and influential French Romantic composer Hector Berlioz (below top) are notable for several reasons.

Some of the rotating cast of student performers include (below bottom, in a photo by Max Wendt) Daniel López-Matthews as Bénédict; Lindsay Metzger as Béatrice, in purple; and Anna Whiteway as Hero, in red.

berlioz

berlioz UW Opera Beatrice et Benedict 2 CR Max Wendt

The new production is the final production by UW Opera director William Farlow (below, in a photo by Katherine Esposito) before he retires at the end of the semester.

NOTE: From what The Ear understands, the University of Wisconsin-Madison School of Music is currently looking to replace Farlow with an interim director for one year, and then next year the school will launch a national search for Farlow’s successor.

William Farlow by Kathy Esposito

Performances will be sung in French with English surtitles created by Christine Seitz. They will be held  in the Rennebohm Auditorium of Music Hall (below), at the foot of Bascom Hill, on this Friday at 7:30 p.m., this Sunday at 3 p.m. and next Tuesday, April 15, at 7:30 p.m.

MusicHall2

Tickets for general admission are $22; $18 for senior citizens and $10 for students. See below for more details.

I was hoping and planning to have a longer story about the production, but things just didn’t work out.

I did have a brief Q&A with Bill Farlow when he announced his retirement. Here is a link:

https://welltempered.wordpress.com/2013/09/05/classical-music-university-opera-director-wiiliam-farlow-talks-about-his-retirement-at-the-end-of-this-season-and-the-rewards-and-challenges-of-staging-opera-at-the-university-of-wisconsin-madison/

But then I thought: Why re-invent the wheel?

It turns out that two terrific sources -– the UW School of Music blog “Fanfare” and critic John W. Barker (below), who writes for Isthmus and for this blog — both had previews and interviews that provided excellent background for seeing and hearing this production.

John-Barker

So here they are, both forming a kind of primer on “Beatrice et Benedict” (below, in a another photo by Max Wendt), which features a lovely duet that you can hear at the bottom in a YouTube video:

UW Opera Beatrice and Benedict photo 1 Max Went

Here is a well done general appreciation by John W. Barker for Isthmus that appeared on that publication’s website The Daily Page:

http://www.thedailypage.com/isthmus/article.php?article=42432

And here is a link to details about tickets:

http://www.thedailypage.com/theguide/details.php?event=313813&name=University-Opera

Here is another story about the production, with details about the production staff as well as the music staff — including conductor and music director James Smith (below) with the UW Chamber Orchestra — on “Fanfare”:

http://uwmadisonschoolofmusic.wordpress.com/2014/04/01/farlow/

Smith_Jim_conduct07_3130

And here another story about Farlow’s tenure at the University Opera, with lots of photos,  which also appeared on the Fanfare blog:

http://uwmadisonschoolofmusic.wordpress.com/2014/04/01/farlow_beatrice/

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