The Festival Choir of Madison (below) will perform the program “The Slavic Soul” this coming Saturday night, May 19, at 7:30 p.m. in the Atrium Auditorium at the First Unitarian Society of Madison, 900 University Bay Drive.
The Festival Choir will have guest conductor Nikoleta Popova for the event, who is coming from Spain to conduct a program comprised of songs either by Slavic composers or inspired by Slavic music. More about the conductor is below.
Several U.S. premieres are marked with an asterisk and there is one world premiere.
Bela Bartok (1881-1945) – Four Slovak Folk Songs (heard in the YouTube video at the bottom)
Dmitri Shostakovich (1908-1975) – Two Russian Folk Songs. With Anya Gubenkova, alto
Alexander Davidenko (1899–1934) – “At Ten Versts From the Capital”* with Ted Reinke, piano, and Dan Broner, organ
Vera Nasha (Our Faith)* Serbian Folk Song, arr. Yónatan Sánchez Santianes with James McKenzie, percussion
Szymon Godziemba-Trytek (1988) Agnus Dei (World Premiere) with Ted Reinke, organ
Georgy Sviridov (1915–1998) – “A Wondrous Birth”; “Balalaika”; and “Reveille.” With Anya Gubenkova, alto
Dobri Hristov (1875–1941) – “Rachenitsa”
Todor Popov (1921–2000) – “Stara Sa Maika” (The Old Mother)*
“Kalinka,” a Russian Folk Song arranged by Vadim Prokhorov
The guest conductor is Nikoleta Popova (below) of Bulgaria and Spain. She is a renowned specialist in Eastern European and Bulgarian music and has offered seminars and master classes all over the world.
Currently, Popova is Professor in Conducting at the Conservatorio Superior de Música de Canarias in Las Palmas, Spain, where she is also music director of the conservatory orchestra and choirs. She has appeared as guest conductor in Austria, Italy, Spain, Poland, and the U.S., as well as her native Bulgaria.
Born in Dobrich, Bulgaria, Nikoleta Popova received her education as a conductor from the National Academy of Music in Sofia, Bulgaria, and from Universität für Musik und darstellende Kunst in Graz. Among her teachers are Eric Whitacre, Fernando Malvar-Ruiz, Alex Schillings, Klaas Stok, Marco Antonio Da Silva Ramos, and others.
In 2011 Nikoleta Popova received her Ph.D. from the University of Las Palmas de Gran Canaria with a dissertation on the performance of the black spiritual. Since 2012, she has published three books in Spanish with in-depth analysis of the problems that singers and conductors face in the interpretation of African-American spirituals.
The Opera Guy attended Sunday’s sold-out performance of “Carmen” by the Madison Opera and filed the following review, with photos by James Gill:
By Larry Wells
When I learned that Madison Opera was going to produce Bizet‘s “Carmen,” I was not surprised. It is annually one of the most frequently performed operas internationally, and it is a surefire vehicle for filling seats. It is safe.
On the other hand, once one watches repeated performances of an old favorite, the appeal can diminish. One advantage of an opera is that novel approaches to the production can prevent a warhorse from becoming stale.
I would love to say that the approach both musically and dramatically to this production of “Carmen” broke new ground, but it did not. In fact, the production was as traditional as could be. (Below is the main set, rented from the Lyric Opera of Kansas City.)
I attended a performance of “Carmen” in Tucson a couple of years ago, and the conductor Keitaro Harada breathed new life into the familiar music through interesting tempi and finely nuanced dynamics.
Maestro John DeMain (below, in a photo by Prasad) conducted the Madison Symphony Orchestra in a perfectly fine and occasionally uplifting manner, but there was little new to learn from his approach. The purely instrumental entr’actes shimmered, but during the rest of the opera the singing was at the forefront.
Maestro Harada (below), whom Madison should be actively courting, is currently conducting “Carmen” in Sofia, and the accompanying publicity clip in the YouTube video at the bottom (bear with the Bulgarian commentary) shows that the production is unconventional in its approach although it clearly is still “Carmen.” I would have enjoyed something other than the ultra-traditional staging and sets experienced here in Madison.
At times the production was so hackneyed and hokey that I chuckled to myself – ersatz flamenco dancing, the fluttering of fans, all of the cigarette factory girls with cigarettes dangling from their lips, unconvincing fight scenes, annoying children running across the stage, dreary costumes that hardly reminded me of Seville. And I could go on.
Yet “Carmen” has a way of drawing one in despite oneself. The music is marvelous, and the singing was uniformly excellent.
The four principals were luminous both in their solo pieces and ensembles. Cecelia Violetta López as Micaëla (below right) was lustrous in her two arias as well as in her duet with Sean Panikkar’s Don José (below left).
Panikkar started the performance off with little flair, but from the time he became besotted with Carmen toward the end of the first act he was on fire. He then maintained a high degree of passion and zest in his vocal performance.
Corey Crider (below right) was a wonderful Escamillo, singing his toréador role with great élan despite his unfortunate costumes.
And Aleks Romano (below) as Carmen made the most of her complex character. Her singing was luscious, and her acting – particularly her use of her expressive eyes – was terrific.
Likewise, the lesser roles – Thomas Forde as Zuniga, Benjamin Liupaogo as Remendado, Erik Earl Larson as Dancaïre, a radiant Anna Polum as Fransquita, and Megan Le Romero as Mercédès – were equally well sung. The ensemble work in the quintet at the end of Act II and in the card scene was outstanding.
The chorus (below) sounded terrific throughout, although the women’s costumes and the stage direction made the choristers appear ludicrous as times.
When all is said and done, “Carmen” still beguiled me by drawing me into its characters’ complex psychologies and motivations. Likewise, its music still bewitched me in much the same way as Carmen inexplicably bewitched hapless Don José (below).
But I seem to always wish for more – more compelling productions, more daring music making, more risk-taking.
I do look forward to this coming spring’s production of “Florencia en el Amazonas.” The recording is captivating, and the opera’s performances have pleased a wide variety of audiences by all accounts. And it is something new. Hallelujah!
The Well-Tempered Ear 
Classical music: Despite overly traditional staging, the Madison Opera’s “Carmen” beguiled and bewitched through the outstanding singing
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By Jacob Stockinger
The Opera Guy attended Sunday’s sold-out performance of “Carmen” by the Madison Opera and filed the following review, with photos by James Gill:
By Larry Wells
When I learned that Madison Opera was going to produce Bizet‘s “Carmen,” I was not surprised. It is annually one of the most frequently performed operas internationally, and it is a surefire vehicle for filling seats. It is safe.
On the other hand, once one watches repeated performances of an old favorite, the appeal can diminish. One advantage of an opera is that novel approaches to the production can prevent a warhorse from becoming stale.
I would love to say that the approach both musically and dramatically to this production of “Carmen” broke new ground, but it did not. In fact, the production was as traditional as could be. (Below is the main set, rented from the Lyric Opera of Kansas City.)
I attended a performance of “Carmen” in Tucson a couple of years ago, and the conductor Keitaro Harada breathed new life into the familiar music through interesting tempi and finely nuanced dynamics.
Maestro John DeMain (below, in a photo by Prasad) conducted the Madison Symphony Orchestra in a perfectly fine and occasionally uplifting manner, but there was little new to learn from his approach. The purely instrumental entr’actes shimmered, but during the rest of the opera the singing was at the forefront.
Maestro Harada (below), whom Madison should be actively courting, is currently conducting “Carmen” in Sofia, and the accompanying publicity clip in the YouTube video at the bottom (bear with the Bulgarian commentary) shows that the production is unconventional in its approach although it clearly is still “Carmen.” I would have enjoyed something other than the ultra-traditional staging and sets experienced here in Madison.
At times the production was so hackneyed and hokey that I chuckled to myself – ersatz flamenco dancing, the fluttering of fans, all of the cigarette factory girls with cigarettes dangling from their lips, unconvincing fight scenes, annoying children running across the stage, dreary costumes that hardly reminded me of Seville. And I could go on.
Yet “Carmen” has a way of drawing one in despite oneself. The music is marvelous, and the singing was uniformly excellent.
The four principals were luminous both in their solo pieces and ensembles. Cecelia Violetta López as Micaëla (below right) was lustrous in her two arias as well as in her duet with Sean Panikkar’s Don José (below left).
Panikkar started the performance off with little flair, but from the time he became besotted with Carmen toward the end of the first act he was on fire. He then maintained a high degree of passion and zest in his vocal performance.
Corey Crider (below right) was a wonderful Escamillo, singing his toréador role with great élan despite his unfortunate costumes.
And Aleks Romano (below) as Carmen made the most of her complex character. Her singing was luscious, and her acting – particularly her use of her expressive eyes – was terrific.
Likewise, the lesser roles – Thomas Forde as Zuniga, Benjamin Liupaogo as Remendado, Erik Earl Larson as Dancaïre, a radiant Anna Polum as Fransquita, and Megan Le Romero as Mercédès – were equally well sung. The ensemble work in the quintet at the end of Act II and in the card scene was outstanding.
The chorus (below) sounded terrific throughout, although the women’s costumes and the stage direction made the choristers appear ludicrous as times.
When all is said and done, “Carmen” still beguiled me by drawing me into its characters’ complex psychologies and motivations. Likewise, its music still bewitched me in much the same way as Carmen inexplicably bewitched hapless Don José (below).
But I seem to always wish for more – more compelling productions, more daring music making, more risk-taking.
I do look forward to this coming spring’s production of “Florencia en el Amazonas.” The recording is captivating, and the opera’s performances have pleased a wide variety of audiences by all accounts. And it is something new. Hallelujah!
Did you go to “Carmen”?
What did you think?
The Ear wants to hear.
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