The Well-Tempered Ear

Cellist Camille Thomas makes her Madison debut online from Paris for the Wisconsin Union Theater this Saturday night

November 6, 2020
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By Jacob Stockinger

The Wisconsin Union Theater’s fall virtual Concert Series performances will begin this Saturday night, Nov. 7, at 7:30 p.m. CST with a live online performance from Paris by the acclaimed cellist Camille Thomas (below).

The “Midnight in Paris” recital – performed in Paris and streamed — features music by Claude Debussy, Nadia Boulanger, Maurice Ravel and Frederic Chopin. The performance will be preceded by a live 30-40 minute online Q&A with Thomas and pianist Julien Brocal on Saturday afternoon at 2 p.m. CST.

Here are the specific works on the program, which will last about 75 minutes with no intermission:

Debussy, “Clair de Lune” (arr. Roelens)

Nadia Boulanger, “Three Pieces” for cello and piano

Ravel, Kaddish

Chopin, Cello Sonata in G Minor, Op. 65; and Introduction et Polonaise brillante, Op. 3 

Tickets for this online event are $10 for UW-Madison students, $18 for Wisconsin Union members, and $20 for all other patrons.

For more information about the Thomas’ performance – including a video and how to purchase tickets — visit union.wisc.edu/events-and-activities/event-calendar/event/camille-thomas.

Thomas (below), a Franco-Belgian cellist, says she uses her music to bring people together from a range of cultures and backgrounds. Thomas released her second album, called “Voice of Hope,” with the exclusive Deutsche Grammophon this past June. (In the YouTube video at the bottom, you can hear Thomas play a solo version from the album of Gluck’s “Dance of the Blessed Spirits” from his opera “Orfeo ed Euridice.”)

Thomas plays the Feuermann Stradivarius cello (1730, below) — named for the famous 20th-century cellist Emanuel Feuermann who played it — with a bow by Eugene Sartory, who is regarded as one of the finest bow makers in history. Joining her for this performance will be pianist Julien Brocal.

“Camille Thomas’s extraordinary talent makes her one of the most captivating artists of our time, as evidenced by being the first cellist in several decades to be signed by the major record label Deutsche Grammophon,” says Wisconsin Union Theater director Elizabeth Snodgrass. “Her ‘Midnight in Paris’ program brings us closer to her roots and reflects the beauty and charm of her personality as well as her musicality.”

The Ear has listened to some of Thomas’ performances on YouTube and finds her tone, intonation and phrasing outstanding.

The performance by Camille Thomas is the start of the fall Concert Series events, which includes a concert with pianist Jeremy Denk (below, in a photo by Hiroyuki Ito for The New York Times) on Friday, Dec. 11.

In its 101st year, the Wisconsin Union Theater’s Concert Series is one of the oldest uninterrupted series of its kind in the United States.

The Wisconsin Union Theater (WUT) has served as a cultural center for community members and visitors for more than 75 years. The WUD Performing Arts Committee plans many of the Theater’s events, including the Concert Series.

While usually held in-person and most often in Shannon Hall, the Wisconsin Union Theater team will hold this fall’s theater events in a virtual format for the health and safety of patrons, artists and team members in light of the COVID-19 pandemic. 

The team aims for all of its spaces, including online ones, to be accessible. Those that need accommodations can reach out to the Wisconsin Union Theater team at wisconsinuniontheater@union.wisc.edu

The WUT team says it continues to evaluate what changes may need to occur related to the spring Concert Series events as well as other spring Theater season performances.

The Wisconsin Union Theater has made multiple commitments to take a stand against racial injustice, including being more than allies, being activists; using the arts to create social justice; remembering students are future leaders and must be part of the change; using its voice to influence leadership and being firm in its resolve; and making space, stepping back and learning how to give up undeserved or unnecessary power and privilege.

 


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Classical music: Being a professional classical musician takes more than having talent, good stage nerves and the ability to play the right notes.

March 26, 2013
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By Jacob Stockinger

Spring break has begun at the University of Wisconsin-Madison and at most public schools in and around Madison.

That means that the active concert life at the UW and other local presenters has taken a short break or intermission.

And that, in turn, means that I can catch up on some things – comments, reviews, non-local stories – that got pushed aside to make way for the ever busier schedule of live classical music events in the Madison area.

One of the things that I meant to blog about earlier is the lesson that I received from a couple of outstanding local events: The lesson that it takes more than talent, good stage nerves and playing the right notes to make a professional career in music.

One similar expression of that came recently from a blog by pianist Stephen Hough (below), who has performed several time sin Madison, from his comments about his life between concerts and from comments by his readers. Here is a link:

http://blogs.telegraph.co.uk/culture/stephenhough/100068438/solitude-among-the-phantom-nuances/

Hough_Stephen_color16

And you can Google to find other stories about life behind the scenes for concert musicians. That was one reason the recent movies “A Late Quartet” (below) and “Quartet” were so enjoyable.

A Late Quartet frontal

I also posted about this when the acclaimed pianist Jeremy Denk. (Denk, below) returns to Madison on April 11 to perform Bartok, Liszt, Bach and Beethoven in a Mills Hall recital for the Wisconsin Union Theater series.)

Denk came here and lectured at the UW School of Music, gave a blog panel, and performed a massive recital of Charles Ives and J.S. Bach’s “Goldberg” Variations at the Wisconsin Union Theater two seasons ago. He performed this despite having his computer, with many notes for his acclaimed blog (“Think Denk”) and terrific lectures, stolen from backstage.

But Denk gamely went on as of nothing happened and delivered the goods in spades. I don’t know if I could have summoned that kind of concentration after that kind of upsetment. In fact, I am almost certain I could NOT have.

Jeremy Denk playing 2

This semester I can think of two other examples, although I am sure there are more I don’t know about.

On Feb. 9 the acclaimed and unconventional Brooklyn-based freelance chamber orchestra The Knights (below) and pipa virtuoso Wu Man played an outstanding concert (below) marking the Chinese New Year in Mills Hall for the Wisconsin Union Theater, which is closed for renovation.

the knights 1

Yet they arrived only 70 minutes before they went on stage.

They had unexpectedly caught a last-minute flight out of New York, despite a snowstorm (or snow “event” as TV weather forecasters have taken to calling it) and went to Milwaukee, where a chartered bus picked them up and brought them to Madison.

But it all happened so fast and unpredictably. So unsure were things that even the presenters were making contingency plans for cancelling the event.

But they all arrived and went on stage where they stood to play Debussy, Stravinsky and Milhaud as well as a pipa concerto by American composer Lou Harrison and a pipa work composed by Wu Man. Via cell phone, the players en route had asked that cookies and milk be provided after the concert for them (they hadn’t eaten or had a chance to rest) and for the rest of the audience.

That happened, and the music combined with the socializing make for an unforgettable event.

That kind of devotion, of going with flow no matter how discouraging, is what being a professional musician is all about. No excuses were made. The Knights and Wu Man just kept their composure, put the music first and played their hearts out – and the audience, including The Ear, was most grateful and appreciative.

The Knights and Wu Man in Mills Hall Feb. 9 2013

Also in February, the distinguished German cellist Alban Gerhardt performed a terrific and terrifically difficult Prokofiev piece (the “Sinfonia Concertante”) with the Madison Symphony Orchestra under John DeMain, who himself turned in a terrifically vital performance of Beethoven’s rarely heard Symphony No. 4.

But Gerhardt (below) too faced obstacles that turned out to be a demonstration of his cool professionalism.

alban gerhardt

Normally, he said, it takes about 12 hours to get from his home in Berlin, Germany to Madison. But he was rerouted due to airplane difficulties, and it took him twice as long –- about 24 hours – as normal.

In fact, he was late for his won first rehearsal. But he came directly from the airport and wandered into Overture Hall and picked up where someone else had started on his place. That was on Thursday night. Then came the actual performances on Friday, Saturday and Sunday -– and he performed up to the level we all expected and that had been advertised by the symphony.

Alban Gerhardt playing 2

But travel and fatigue weren’t the only problems.

Add in some personal heartbreak. The Transportation Security Authorities at Dulles Airport in Washington, D.C broke his $20,000 cello bow (below) in some careless manner while they inspected and then closed his cello case. He later discovered they had also damaged his cello.

The incident even made national and international news. Here are links:

http://www.wqxr.org/#!/blogs/wqxr-blog/2013/feb/12/cellists-bow-damaged/

http://www.artsjournal.com/slippeddisc/2013/02/a-second-shock-for-alban-gerhardt-airport-security-broke-my-cello-too.html

http://www.thestrad.com/article.asp?articleid=2524

http://www.opposingviews.com/i/entertainment/tsa-damages-cellist-alban-gerhardts-20000-bow

Alban Gerhardt broken cello bow

That kind of  unexpected loss has to hurt, especially when so much of the life of a touring musician is based on routine and things going as planned.

But neither the travel delay nor the broken bow – he borrowed one from a symphony cellist – interfered with his absolutely first-rate performance.

Talk about remaining cool, calm and collected!

Anyway, both concerts were wonderful events that I did not review because space was needed for other previews. (Each would have received a rave.) But I did want to praise not only the performances, but the sheer perseverance of great and thoroughly professional musicians who are anything but temperamental divas.

And then this past week, the up-and-coming New York-based pianist Shai Wosner (below) stepped in a again — the second time in three years — to substitute for Anne-Marie McDermott as a soloist with the Wisconsin Chamber Orchestra. He got the call Tuesday afternoon and by Friday night was in Madison, had rehearsed the scheduled work (Mozart’s great Piano Concerto in C Minor) and delivered a first-rate performance.

Shai Wosner Photo: Marco Borggreve

Do you know of similar stories to share with readers and non-musicians or especially amateur musicians who might reassess whether they really ever wished to be professional touring concert artists?

The Ear wants to hear.


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