The Well-Tempered Ear

Classical music: “Into the Woods” is a big deal in many ways for the UW-Madison. There are five performances at the Memorial Union between this Thursday night and Sunday afternoon

February 20, 2019
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By Jacob Stockinger

Make no mistake.

The modern musical and theatrical retellings by Stephen Sondheim (below) of well-known childhood fairy tales do not offer your usual versions of Little Red Riding Hood, Prince Charming, Cinderella and Rapunzel among others.

Moreover the local production of the acclaimed 1986 Broadway musical “Into the Woods” – the woods being a dark, adult and disturbing Freudian metaphor of deeper meanings — is literally a big deal. (You can hear a sample of Sondheim’s music and supremely clever lyrics, taken from the 2014 movie version by Walt Disney, in the YouTube video at the bottom.)

It involves both the University Opera and the University Theatre and Drama Department. The ambitious joint production – the first in a dozen years – took almost two years and involves over 90 people.

You can see the promising results for yourself in five performances starting this Thursday night in Shannon Hall at the Wisconsin Union Theater. Performances are at 7:30 p.m. on Thursday, Friday and Saturday nights; and at 2 p.m. on Saturday and Sunday.

Happily, there are a lot of ways to check out background and prepare for the show, which faced its own trials.

You’ll notice, for example, that  the rehearsal picture below —  taken by Beau Meyer of Elisheva Pront (Cinderella) with Jake Elfner (her Prince Charming) — was taken with no costumes, even though such photos were planned. But during the recent deep freeze and big thaw, Vilas Hall got hit with flooding from broken pipes and the costumes got clobbered, so such photos are delayed.

Still, the show must go on — and did.

Here is an interview with David Ronis (below, in a photo by Luke DeLalio), the prize-winning director of University Opera and other members of the production team and actors:

https://arts.wisc.edu/2019/02/15/into-the-woods/

Here is more information, including a plot summary, a cast and ticket information from the University Opera:

https://www.music.wisc.edu/2018/12/27/opera-theatre-sondheim-into-the-woods/

Here is a story from the Department of University Theatre and Drama, including interviews with the two women who play Cinderella:

https://www.music.wisc.edu/event/university-opera-and-university-theatre-sondheims-into-the-woods/2019-02-22/

From the Wisconsin Union Theater, here is the complex and complete ticket pricing information ($10-$40):

https://union.wisc.edu/events-and-activities/event-calendar/event/into-the-woods/#additional

And here is a complete list of the student cast, who will sing under the baton of UW-Madison professor Chad Hutchinson (below)  who will conduct the orchestra:

https://theatre.wisc.edu/2018/10/18/into-the-woods-cast/


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Classical music: Madison Opera’s “A Little Night Music” proved totally satisfying as both music and theater

February 13, 2019
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By Jacob Stockinger

Larry Wells – The Opera Guy for The Well-Tempered Ear – went to both performances in the Capitol Theater of the Overture Center last weekend by the Madison Opera of Stephen Sondheim’s “A Little Night Music” and filed the following review. Photos are by James Gill.

By Larry Wells

Although I was familiar with the recording, my first experience seeing “A Little Night Music” by Stephen Sondheim (below) was in London 25 years ago. I remember it as a theatrical experience – it featured Judi Dench and was performed at the National Theatre – more than as a musical event.

Two years ago, I saw it performed by Des Moines Metro Opera, and although it was “operatic” it was also sabotaged by a confusing, even chaotic, production designed by Isaac Mizrahi.

I finally experienced the complete package with the recent performances by the Madison Opera. It was a totally satisfying combination of acting, music and theatrical design.

Inspired by Ingmar Bergman’s film “Smiles of a Summer Night,” which in turn was inspired by Shakespeare’s “A Midsummer Night’s Dream,” “A Little Night Music” concerns itself with mismatched lovers who are eventually properly paired or else reconciled.

Without going into detail, suffice it to say that the carryings-on are amusing, the dialogue is witty, and the lyrics are sophisticated.

One of the earliest numbers in the show — the trio of songs “Later,” “Now” and “Soon” — set the tone for the evening musically. Each was performed individually by three fine singers – Quinn Bernegger, Jeni Houser (below left) and Daniel Belcher (below right).

In a musical tour-de-force, the three songs ultimately combined into one. Houser’s clear tone, Benegger’s intense passion, and Belcher’s suave lyricism promised an outstanding musical experience to come. Special praise must go to Bernegger (below) who sang while comically, but skillfully, miming playing a cello.

One show-stopper was Sarah Day’s “Liaisons” which was really perfect in its world-weariness. Day (below) — from American Players Theatre in Spring Green — half-declaimed and half-sang such memorable lines of regret as, “What once was a sumptuous feast is now figs. No, not even figs. Raisins.” Or amusing internal rhymes like “…indiscriminate women it…”.  (I am completely taken by Sondheim’s clever use of language.)

Likewise, the singing of “Miller’s Son” by Emily Glick (below) was a good old Broadway rendition – no operatic pretense – and the audience, and I, loved it.

Charles Eaton (below left) as a puffed-up dragoon and Katherine Pracht (below right) as his long-suffering wife were both outstanding vocally and deftly comic.

The center of most of the activity was the character Desirée Armfeldt portrayed by Emily Pulley (below). At first I thought she was overacting, but then I realized that, of course, she was portraying a veteran stage actress – a matinee idol type – who had internalized theatrical gestures into her own character. Her “Send in the Clowns” stopped the show, and the lyrics finally made sense to me. (You can hear the familiar Judy Collins interpretation in the YouTube video at the bottom.)

But I would have to say that the star of the show was the chorus, a quintet of excellent voices – Stephen Hobe, Kirsten Larson, Benjamin Liupaogo, Emily Secor and Cassandra Vasta. They waltzed through the action while sliding the panels and frames that comprised the set, moving props, and commenting on the action.

Never obtrusive but always necessary, I thought they were a delight. The three women got to sing a brief round “Perpetual Anticipation” that is another wonder of Sondheim’s musical imagination.

As mentioned, sliding panels, along with dropping frames and panels, comprised the set. The continuous changing of the panels, the blocking and the movements of the quintet were the creative product of stage director Doug Schulz-Carlson (below). There was often a whirlwind of activity, but I was never distracted.

The costumes by Karen Brown-Larimore seemed straight out of Edward Gorey – which is a good thing.  And altogether I felt it was the best production of the musical I’ve seen.

The orchestra was situated on stage behind the set, which made additional seats available close to the stage. People seated in those rows had to bend their necks to read the supertitles, but the diction was so consistently excellent that I rarely needed to even glance at the supertitles.

Praise is due for members of the Madison Symphony Orchestra, and particularly conductor John DeMain (below, in a photo by Prasad). I heard subtleties in the music that had heretofore eluded me, and that is always a reward for attending a live performance and is a tribute to the maestro.

I was happy to see a younger audience, particularly Friday night. Let us hope that they were enchanted enough to attend the upcoming production on April 26 and 28 of Antonin Dvorak’s “Rusalka.”

This is an opera I have never seen; and until recently, I was familiar only with one of its arias, the so-called “Song to the Moon.”

But now that I have a recording, I realize that it is a musical treasure that should not be missed. I suppose the reasons it is not so frequently performed are that it is in Czech and its plot involves water sprites. But don’t let that stop you. The music is wonderful.


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Classical music: We should hear more operas sung in English translation – like Wisconsin Public Radio’s live broadcast TODAY at noon of the Metropolitan Opera’s shortened version of Mozart’s “The Magic Flute”

December 29, 2018
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By Jacob Stockinger

The Ear thinks that we in English-speaking countries should hear more operas sung in our native language.

Yes, sung in English – not the original Italian, French or German.

You can see how you’d like it for yourself if you listen at noon TODAY– Saturday, Dec. 29 — to Wisconsin Public Radio. That’s when you can hear the Metropolitan Opera’s live broadcast of its family-friendly production of Mozart’s “The Magic Flute.”

The Ear did so and – except for deleting the wonderful overture — loved it.

So, apparently, did a lot others. (You can hear Nathan Gunn in a sample in the YouTube video at the bottom.)

After many years, the production has now become a holiday tradition for the Met to offer children while school is out for the holidays.

And one suspects it is developing new audiences – especially with the colorful staging and costumes by Julie Taymor, who won such acclaim for her staging of “The Lion King” on both the stage and film.

Sure, a lot of purists will probably object to substituting English for the original Italian, French, German and Russian. But it is so freeing and feels so good to understand what you are hearing without the distraction of constantly going back and forth trying to look at both the supertitles and the stage.

It also seems worth a try, given the problems that many opera companies are having competing with the “Live from the Met in HD” productions that you can see in movie theaters for far less money, and the decline of both season subscribers and single tickets.

To be honest, of course even in English you will miss some of the words. That’s the nature of singing. But excellent diction helps. And if you are lucky enough to see the production in person, supertitles in Italian, French German and Spanish and, yes, English are still provided.

It is not a completely new idea. After all, Great Britain has the English National Opera, which performs standard operas by Verdi and Puccini, Monteverdi and Handel, Mozart and Wagner, in English. So, many of the very great operas have already been translated into English and could be staged in English elsewhere.

Here are links where you can learn more about the English National Opera:

https://www.eno.org

https://en.wikipedia.org/wiki/English_National_Opera

Do you question how the text is hurt in translation?

It’s worth remembering that Mozart himself used the vernacular German instead of his usual opera house Italian so that he would reach the general public. Why not do the same today? Translation could make opera much more accessible, less pretentious and more populist.

The same is true for cutting the show down to 100 minutes from almost 3 hours. Let’s just admit that the attention span of the general public is much shorter than it used to be.

Orchestra and chamber music concerts as well as solo recitals are trimming their running times often down to 90 minutes or less, and meet with great approval from the public. Why not try the same approach with opera? Indeed, both the Madison Opera and the University Opera have limited but successful experiences with editing operas and using English.

It is also worth recalling that in translation we read greater words than an opera libretto. If we can translate Homer and Shakespeare, Dostoevsky and Proust, why can’t we translate opera librettos? One just has to be sure to find a great translator with a sensitive musical ear– such as American poet Richard Wilbur is with his award-winning, rhyming translations of Moliere’s comedies and Racine’s tragedies. Similarly, American poet J.D. McClatchy has done a fine job with The Met’s “Magic Flute.”

Here is a link to more information about the production, including a synopsis:

https://www.metopera.org/season/2018-19-season/the-magic-flute/

And here is a review of the Met’s  “Magic Flute” by Tommasini:

https://www.nytimes.com/2018/12/20/arts/music/review-mozart-magic-flute-met-opera.html

What do you think?

Should more operas be staged in English?

Should long operas be edited?

Why or why not?

The Ear wants to hear.


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Classical music: This Saturday the critically acclaimed new production of Verdi’s “La Traviata” is featured in “Live from The Met in HD.” Read two reviews

December 14, 2018
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CORRECTION: Earlier versions of yesterday’s post about The Madison Choral Project incorrectly stated that the Milwaukee performance is Wednesday night. The Ear apologizes for the error. The correct time is TUESDAY night, Dec. 18. For more information about time, tickets and the program, here is a link to the story: https://welltempered.wordpress.com/2018/12/13/classical-music-the-madison-choral-project-will-sing-of-young-peoples-hope-for-the-future-at-its-concerts-this-saturday-night-and-sunday-afternoon/

By Jacob Stockinger

This Saturday, Dec. 15, the fourth production of this season’s “Live From the Met” in HD series is Giuseppe Verdi’s famous and popular “La Traviata” (The Fallen Woman).

The Metropolitan Opera production, sumptuously directed by Michael Mayer, stars soprano Diana Damrau (below left in a photo by Marty Sohl for The Met) as Violetta while the acclaimed Peruvian tenor Juan Diego Florez (below right) returns to the Met stage for the first time in five years to play her lover Alfredo.

It is also noteworthy because the new music director, French-Canadian Yannick Nézet-Séguin (below, in a photo by Jan Regan), will be making his “Live in HD” debut and opening a new era after his hiring to succeed James Levine. Though relatively young, he has drawn raves for his sensitive conducting and insightful interpretations of this and other operas and orchestral works.

Reportedly, he is also very popular with the singers, the orchestra players and other staff at The Met as well as with audiences.

The hi-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at 11:55 a.m. and runs until 3:45 p.m. with two intermissions. (It will also air on Wisconsin Public Radio at noon.)

The encore showings are next Wednesday, Dec. 19, at 1 p.m. and 6:30 p.m.

The opera will be sung in Italian with supertitles in English, German, Spanish and Italian.

Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.

The movie theaters where the opera can be seen are two Marcus Cinemas: the Point Cinema on the 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 home website where you can find the titles, dates, casts, production information and video clips of all 10 productions this season, which include operas by Bizet, Wagner, Donizetti, Saint-Saens, Puccini, Cilea and Poulenc plus a new work, “Marnie,” by Nico Muhly:

https://www.metopera.org/season/in-cinemas/

Here is a rave review of “La Traviata” by senior classical music critic Anthony Tommasini for The New York Times:

https://www.nytimes.com/2018/12/05/arts/music/review-metropolitan-opera-traviata-yannick-nezet-seguin.html

And here is another positive review from Vulture magazine in New York City. Below are the impressive set and big cast in a photo by Sara Krulwich for The New York Times:

https://www.vulture.com/2018/12/la-traviata-the-met-opera-review.html

Here is a link to a synopsis and cast list: https://www.metopera.org/globalassets/season/in-cinemas/hd-cast-sheets/traviata_us-global-pr.pdf?performanceNumber=15367

Here is a link to other information about the production of “La Traviata,” including photos and audiovisual clips (in the YouTube video preview at the bottom you can also hear the director, conductor and others speak and sing):

https://www.metopera.org/season/2018-19-season/la-traviata/

And here is a Wikipedia history of the 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: University Opera’s “Poppea” proves engaging, satisfying and timely. Performances remain this afternoon at 2 and Tuesday night at 7:30 

November 18, 2018
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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: Madison Opera gives completely satisfying and nearly perfect performances of “Cavalleria Rusticana” and “Pagliacci.” Here are four reviews

November 8, 2018
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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 Madison Opera and filed this review, with performance photos by James Gill:

By Larry Wells

I attended performances of Pietro Mascagni’s “Cavalleria Rusticana” and Ruggero Leoncavallo’s “Pagliacci” presented by the Madison Opera at Overture Hall last Sunday afternoon.

Each of the operas is an hour and a quarter long. At least for “Cavalleria” (below), the time flew by while I was captivated by the good singing, excellent playing and charming staging. The opera is tightly constructed and the production flowed effortlessly to its dramatic conclusion.

The feckless mama’s boy Turridu was ably portrayed by tenor Scott Piper (below top) who sang beautifully throughout. His nemesis, Alfio, was sung by baritone Michael Mayes (below bottom). Mayes has an excellent voice and terrific musicianship, but he tended to overact.

The star of the show was soprano Michelle Johnson (below) as Santuzza.  Her big aria “Voi lo sapete” and her duets with Piper were rapturously dramatic. Her supple and nuanced performance had me uncharacteristically leaping to my feet and shouting “Brava!” as she took her curtain call. Hers is a voice I hope to hear again soon.

The Madison Symphony Orchestra shone throughout the performance, ably led by guest conductor Joseph Mechavich (below). I cannot recall hearing before such subtle control of its orchestral voices, and the ensemble glimmered in the well-known intermezzo. (You can hear that famous and beautiful Intermezzo, used in the film “The Godfather” and conducted by Gustavo Dudamel, in the YouTube video at the bottom.) 

The set and costumes, the bravura singing by the chorus, and the lighting were all above expectations. It was a completely satisfying experience.

“Pagliacci” is a more troublesome work for me. It has moments of lyrical genius but also what to me seems like filler – the chorus going on too long about getting to vespers, for example.

Mayes (below) portrayed the villainous Tonio in this opera.  Although his prologue was beautifully sung, his creepy overacting was a bit too much. For example, when Nedda spat at him in contempt, he wiped the spittle from his face and then licked his hand. His final utterance “La commedia e finita” was overly dramatic and lacking irony.

Piper sang the clown Canio (below), and by the time he got to the showpiece aria “Vesti la giubba” I was nervous that he would not be able to hit all the high notes. He did hit the notes, but it will take a couple more years for this role to fit his voice comfortably.

Nedda was portrayed by sensational Talise Trevigne (below bottom). Her big aria “Stridono lassù” was sung beautifully, and the orchestra shimmered in its accompaniment. Her duet with her lover Silvio, ably sung by baritone Benjamin Taylor (below top), was another highlight of the production.

Once again, the orchestral interlude was beautifully played.

Altogether, this was almost a perfect afternoon at Madison Opera. There appeared to be a gratifyingly large number of younger people attending, which I took as a good sign for the future. (Below is the tragic final scene of “Pagliacci” with Robert Goodrich, Michael Mayes and Scott Piper.)

I look forward to the next production: Stephen Sondheim’s “A Little Night Music” on Feb. 8 and 10. I saw it recently at Des Moines Metropolitan Opera, so I am interested to see how it will compare.

When all is said and done, I enjoyed “Pagliacci” but feel it is inferior to “Cavalleria.” Although both operas are frequently performed together, I have attended other pairings for “Cavalleria” including one with Puccini’s comic short opera “Gianni Schicchi.” That combination worked well. I wonder: Do readers have other suggestions for pairings?

Editor’s note: Everyone has an opinion. How did you and other critics find the Madison Opera productions? Leave your opinion in the COMMENTS section. And here are links to some other reviews:

Here is the review John W. Barker wrote for Isthmus: https://isthmus.com/music/satisfying-double-bill/

Here is the review, with a historical bent, that Greg Hettmansberger wrote for his blog “What Greg Says”: https://whatgregsays.wordpress.com/2018/11/06/madison-opera-goes-old-school/

 And here is what Lindsay Christians wrote for The Capital Times newspaper: https://madison.com/ct/entertainment/arts_and_theatre/theatre/love-revenge-passion-violence-open-the-season-at-madison-opera/article_1c27e195-cc2f-5826-9502-00544b88fae6.html


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Classical music: Despite overly traditional staging, the Madison Opera’s “Carmen” beguiled and bewitched through the outstanding singing

November 7, 2017
16 Comments

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.


Classical music: Madison Opera’s “Magic Flute” proved enjoyable, opulent and superb

April 25, 2017
8 Comments

By Jacob Stockinger

The Ear’s friend and opera veteran filed this review:

By Larry Wells

I attended last Sunday’s matinee performance of the Madison Opera’s production of Wolfgang Amadeus Mozart’s “The Magic Flute.” (Performance photos are by James Gill for the Madison Opera.)

The opera’s mystifying combination of fairy tale and Masonic ritual has been better explained by others, including the legendary Anna Russell. Those who know her only through her analysis of Wagner’s “Ring” Cycle should seek out her lecture on “The Magic Flute, which is accompanied on the CD by an equally humorous look at Verdi’s “Nabucco.” A search through the iTunes store will easily yield these treasures.

The scenery and costumes (below), which were borrowed from Arizona Opera, were superb. I was captivated by the clever set, the opulent costumes and the amazing props.

The choice to have the spoken dialogue in English, while the sung parts remained in German with supertitles in English, was a smart move and helped move the ridiculous plot lines along.

The playing by members of the Madison Symphony Orchestra, under the direction of guest conductor from the Juilliard School, Gary Thor Wedow, (below) was, as usual, brilliant.

And the singing was, for the most part, first-rate.

Special mention should be made of Andrew Bidlack (below top) as a consistently arresting Tamino and Amanda Woodbury (below, right, with Scott Brunscheen as Monostatos) as a crystalline Pamina. Their first act duet was perfection.

Likewise, Caitlin Cisler played the Queen of the Night (below center) and her vocal fireworks were spectacular, plus she was a delight to watch in her bizarre winged costume. (You can hear the Queen of the Night’s astonishing and virtuosic aria in the YouTube video at the bottom.)

I enjoyed Alan Dunbar’s Papageno (below). He has a gift for comedy.

And probably my favorite characters, the three ladies (below, from left, with Tamino) portrayed by Amanda Kingston, Kelsey Park and Anna Parks were brilliantly sung and acted.

UW-Madison graduate Anna Polum (below) did not disappoint in the smaller role of Papagena, and we will be fortunate to hear her again soon in Johannes Brahms’ “German Requiem” with the Madison Symphony Orchestra next month.

The three spirits, sung by local schoolboys, were fun to watch with their steampunk attire and props, but they were vocally rather thin.

Nathan Stark’s Sarastro tested the limits of his vocal range. It’s a difficult role in any event since Sarastro has the unfortunate habit of stopping the opera’s action in its tracks whenever he appears.

The audience loved the whole thing, laughing at the comic absurdities and applauding whenever the music paused. But I cannot help wondering why “The Magic Flute” is such a popular opera. Its plot is basically incomprehensible, its second act goes on a half hour too long, the Queen of the Night’s downfall is never satisfactorily explained, and despite a number of memorable tunes, there are, in my mind, many more musically satisfying operas.

Next season we can look forward to yet another of the countless performances of Bizet’s “Carmen” and yet another Mozart opera “The Abduction from the Seraglio.” Madison does seem to love its Mozart. But we will also be hearing the late Daniel Catan’s lush, Puccini-esque “Florencia en el Amazonas,” for which I give praise.

I got to thinking about what other lesser performed operas that are not 200 years old might please the Madison crowd and quickly came up with: Benjamin Britten’s “A Midsummer Night’s Dream”; Gian Carlo Menotti’s “The Consul”; Leonard Bernstein’s “Candide”; Douglas Moore’s “The Ballad of Baby Doe”; Samuel Barber’s “Vanessa”; and Ralph Vaughan Williams’ “Sir John in Love.”

Each of these is as melodic as “The Magic Flute” and each has certainly more compelling storylines.

What are your suggestions?


Classical music: Mozart’s music requires the rhythms of both speech and dance, says maestro Gary Thor Wedow, who will also restore lost libretto text when he conducts two performances of “The Magic Flute” this weekend for the Madison Opera. Here is Part 2 of his interview with The Ear.

April 19, 2017
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By Jacob Stockinger

The Madison Opera will stage Wolfgang Amadeus Mozart’s The Magic Flute this Friday night, April 21, at 8 p.m. and this Sunday afternoon, April 23, at 2:30 p.m. in Overture Hall of the Overture Center. (Production photos are courtesy of the Arizona Opera from which the Madison Opera got the sets and costumes for its production.)

Yesterday’s post was the first of two parts. It has a plot synopsis and links to more information about the cast and production.

Here is a link to Part 1:

https://welltempered.wordpress.com/2017/04/18/classical-music-mozart-masterfully-melds-the-sensual-and-the-cerebral-says-maestro-gary-thor-wedow-who-will-conduct-two-performances-of-the-magic-flute-this-weekend-for-the-madiso/

The opera runs about 2 hours and 45 minutes with one intermission.

Tickets are $18 to $130.

“The Magic Flute” will be sung in German with English supertitles.

For more about the production and cast, go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/

And also go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/cast/

Here is Part 2 of The Ear’s recent email interview with conductor Gary Thor Wedow (below, conducting in an orchestra pit):

Are there certain “tricks” or “secrets” that you try to bring to conducting Mozart? Have you conducted “The Magic Flute” before? Do Mozart’s operas in general and this opera in specific present challenges? Where do you place the opera musically, both compared to other operas in general and in regard to its place in Mozart’s work?

I feel keenly that Mozart and all 18th-century music (probably continuing to this day) is either based on a rhetorical idea or a dance form; that music is either speaking or dancing. This style of music is “pre-French Revolution,” so No Two Notes are Created Equally! The lilt of language or the buoyancy of the dance has to infuse every moment; hierarchy and shape prevail.

I’ve been fortunate to have conducted The Magic Flute frequently, in many varied productions; it’s always been a part of my musical life. Because it’s a fairy tale, it lends itself to inventive and imaginative productions. Stage director Dan Rigazzi’s production (below) for Madison Opera is a whimsical one, influenced by the surrealist painter Magritte, steampunk and more, all rolled into one beautiful show.

Mozart was fascinated with German Singspiel, as it was opera in the language of the people. The Magic Flute is his masterpiece in this genre, though there are earlier works. There is the early Zaide – incomplete, but filled with gorgeous, innovative music –and also the more mature, sumptuous and comic The Abduction from the Seraglio; they are both rich and entertaining pieces.

The Magic Flute, I feel, has a special place in the opera repertoire for several reasons: its Masonic connections that were very important to Mozart, the drama, and its central themes that trace themselves back to ancient Egypt.

It also is a brilliant combination of comedy and deep spiritual drama in the guise of a heroic rescue tale. It uses an incredibly wide range of the most beautiful music written in every major genre: sacred music, opera seria, bel canto, folk song and complex Baroque counterpoint.

What would you like listeners to pay special attention to in the music of “The Magic Flute”?

I would say “Hang on!” Whatever style of music we are in, we are going to switch gears in a fairly short time. It’s a roller coaster, an Ed Sullivan Show, American Idol, and the Barnum and Bailey Circus all rolled into one.

This is your third time conducting at Madison Opera. Do you have an opinion about Madison musicians and audiences?

My previous two experiences in Madison have been the Opera in the Park concerts in 2012 and 2016 (below). These have been among the most sublimely satisfying moments of my musical life: a cornucopia of music played by this brilliant symphony orchestra with great singers.

The audiences have been magically focused and involved; the players are magnificent, dedicated musicians, and the community is very supportive of Madison Opera. It’s electric.

Is there anything else you would like to say about the music or this performance?

Magic Flute devotees might be startled to hear some new text in these performances, particularly in Tamino, Pamina and Sarastro’s arias and the duet with Pamina and Papageno. “Bei Männern” is now “Der Liebe.” (You can hear it in the YouTube video at the bottom.)

Let me explain by telling you a mystery story. After Mozart died, Constanze was desperate for money. Mozart’s Flute manuscript conducting score belonged to Schikaneder, the librettist and producer, but it seems that Constanze had another original score: the first original manuscript, which she then sold to a nobleman who eventually allowed it to be published.

This must have been a “composing score” that Mozart wrote first, before making the conducting score with the help of his assistant. The text deviates in several sections in notable ways. Probably Schikaneder, perhaps assisted by his Masonic brothers, “improved” the text, but Mozart had already shaped his music to the first text.

In most sections the differences are minimal and the new text was indeed an improvement. But in some cases I feel the original text was what inspired Mozart to write and orchestrate the way he did. Our marvelous singers have generously agreed to make the changes and I think we will all see how it fits the music so much better.

Sadly, Constanze’s manuscript was lost in the wars, but many scholars had already seen it and considered it to be genuine. I love how it shows how fluid the creative process is and how it spurs us to look anew at Mozart’s creative process.

On with the show!


Classical music: Mozart masterfully melds the emotional and the intellectual, says maestro Gary Thor Wedow, who will conduct two performances of “The Magic Flute” this weekend for the Madison Opera. Here is Part 1 of his two-part interview with The Ear

April 18, 2017
5 Comments

By Jacob Stockinger

The Madison Opera will stage Wolfgang Amadeus Mozart’s The Magic Flute this Friday night, April 21 at 8 p.m. and Sunday afternoon, April 23, at 2:30 p.m. in Overture Hall. (Production photos are courtesy of the Arizona Opera, from which the Madison Opera got its sets and costumes.)

Here are an introduction and some details, courtesy of the Madison Opera:

Written in the last year of his life, Mozart’s opera is part fairy tale, part adventure story, and is filled with enchantment.

Set in a fairy-tale world of day and night, the opera follows Prince Tamino and the bird-catcher Papageno as they embark on a mission to rescue Pamina, the daughter of the Queen of the Night. Pamina had been kidnapped by Sarastro, the leader of a religious order. But it turns out that exactly who is “good” and who is “evil” is not always what it appears.

Along the way to happily-ever-after, Pamina, Tamino and Papageno face many challenges, but are assisted by a magic flute, magic bells, a trio of guiding spirits and their own clear-eyed sense of right and wrong.

“The Magic Flute has been beloved around the world since its 1791 premiere,” says Kathryn Smith (below in a photo by James Gill), Madison Opera’s general director. “It has been called a fairy tale for both adults and children, with a story that works on many levels, all set to Mozart’s glorious music. I’m so delighted to be sharing it again with Madison, with an incredible cast, director and conductor.”

The opera runs about 2 hours and 45 minutes with one intermission.

Tickets are $18 to $130.

“The Magic Flute” will be sung in German with English supertitles.

For more about the production and cast, go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/

And also go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/cast/

Dan Rigazzi, who has been on the directing staff at the Metropolitan Opera for 10 years, makes his Madison Opera debut with this beautiful production that incorporates some steampunk elements into its fairy-tale setting.

Gary Thor Wedow, a renowned Mozart conductor, makes his mainstage debut with this opera, after having conducted Opera in the Park in 2016 and 2012.

Conductor Wedow (below) recently agreed to do an email Q&A with The Ear:

Could you briefly introduce yourself to readers?

Hello! I’m an American conductor, born in LaPorte, Indiana. A faculty member at The Juilliard School, I spend a lot of time with music of the 18th century — Handel and Mozart and often earlier, like Monteverdi, Purcell and Cavalli. But I conduct everything and grew up in love with the Romantics. I’ve also always done a lot of contemporary music. I love it all.

Mozart’s music sounds so clear and easy or simple, but the reality is quite different, musicians say. What do you strive for and what qualities do you think make for great Mozart playing?

Mozart engages both the brain and the heart. He challenges your intellect with amazing feats of counterpoint, orchestration and structure while tugging at your heart, all the time pulling you along in a deep drama.

Mozart was an Italian melodist with a German contrapuntal, harmonic engine – like an incredible automobile with an Italian slick body and a German motor.

Do you share the view that opera is central to Mozart’s music, even to his solo, chamber and ensemble instrumental music? How so? What is special or unique to Mozart’s operas, and to this opera in particular?

From all accounts, Mozart (below, in his final year) was a huge personality who was full of life and a keen observer of the human condition; his letters are full of astute, often merciless and sometimes loving evaluations of family, colleagues and patrons.

Mozart’s music speaks of the human condition: its passions, loves and hopes— no matter what genre. His music is innately dramatic and primal, going immediately to the most basic and universal human emotions with breathtaking nuance, variety and depth. (You can hear the Overture to “The Magic Flute,” performed by the Metropolitan Opera orchestra under James Levine, in the YouTube video at the bottom.)

Tomorrow: Tricks to conducting Mozart and what to pay special attention to in this production of The Magic Flute.


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