ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”
Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to:
By Jacob Stockinger
At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.
The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.
There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.
The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122, Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio St. John Passion, the tenor aria Ach, mein Sinn.
Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org
Tickets at the door are: $30 for general admission; $25 for students and seniors 65 and over. Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)
Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord
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 for 12 years hosted 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. Barker also provided the performance photos for this review.
By John W. Barker
The second of the Token Creek Chamber Music Festival’s three public concerts, which took place on Tuesday evening, was a study in the old and the new, and the mingling thereof.
The program title was, in fact, “Viol Music, Then and Now.” The performing group was the Second City Musick Consort of Viols of Chicago (below) — three players from there, plus visitor Brady Lanier.
Much, but hardly all, of their contributions were consort pieces of the 16th and 17th centuries, although a certain number of transcriptions — ironically, of later music — were involved.
Three Fantasias for three viols by William Byrd and one by John Jenkins for four viols were prime specimens. Two pairs of examples from Henry Purcell’s Fantasias in 4 Parts represented a late contribution to the consort literature, but were probably intended — primarily, if not exclusively — for members of the violin family, not viols.
With the addition of countertenor Nathan Medley, groups of “consort songs” were presented: three by Byrd and one each by four different composers of the late-Elizabethan and early Stuart periods. These were capped by one of the favorite airs of Purcell, “Fairest Isle”— which is a part of his large “semi-opera” King Arthur.
The program’s centerpiece, however, was a new work by festival co-founder and co-artistic director, John Harbison (below), who won a Pulitzer Prize and has been a MacArthur “genius grant” Fellow and who teaches at MIT.
The nature and the scoring of this work, The Cross of Snow, was defined by the patron who commissioned it. This was local businessman William Wartmann (below), who intended it as a tribute to his deceased wife, the painter and singer Joyce Wartmann.
It was understood from the outset that it would be written for countertenor and consort of viols, and that the texts set would come from 19th-century poetic literature.
The choice eventually fell on Henry Wadsworth Longfellow, who also lost his wife tragically, in a fire. The three poems set are: The Cross of Snow, Suspira and “Some day, some day.” All of them deal with the deep and enduring pain over the loss of a loved one. The three settings are framed by a Prelude and a Postlude for the consort alone. (You can hear the poem “The Cross of Snow” in the YouTube video at the bottom.)
Harbison has a strong sense of tradition and a genuine sympathy for Baroque music. Still, in this composition he by no means attempts simply to imitate long-past styles. While he is interested in exploring the special coloring and harmonics of the viols, he also brings to them a lot of the playing techniques familiar from writing for modern stringed instruments, but alien to viols. Indeed, the instrumental role in this work could pretty easily be transferred from viols to modern strings.
Nevertheless, Harbison’s stylistic assimilations run deep. The five movements, and especially the quite contrapuntal Postlude, are built upon allusions to chorales by Johann Sebastian Bach (below). And, quite wisely, the consort played transcriptions of three such pieces in conjunction with Harbison’s score.
Moreover, it was decided to perform Harbison’s new work twice, once in each half of the concert. This was most helpful in allowing a deepened appreciation of the emotional content of both the poetry and the music. The vocal lines are strongly etched, and were beautifully sung by countertenor Medley, a superb artist.
With the final program, on this Friday night at 7:30 p.m. and Sunday afternoon at 4 p.m., the spotlight will be exclusively on Franz Schubert (below) — his “Die Schoene Muellerin” (The Beautiful Miller’s Daughter) song cycle and the famous “Trout” Piano Quintet — music in a world between the two evoked by this concert.
For more information, visit: http://tokencreekfestival.org
ALERT: In case you haven’t yet heard, the winners (below) of the fourth annual Handel Aria Competition, held on Friday night in Mills Hall and accompanied by the Madison Bach Musicians, have been announced.
Eric Jurenas (center), countertenor, won First Prize; Christina Kay (right), soprano, won Second Prize; and Nola Richardson (left), soprano, won Third Prize and Audience Favorite.
By Jacob Stockinger
The Ear left the concert hall thinking: Well, this will be an easy review to write.
Just give it an A-plus.
An easy A-plus.
This year, the MEMF is celebrating the 400th anniversary of the death of poet and playwright William Shakespeare (below top) and the 45-year reign of Queen Elizabeth I (below bottom), who oversaw the English Renaissance.
And the program – performed before a large house of perhaps 450 or 500 enthusiastic listeners — was perfectly in keeping with the festival’s theme. It used sacred music rather than stage music or secular music, which will be featured later in this week of concerts, workshops and pre-concert lectures.
In fact, the program of New York Polyphony was based on two of the group’s best-selling CDs for BIS Records and AVIE Records: “Tudor City” and “Times Goes by Turns.” It was roughly divided into two masses, one on each half. (You can hear a sample in the YouTube video at the bottom.)
Adding to the variety was that each Anglican or Roman Catholic-based mass was a composite, with various sections made up like movements written by different composers. Thrown in for good measure were two separate short pieces, the “Ave Maria Mater Dei” by William Cornysh and the “Ave verum corpus” of William Byrd.
The Mass on the first half featured music by Byrd, John Dunstable, Walter Lambe and Thomas Tallis. The second half featured works music by Tallis, John Pyamour, John Plummer and excerpts from the Worcester Fragments. The section were typical: the Kyrie, Gloria in Excelsis, Credo, Sanctus, Benedictus and Agnus Dei.
There was nothing fancy about this concert, which marked the Wisconsin debut of New York Polyphony and which spotlighted superbly quiet virtuosity. The four dark-suited men, who occasionally split up, just stood on stage and opened their mouths and sang flawlessly with unerring pitch and superb diction.
A cappella or unaccompanied singing is hard work, but the four men made it seem easy. The countertenor, tenor, baritone and bass each showed confidence and talent plus the ability to project clarity while not overshadowing each other. This was first-class singing.
The beautiful polyphony of the lines was wondrous to behold even, if like The Ear, sacred music from this era – with its chant-like rather than melodic qualities – is not your favorite fare.
New York Polyphony provided a good harbinger of the treats that will come this week at the MEMF from groups like the Newberry Consort of Chicago with soprano Ellen Hargis (below top) and the Baltimore Consort (below bottom) as well as from the faculty and workshop participants. On Friday night is an appealing program that focuses on Shakespeare’s sonnets and music.
And on Saturday night at 7:30 p.m., with a pre-concert lecture at 6:30 p.m., will be the All-Festival concert. That is always a must-hear great sampler of what you perhaps couldn’t get to earlier in the week. This year, it will feature the music as used in a typical Elizabethan day.
Here is a link to the MEMF website:
And here is a link the website of New York Polyphony if you want to hear more:
By Jacob Stockinger
The Ear has received the following announcement:
The Handel Aria Competition is pleased to announce the finalists for this year’s fourth annual event.
The final round of the region, national and international competition is presented as a public concert in conjunction with the Madison Early Music Festival in Madison, Wisconsin.
It will take place on next FRIDAY night July 8, at 7:30 p.m. in Mills Concert Hall at the UW-Madison School of Music, 455 North Park Street. (An earlier version mistakenly said Thursday night. The correct date is FRIDAY night, July 8. The Ear apologizes for the error.)
Tickets are $10, general admission, and are available in advance, through Orange Tree Imports, in person at 1721 Monroe St., Madison, WI, and by phone: (608) 255-8211; or at the door They are now available online through UW Arts on Campus (use the link below) and at the Memorial Union Box Office.
Seven finalists and two alternates were chosen from a field of almost 100 singers from around the world.
The finalists are:
Each singer will present two arias from an opera or cantata by George Frideric Handel, accompanied by the Madison Bach Musicians (below, at the 2015 competition) under the direction of Trevor Stephenson.
Three professional judges will select a first, second and third prize winner, and all those in attendance will be invited to vote for the recipient of the “audience favorite” prize.
For more information about the competition, visit:
Below are the 2016 Handel Aria Competition Finalists – from upper left, clockwise: Fiona Gillespie Jackson; Christina Kay; Nola Richardson; Elena Snow; Pascale Brigitte Boilard; Adele Grabowski; and Eric Jurenas.
By Jacob Stockinger
Last Thursday night, The Ear attended the annual Handel Aria Competition.
And once again, he found himself in Handel Himmel.
This was the third year in a row for the competition, which was founded by local merchants and music patrons Dean and Orange Schroeder (below).
Here is a link to a Q&A post in 2013 with Dean Schroeder discussing the genesis of the competition:
And it sure seems that, with more incremental improvements yet again this year, this third time could prove the charm in establishing the competition as a permanent event.
Here is a link to the competition’s home website with news of the winners soprano Sarah Brailey (first, below center), countertenor Andrew Rader (second, below right) and mezzo-soprano Margaret Fox (third and audience prize, below left), the last of whom did graduate work at the UW-Madison School of Music:
For one, the attendance seemed bigger and applause sounded louder than in the past two years. The word is out.
Also, the competition returned to Mills Hall, which has better seating, better sight lines and better acoustics — to say nothing of better restrooms — than Music Hall, where it was held last year.
Here are some other things The Ear especially liked about this year’s Handel Aria Competition:
The Madison Bach Musicians — with harpsichord, two violins, cello, viola and especially an oboe — accompanied the singers.
That felt much more authentic for opera and oratorios than the solo harpsichord the first year or the small group last year. It sounded great and added a depth that allowed you to really hear how Georg Frideric Handel bounced parts back and forth.
One organizer told me she hopes that the ensemble will return next year. The Ear hopes so too. Everybody hopes so. They did an outstanding job and added a lot.
There were only seven contestants (below). Even so, the event started at 7:30 and ran until almost 10 p.m. That makes for a long night. Splitting them into four and three, then adding in time at the end for judging by the judges and the audience, made it more manageable than in previous years. But The Ear would like to see the finalists whittled down to five or six.
This year also saw more unusual repertoire offerings. I heard less from such well-known works as, say, “Messiah” — which should be banned from the competition — and more from unusual works such as “La Resurrezione,” “Siroe Re di Persia,” “Orlando” and “Teseo.”
That helped me to appreciate the range of Handel’s music. (Listen to the lovely aria “Ferma l’ali” from “La Resurrezione” in a YouTube video at the bottom. It was the opening piece sung by winner Sarah Brailey.)
The contestants also seem to get more evenly matched and more professional every year, showing greater ease and better stage presence. That is probably only to be expected as news of the competition spreads among early music enthusiasts.
BUT: There was one sour note. I did hear some very strong complaints from quite a few very knowledgeable listeners that soprano Kristen Knutson (below) did not receive any prize.
Yet she seemed to possess the complete package. She demonstrated a strong and expressive voice, with great pitch and diction plus terrific ornamentation, and she showed a fine stage presence.
Was she shut out — or robbed, as one listener bluntly put it — because she went first? Whatever the reason, she deserved much better recognition than she got. The Ear hope she returns next year and does as well as she deserves to.
What did you think of this year’s competition?
Of the performances and of the judging?
By Jacob Stockinger
Ear Friends and local merchants Dean and Orange Schroeder, who sponsor a lot of local classical music, write about an event they created and that is being held in conjunction with this week’s Madison Early Music Festival, which is exploring early Eastern European music:
We are hoping that you might help us promote this year’s third annual Handel Aria Competition (below, in 2013). It takes place on this Thursday, July 16, at 7:30 p.m. in Mills Hall at the UW-Madison School of Music. (Chelsea Morris, who won last year’s competition can be heard in a YouTube video at the bottom.)
Tickets are $10, general admission, and are available in advance at Orange Tree Imports, 1721 Monroe Street, and online through Brown Paper Tickets (see www.handelariacompetition.com for the link).
There should also be tickets available at the door.
We have seven wonderful finalists coming to perform. And we are particularly excited that, this year, the accompaniment will be more than a harpsichord and will be provided by the Madison Bach Musicians with Trevor Stephenson (below).
We asked each of our seven finalists to answer the question “Why I love to sing Handel,” and I thought your readers would enjoy their answers.
Handel Aria Competition Finalists for 2015
Sarah Brailey, soprano (a finalist in 2014), NY, NY
Corrine Byrne, soprano, NY, NY
Margaret Fox, mezzo-soprano, Chicago
Kristin Knutson, soprano, Brookfield, WI
Andrew Rader, countertenor, Bloomington, IN
Jacob Scharfman, baritone, Boston
Here are their answers:
“Handel’s is “perfect music,” as Joyce DiDonato joked in a recent master class, music he whipped up almost thoughtlessly. Some composers slave over their works, but Handel—like Mozart—captured the pacing, moods and nuances of his characters immediately.
“It’s for this immediacy that I love to sing Handel. His genuine showmanship has enthralled audiences for centuries, and I commend the Handel Aria Competition for sustaining that legacy.”
Jacob Scharfman (below)
“Why I love singing Handel: This is so hard to answer briefly, because I basically spent my doctorate pondering the joys and intricacies in the vocal works of Handel. His writing is like a puzzle, where I can dive into the subtle meanings of every elegant gesture to create the most meaningful interpretation I can.
“When I’m singing a Handel aria, I get to become not just a vehicle for his music, but a composer myself as well as a researcher and a historian. There’s nothing more exciting than ornamenting Handel, because the music is ever-changing and alive!”
Corrine Byrne (below)
“I love to sing Handel because his music encapsulates the simplest and most complex of emotions, simultaneously, just like real life!”
Margaret Fox mezzo-soprano (below)
“Handel is one of my favorite composers to sing. From a personal standpoint, Handel will always hold a special place in my heart because my first breakthrough in my vocal studies was achieved with a Handel aria, and many of my subsequent vocal successes were accomplished with his arias.
“I love to sing Handel because his music is incredibly expressive and evocative, and so very exciting and stimulating to sing.”
“High on my list of “Great Singing Fears”– along with forgetting my audition dress, or running out of breath mid-vowel–is the fear of being boring. What is the point of all the effort to be a good singer if the audience leaves feeling cold and un-moved?
“Put simply, Handel’s music gives me something real and heartwarming to say. He wrote to persuade the listener, at a deep level, of what the text expressed, and is therefore an easy friend to any singer looking to relate story and emotion effectively. What a privilege to share his music with an audience!”
Kristin Knutson (below)
“I love to sing Handel because of the great variety and flexibility it allows us as singers. Name an emotion and there is a fantastic, dramatic, exciting Handel aria that explores it.
He was so prolific–we truly have a treasure trove at our disposal, especially as sopranos! And how often do we get the opportunity to improvise or compose as classical singers? Ornamenting Handel stretches my brain in a way that few other things do in my career. It’s a very gratifying challenge.”
Sarah Brailey (below)
“For me, Handel’s music is like coming home. No matter what other repertoire I explore, his scores (whether operas, oratorios, cantatas, what have you) can be opened, set on the stand, and they just speak themselves as self-evident. With far fewer exceptions than other composers, not much must be added to bring their magic to the fore.”
Andrew Rader (below)
Adds Andrew Rader:
“I would like to thank you for sponsoring this event. Handel’s music deserves a wider audience than it has in this country, and these scores need support from people like yourselves if they are ever to become more well-known gems in the public spheres of music.
“Regardless of who officially places first in the competition, we are all successful in being winners, due to the experience of putting together this type of performance.”
By Jacob Stockinger
As you probably already know, The Ear is running a bit behind.
That’s how busy even the summer season has become, when it comes to classical music in the Madison area. And reviews take a second seat to previews and advance Q&A’s that benefit the performers and audiences.
So over the next few days, I want to provide some critiques and reviews, and even more shout-outs, to various events that took place over the past couple of weeks. I hope you will forgive my tardiness.
You should also know that I am not going in chronological order because some things seem more important or more timely, and therefore more overdue, than others.
So, first things first.
Here is the official website of the competition with the results plus background and biographies of all the finalists and other information:
True, the second annual Handel competition is not strictly speaking a part of MEMF. But it is affiliated with MEMF. And since I have already covered the extraordinary MEMF opening concert “The Leonardo da Vinci Codex” by the Toronto Consort, I wanted to bring you up to date with the results of the aria competition, which has begun to attract national and even international attention.
Here are the big point to note: What a difference a year makes!
This year there was no unsatisfactory split or disagreement between the four judges and the public, as there was last year. BRAVO!!!!
This year, both the judges and the public — which had some pretty discerning listeners in it — agreed on the winner: She was Chelsea Morris (below), who might be familiar from other appearances in Madison with the Madison Bach Musicians and Trevor Stephenson, who whom she has released a CD of songs by Wolfgang Amadeus Mozart, Franz Joseph Haydn and Franz Schubert.
Morris met all the criteria that Professor John W. Barker, an insightful critic and devoted Handelian, had outlined in his pre-concert lecture. He emphasized that it was not only about beautiful singing but also capturing the sense of drama in a role, of great diction, of ornamentation, of mastering the Handelian style.
Chelsea Morris did all of them, and the second time proved the charm. (You can hear her entry in last year’s aria competition in a YouTube video at the bottom.) And she is moving from Chicago to Madison as her base, where she will be a Studio Artist with the Madison Opera this coming season So The Ear hopes to score a Q&A with her soon. She won $1,000 and free tuition (worth just under $500) to next summer’s Madison Early Music Festival.
Morris sang “Svelato il cor ti vedo” and “L’amor que per te sento” from “Alessandro” and “O Sleep, why dost thou leave me?” from “Semele.”
Second Prize went to Daniel Moody (below), a countertenor who sang “Pomoe vane do morte! And “Dove aei, amato ben” from the opera “Rodelinda”:
Third Prize ($500) went to soprano Yukie Sato, a Tokyo native who is now based in Basel, Switzerland where she won a similar competition. With much drama, she sang “A Ruggiero crudel” and “Ombre palle” from “Alcina” and “Rejoice greatly, O daughter of Zion” from the oratorio “Messiah.”
You read me right: Tokyo and Switzerland. This past year, some money had been raised to help pay travel expenses, and that paid off in the quality of singing, which was higher overall.
The applicants this time numbered 60, and they came from around the nation and world. That was whittled down to 30, and then 15 and then, in the end, to seven finalists (below) because the judges couldn’t agree on just six.
Each contestant had to sing one aria in Italian and another in English. The Ear likes that. It helped us in judging diction, and helped you to appreciate the range of Handel’s music. But The Ear wishes that in future competitions they would ban arias from “Messiah” since you hear that music enough already.
One downside: Held in Music Hall, the Handel aria smack-down drew an audience about half as big as last year, maybe 250 instead of the 500 in Mills Hall. No doubt that fact that admission this year was $10, while last year it was free, figured in that lower attendance. I would sure like to see it return to free admission, if possible. It is a great way to introduce people to the world of Handel, and draw a general audience –- not just specialists.
But another plus this year was that the singers were accompanied by a small five-person pickup orchestra or consort (below) made up mostly of faculty members and professional instrumentalists from the Madison Early Music Festival. The sound sure added authenticity and helped both the singers and the listeners get into the mood of Handel operas, which have been rediscovered big time. Plus, it was just more fun to listen to with great variety of sound, timbre and tone.
This year’s Handel Aria Competition was nothing short of a triumph. The competition is well on its way to becoming an impressive and fun Madison summertime institution. All thanks go, then, to founders and sponsors Dean and Orange Schroeder (below, holding a bust of George Frideric Handel), the business owners of Orange Tree Imports on Monroe Street, who are such reliable and generous supporters of Madison’s classical music scene.
THE ALL-FESTIVAL CONCLUDING CONCERT
A week ago tonight, the Madison Early music held its All-Festival Concert in Luther Memorial Church, 1021 University Avenue. (MEMF had to use Music Hall and Luther Memorial as alternative venues this summer because Mills Hall at the UW-Madison School of Music was undergoing repairs.)
And speaking of triumphs, the thematic program was based on the sonnet cycle of “Triumph” by Petrarch (below), who examined the importance of Love, Chastity, Death, Fame, Time and Eternity. It is a work that both anticipates and sums up the emerging humanism of the Italian Renaissance.
There are not a lot of specific remarks I can make except that:
The program was well constructed by Grant Herreid (below), who also conducted it.
The orchestra played beautifully and produced big full sound enhanced by the church’s acoustics. Yet a balance was maintained, and vocal and instrumental parts blended.
The various soloists -– and there were many –- were impressive.
Lasting just over an hour, it was a perfect wrap up to a great festival.
Co-founders and co-artistic directors UW-Madison baritone Paul Rowe and Cheryl Bensman Rowe, who both sang in the chorus parts, also announced that next year’s theme will be Early Music in Central and Eastern Europe, including Czechoslovakia, Poland and Bohemia.
By Jacob Stockinger
Here is a terrifically informative press release about the opening production — with three performances — this coming weekend of the new season at University Opera, an opening that features George Frideric Handel, the famous and prolific Baroque composer who has undergone a major revival and is perhaps the hottest opera composer being performed these days.
“One of the most virtuosic operas by George Frideric Handel (below) takes the stage in University Opera’s fall production of Ariodante. (Editor’s note: At bottom is a YouTube video with an aria from the opera “Ariodante” sung by Anne Sophie von Otter.)
“Sung in Italian with English surtitles by Christine Seitz, the work will be given three performances — Friday, October 25 at 7:30 p.m., Sunday, October 27 at 3: p.m. and Tuesday, October 29 at 7:30 p.m. All shows will be presented at the Carol Rennebohm Auditorium in Music Hall (below) on the University of Wisconsin-Madison campus at the base of Bascom Hill.
“Although Ariodante has a happy ending it is a complex, dark work,” says director William Farlow (below, in a photo by Kathy Esposito), who will retire at the end of this season. “Stunningly beautiful music accompanies the characters as they search for the truth. It is a captivating story of betrayal and reconciliation.”
“Farlow’s cast includes undergraduate and graduate students from the University of Wisconsin-Madison School of Music, supported by the UW Chamber Orchestra under the direction of James Smith (below).
“The role of Ariodante is shared by Lindsay Metzger (October 25 and October 29) and Susanna Beerheide (October 27). The role of Ginevra is also double cast with Anna Whiteway (October 25 and October 29) and Caitlin Ruby Miller (October 27), as is the role of Dalinda, performed by Christina Kay (October 25 and October 29) and Lydia Rose Eiche (October 27). Spencer Schumann (October 25 and October 29) and guest artist and IW alumnus countertenor Gerrod Pagenkopf (below bottom, October 27) share the role of Polinesso. Other cast members include Daniel López-Matthews as Lurcanio, Erik Larson as the King, and William Ottow as Odoardo.
“Production and music staff includes assistant conductor Kyle Knox (below), costume designers Sydney Krieger and Hyewon Park, technical director Greg Silver, lighting designer Steven M. Peterson, set designer and scenic artist Liz Rathke, vocal coach and musical preparation Thomas Kasdorf, and chorus master Susan Goeres.
“Tickets are $22 for the general public, $18 for senior citizens and $10 for UW-Madison students, available in advance through the Campus Arts Ticketing office at (608) 265-ARTS and online at music.wisc.edu. Tickets may also be purchased in person at the Wisconsin Union Theater Box Office Monday-Friday, 11:30 a.m.–5:30 p.m. and Saturdays, noon–5 p.m. and the Vilas Hall Box Office, Monday-Friday, 11:30 a.m.–5:30 p.m., and after 5:30 p.m. on University Theatre performance evenings. (Below is a photo by Brent Nicastro of singers in title roles in the opera. They are Lindsay Metzger as Ariodante, Anna Whiteway as Ginevra, and Spencer Schumann as Polinesso.)
“Because shows often sell out, advance purchase is recommended. If unsold tickets remain, they may be purchased at the door beginning one hour before the performance. The Carol Rennebohm Auditorium is located in Music Hall, at the foot of Bascom Hill on Park Street.
“In an effort to help patrons find parking on campus, the Campus Arts Ticketing office is offering prepaid parking permits for a guaranteed parking spot on the evenings of ticketed UW arts events for $5. Preorder your permit online at http://arts.wisc.edu/map (5 days or more in advance; $1 handling fee) or call (608)-265-ARTS (3 days or more in advance; $1 handling fee). “
For more information, including links to interviews, background stories and samples, visit Public Relations Director and Concert Manager Kathy Esposito’s outstanding blog “Fanfare” at the UW School of Music. Look for the Oct, 10 posting.
University Opera is a cultural service of the School of Music at the University of Wisconsin-Madison. Its mission is to promote professional training and practical performing experience for student singers, conductors and pianists and, when possible, provide opportunities for student designers, actors and dancers. For more information, please contact Benjamin Schultz at firstname.lastname@example.org or (414) 899-9570. Or visit the School of Music’s web site at music.wisc.edu.
A REMINDER: Going up against both the start of the Madison Symphony Orchestra’s organ series and the University of Wisconsin-Madison Homecoming Weekend won’t be easy. But the Wisconsin Chamber Orchestra shouldn’t be forgotten or dismissed. The WCO opens its new season tonight at 8 p.m in the Overture Center’s Capitol Theater.
On the program, under the baton of the WCO’s longtime music director Andrew Sewell and with guest piano soloist and synesthesiac Bryan Wallick (below and in the link to my Q&A) in his Madison debut, are Benjamin Britten’s “Apollo” and Camille Saint-Saens’ “Egyptian” Piano Concerto No. 5 plus Ludwig van Beethoven’s iconic Fifth Symphony –- the best of all possible classical Fight Songs for the University of Wisconsin-Madison’s Homecoming weekend (as you can hear in the popular YouTube video with over 17 million hits at the bottom). Talk about winners!
By Jacob Stockinger
It is Homecoming Weekend at the University of Wisconsin-Madison!!!
That mean Badger football and beer, and social gatherings and beer, and dinners out and beer.
But it also means some fine classical music.
The Wisconsin Baroque Ensemble (below top) opens its new season tomorrow night, Saturday, October 12, at 8 p.m. in the historic Gates of Heaven Synagogue (below bottom) at 300 East Gorham Street, in James Madison Park in downtown Madison on the shore of Lake Mendota.
Tickets at the door are $15 ($10 for students). Feel free to bring your own chair or pillow to soften hard wooden pews.
For more information 608 238-5126 or visit www.wisconsinbaropque.org
Performers includes: UW School of Music alumnus Gerrod Pagenkopf, countertenor; UW professor Mimmi Fulmer, soprano; Consuelo Sañudo, mezzo-soprano; Theresa Koenig, recorder; Monica Steger, traverso, recorder; Brett Lipshutz, traverse; Eric Miller, viola da gamba; Anton TenWolde, baroque cello; and Max Yount, harpsichord and organ
The program includes: Trio Sonata from “Tafelmusik,” TWV 42 DS, by Georg Philipp Telemann (1681-1767); Two madrigals, “La giovinetta pianta” and “Vattene pur crudel” (both form Book 3) by Claudio Monteverdi (below, 1567–1643); the Sonata No. 2, Op. 2, by Benoît Guillemant (1746-1757); Three Madrigals from Claudio Monteverdi, “Occhi un tempo” (book 3), “Poi che del mio dolore (book 1), and “Lumi miei cari” (book 3); the Airs et Brunettes by Jacques-Martin Hotteterre (1674-1763); Sonata No. 3 for Recorder and Basso Continuo by Arcangelo Corelli; and “La Calisto,” Act 2, Scenes 1 and 2 by Francesco Cavalli (1602 –1676).