By Jacob Stockinger
This coming week, the Madison Symphony Orchestra (MSO) will present organist Samuel Hutchison (below) and acclaimed singers Andrew Bidlack and Kyle Ketelsen performing as a trio in vocal and instrumental music from oratorios and operas.
The concert is Tuesday night, Feb. 21, at 7:30 p.m. in Overture Hall of the Overture Center, 201 State Street.
Principal Organist and Curator for the Madison Symphony Orchestra Samuel Hutchison joins forces with two outstanding singers in the first half to perform a program of favorite arias and overtures from Handel’s Messiah, Mendelssohn’s Elijah, and Rossini’s Stabat Mater.
Opera will be the focus of the second half, featuring arias and selections from Bizet’s Carmen, Tchaikovsky’s Eugene Onegin and Gounod’s Faust.
For the full program, go to: http://www.madisonsymphony.org/organopera
Featured by Opera News as one of their top 25 brilliant young artists, tenor Andrew Bidlack (below) — who is replacing David Portillo — makes his debut in Overture Hall following performances at The Metropolitan Opera, Lyric Opera of Chicago, the Welsh National Opera and London’s Covent Garden.
Bass-baritone Kyle Ketelsen (below, in a photo by Dario Acosta), who lives in nearby Sun Prairie, has sung with major opera companies throughout the world including The Metropolitan Opera, the Lyric Opera of Chicago and the State Opera of Berlin. He is praised for his vibrant stage presence and his distinctive vocalism.
In the YouTube video at the bottom, you can hear Kyle Ketelsen sing the role of Don Escamillo in a Barcelona, Spain, production of Bizet’s “Carmen.” He is singing the same role in the Metropolitan Opera’s current production of “Carmen.”
General Admission for each Overture Concert Organ performance is $20. Tickets can be purchased at madisonsymphony.org/organopera, (608) 258-4141 or the Overture Center Box Office.
Student Rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $10 tickets.
This performance is sponsored by the Pleasant T. Rowland Foundation. Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund.
With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra (MSO) commissioned the Overture Concert Organ, which is the stunning backdrop of all MSO concerts.
By Jacob Stockinger
He is 75.
He was a superstar tenor for decades, often competing with the late Luciano Pavarotti for top honors in the opera world.
Then he became a conductor and now he sings as a baritone since his voice dropped with old age.
But does Spanish-born and Mexican-raised Placido Domingo (below) still have what it takes to be in the top ranks of the opera world?
Here is his review and first-hand account from his blog Slipped Disc:
By Jacob Stockinger
The concert starts at 8 p.m. in Garner Park, on Madison’s far west side where Mineral Point Road and Rosa Road intersect. (The rain date is this Sunday.)
There will be many treats, from the music and light sticks to ice cream cones and picnic dinners, to enjoy at the popular event that now draws up to 15,000 people. (Garner Park opens at 7 a.m. the day of the concert. Blankets, chairs, food and beverages are allowed.)
But one of the big draws this year is the chance to see and hear bass-baritone native son Kyle Ketelsen (below, in a photo by Dario Acosta). Ketelsen – who sang with the Madison Opera early in his career and who continues to make his home in Sun Prairie — has sung at the Metropolitan Opera and many other major opera companies in Europe and elsewhere.
This will be the first time Ketelsen returns to Opera in the Park since 2008.
Here is a link to general information about the event, which features the vocal soloists, the Madison Opera Chorus and members of the Madison Symphony Orchestra, all playing under the baton of John DeMain the music director and conductor of the Madison Symphony Orchestra and the artistic director of the Madison Opera:
And here is a link to biographies of the guest soloists:
Ketelesen, who just returned from a month-long stint out-of-town, kindly agreed to a Q&A with The Ear:
How have you seen Opera in the Park develop since you appeared in the inaugural one 14 years ago?
It has developed from a relatively small, enterprising venture from Madison Opera, into a destination event that people really count on and look forward to. Any more growth, and they’ll have to relocate to the Kohl Center!
What music will you be singing this year?
I will sing arias from “Mefistofele” and “Faust,” both as the devil (below). Then I will do a trio from “The Tales of Hoffmann,” as the devil again. They are some of my favorite roles. On the lighter side, a duet from “Kiss Me Kate” and a famous tune from “Guys and Dolls.” We’re mixing it up quite a bit. I always enjoy singing musical theater, but rarely get a chance.
What are the best parts of singing outdoors and what are the most difficult or challenging parts of doing so? What do you most enjoy about it?
You get to “cheat” a bit with the microphone. Indoors, opera singers are very rarely amplified, so every crescendo and decrescendo is all you. This way, I can play pop singer, and just fade away from the mic for a nice diminuendo.
The roar — hopefully! — of that crowd of 15,000 is an absolute rush as well!
Sometimes we get the urge to push to be heard in an outdoor concert, which is of course entirely wrong. We’re accustomed to hearing our own reverb from an opera house or concert hall. But outside, it’s an entirely different feel, acoustically. You need to trust the microphone and the sound guy, and know that you’ll indeed be heard. (Below is a photo — not of Kyle Ketelsen — from a past Opera in the Park by James Gill.)
What role did the Madison Opera play in fostering your now international career?
Certainly regional opera is a starting point for nearly all U.S. singers, no matter where their career eventually takes them. The Madison Opera offered me the opportunity to sing a number of roles at a very early stage in my career. My first Leporello (below, at the Metropolitan Opera) in “Don Giovanni” by Wolfgang Amadeus Mozart, for example, was in Madison.
I was able to lay the groundwork for what has become a calling card of mine, which I’ve sung at the Met, Covent Garden, Chicago Lyric Opera, Houston Grand Opera, Madrid, Munich and others. It was a nurturing environment to test-drive such an amazingly intricate, complex role.
You perform in Europe and around the US. Why do you continue to base your career in Sun Prairie, a suburb of Madison? Does it put you at a professional disadvantage not to live in New York City or Chicago?
My wife and I are from small towns in Wisconsin and Iowa, so it’s felt like home from the beginning. We absolutely prefer the slower, easy-going approach to life. Not to mention quiet! Trees, grass, open spaces and elbow room we hold at a premium.
I work enough in big cities. There is no desire, or necessity, to make my home there. Thankfully, I’ve never needed to be in the middle of things, professionally, in order to start my career.
I feel living in the Midwest gives me an advantage, actually. When I’m home, I’m refreshed. It renews me, and gives me the strength to then go back out when it’s time. (Below is Ketelsen in Bizet’s “Carmen” at the Chicago Lyric Opera. At bottom is a YouTube video of Keletsen singing the role of Escamillo and the famous Toreador Song from “Carmen” in Los Angeles under the direction of Gustavo Dudamel.)
What else would you like to say about yourself, about Opera in the Park or about major highlights of your career since you last sang in Opera in the Park and in upcoming seasons?
It’s especially fulfilling singing in the Madison area. It draws a truly unique, incredibly appreciative, gracious audience. See my website KyleKetelsen.InstantEncore.com for more information.