The Well-Tempered Ear

Classical music: Sunday brings the winners’ concert of the UW Concerto and Composition Competition plus a harpsichord recital

March 9, 2019
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By Jacob Stockinger

Two more noteworthy concerts will take place this coming Sunday, March 10.

UW-MADISON CONCERTO AND COMPOSITION COMPETITION

On Sunday night at 7:30 p.m. in Mills Hall, the annual winners’ concert of the UW-Madison Concerto and Composition Competition will take place.

The concert features the UW Symphony Orchestra (below top) under conductor Chad Hutchinson (below bottom) with four instrumentalists, one singer and one composer. All are current students at the University of Wisconsin-Madison’s Mead Witter School of Music.

Admission is $12, but free to students, children, music majors, faculty and staff.

Well-know works on the program include: Adalia Hernandez Abrego and Jiawan Zhang playing the Concerto for Two Pianos in D minor by Francis Poulenc; Richard Silvers playing the first two movements of the Violin Concerto in A minor by Antonin Dvorak; soprano Cayla Rosché singing the first and third songs of the “Four Last Songs” by Richard Strauss; and Chia-Yu Hsu playing the Concertino for Bassoon and Orchestra by Marcel Bitsch. In addition, there will be the world premiere of “Fanfare for Orchestra” by student composer Anne McAninch.

To learn more about the concert, and to see photos and videos of the performers who discuss themselves and the works they will play, see the YouTube video below and go to:

https://www.music.wisc.edu/event/symphony-showcase-concerto-winners-solo-with-the-uw-madison-symphony-orchestra/

HARPSICHORD RECITAL

Earlier on Sunday afternoon is a concert that should appeal to early music fans: At 3 p.m. the First Unitarian Society of Madison, 900 University Bay Drive, will present the fifth Annual Mark Rosa Harpsichord Recital.

The performance features harpsichordist Jason J. Moy (below), with special guests bass violist Katherine Shuldiner and baroque violinist Kangwon Lee Kim.

The all-French baroque program is called “The Angel, The Devil and The Sun King: Music and Rivalry in the Court of Louis XIV” and features works by Marin Marais, Antoine Forqueray, Jacques Duphly and Jean-Philippe Rameau.

Tickets will be available at the door: $20 for general admission, $12 for seniors, students and veterans.

Moy is director of the Baroque Ensemble and a harpsichord instructor at the DePaul University School of Music. He has performed across the United States, Canada and Europe, including every Boston Early Music Festival since 2013.

One of Chicago’s most sought-after early keyboard specialists, Moy was recently named artistic director of Ars Musica Chicago. He also plays as part of the Dame Myra Hess International Concert Series at the Chicago Cultural Center. Madisonians may be familiar with his playing from his appearances with the Wisconsin Chamber Orchestra.

You can hear him discuss playing the harpsichord and talk about its modern history in the YouTube video below. For more information, go to: www.jjmoy.com

Kangwon Lee Kim (below) is a versatile violinist on both baroque and modern violins. She is familiar to Madisonians as the concertmaster and assistant artistic director of Madison Bach Musicians. She has also given recitals throughout the U.S. and in Korea, Canada, Puerto Rico, Switzerland, Norway and the Czech Republic.

Katherine Shuldiner (below) graduated from the Oberlin Conservatory in viola da gamba. She performs regularly with other early music specialists, and ensembles such as the Bach and Beethoven Experience, VOX3 Collective and the Newberry Consort. She has taught at the Whitewater and Madison Early Music Festivals. www.kateshuldiner.com


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Classical music: Pianist Ilya Yakushev returns to play Russian jazz with the Wisconsin Chamber Orchestra on Friday night, then a recital of piano classics at Farley’s House of Pianos on Saturday night

February 21, 2019
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ALERT: The second of two FREE Friday Noon Musicales — devoted to the music of John Harbison on the occasion of his 80th birthday — will take place this Friday at the First Unitarian Society of Madison, 900 University Bay Drive. The Mosaic Chamber Players will perform. The concert runs from 12:15 to 1 p.m. The composer will be there to sign copies of his new book “What Do We Make of Bach?”

By Jacob Stockinger

Although he has heard the jazz suites by Dmitri Shostakovich many times, The Ear was surprised to learn how many modern Russian composers fell under the spell of American jazz.

Cultural difference combined with cultural exchanges might be one explanation.

But he also wonders if perhaps living in a state of psychological and emotional distress and danger – the Stalinist Terror facing composers in the Soviet Union and the Jim Crow racism facing African-American jazz artists in the United States – created a certain affinity between such apparently different musical traditions.

One thing is certain: the program that Ilya Yakushev (below), who was born and trained in Russia and now teaches at the Mannes College of Music in New York City – promises to be one of the most interesting programs of this season.

During his return to Madison, the Russian virtuoso pianist – who has his own interest in jazz and played a solo version of George Gershwin’s “Rhapsody in Blue” when last here — will perform two programs at venues where he has proven to be a sensational audience favorite.

This Friday night, Feb. 22, at 7:30 p.m. in the Capitol Theater of the Overture Center, Yakushev will once again team up with the Wisconsin Chamber Orchestra (below) and its music director and conductor Andrew Sewell, to perform two rarely heard Russian works that demonstrate the influence of American jazz.

Those two Russian works are “Ten Bagatelles for Piano Orchestra” by Alexander Tcherepnin (below top) and the “Jazz Suite for Piano and Small Orchestra by Alexander Tsfasman (below bottom).

You can hear the Lyrical Waltz from Tsfasman’s Suite in the YouTube video at the bottom.

The WCO complements that with two jazz-influenced works by Igor Stravinsky (below): Suite No. 2 for Small Orchestra and “Ragtime.”

Then the concert concludes with one of the most iconic and well-known pieces of all classical music: the Symphony No. 40 in G minor, K. 550, by Wolfgang Amadeus Mozart.

For much more information about Yakushev and the program as well as to a link to buy tickets ($15-$80) go to:

https://wisconsinchamberorchestra.org/performances/masterworks-ii-4/

SATURDAY

Then on this Saturday, Feb. 23, at 7:30 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall, Yakushev will perform a program of impressive tried-and-true classics as part of the Salon Piano Series.

An artist’s reception will follow the concert.

Tickets are $45 in advance (students $10) or $50 at the door. Service fees may apply. Tickets can also be purchased at Farley’s House of Pianos. Call (608) 271-2626.

Student tickets can only be purchased online and are not available the day of the event. Tickets can be purchased in advance from:

https://www.brownpapertickets.com/producer/706809brownpapertickets.com

For more information, go to: https://salonpianoseries.org

Yakushev’s recital program is:

Adagio in B minor, K. 540 (1788), by Mozart

Sonata in F minor “Appassionata,” Op. 57 (1804), by Ludwig van Beethoven

Vallée d’Obermann, S. 160 (1855), from “Années de pèlerinage, Première année” (Years of Pilgrimage, First Year), by Franz Liszt

The song “Widmung” (Dedication) by Robert Schumann as transcribed for solo piano by Liszt, S.566 (1848)

“Mephisto Waltz No. 1,” S. 514 (1862), by Liszt (below, in an 1886 photo, the year before he died, when Liszt was teaching many students, by Nadar)

In addition, on Saturday at 4 p.m., Yakushev will teach a FREE and PUBLIC master class at Farley’s House of Pianos, where he will instruct local students.

The master class program will include:

Sonata No. 1 in F Minor, Op. 2, No. 1, First Movement by Beethoven; performed by Kevin Zhang who studies with Kangwoo Jin.

Six Variations on “Nel cor piu non mi sento” (In My Heart I No Longer Feel) by Beethoven, performed by Daniel Lee who studies with Irmgard Bittar.

Etude in G-Flat Major (“Black Key”) Op. 10, No. 5,by Frederic Chopin; performed by Alysa Zhou, who studies with Denise Taylor.

Master classes for the 2018-19 season are supported by the law firm of Boardman & Clark LLP.

The concert is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

The Salon Piano Series is a nonprofit founded to continue the tradition of intimate salon concerts featuring exceptional artists. To become a sponsor of the Salon Piano Series, please contact Renee Farley at (608) 271-2626 or email renee@salonpianoseries.org


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Classical music: Superb music-making offset awkward acting and dancing in a concert that the Bach Dancing and Dynamite Society gave last weekend. This summer’s last BDDS concerts are tonight, Saturday and Sunday 

June 22, 2018
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By Jacob Stockinger

Here is a special posting, published belatedly but in time for this weekend’s upcoming closing concerts – two performances each of two programs — of the current summer season by the Bach Dancing and Dynamite Society.

It is 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 hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

Performance photos were taken by Dick Ainsworth for BDDS.

By John W. Barker

One of the two programs of the Bach Dancing and Dynamite Society’s second weekend this season was held in the Overture Center’s Playhouse last Saturday night.

The associations of its three works with war were somewhat strained, most of all for Robert Schumann’s Three Romances, Op. 94. They were composed in 1849 for the options of oboe and violin or clarinet with piano.

On this occasion they were presented in a transcription for bassoon, made by the performer, Adrian Morejon (below). He played these brief and lovely pieces beautifully, but I confess I would have liked them more if one of the stipulated, higher-range instruments had been used.

The first major work was from the contemporary American composer Kevin Puts (below), called Einstein on Mercer Street. It is a kind of cantata, a half-hour in length, cast in five sections, each beginning with spoken words but moving to singing.

The text, whose origins were not made clear, purports to represent the thinking of Albert Einstein in his last years in Princeton, N.J., as he contemplates his place in science and in the creation of the atomic bomb.

The vocal part was written for baritone Timothy Jones (below center), who performed it this time, delivering it with confident eloquence. To tell the truth, though, a lot of his words, spoken and sung, did not come through clearly, at least for where I sat.

Though the vocal writing goes through one ear and out the other, there is a lot of very pleasant melodic music in the score, and it occurred to me that, with a little tightening, the work could nicely be left just to the instrumental ensemble (violin, cello, flute, clarinet, trumpet, percussion and piano), the vocal part dispensed with — heresy, of course.

The second half of the program was devoted to the classic work of 1918, L’Histoire du Soldat (The Soldier’s Tale), originally with a French text by the Swiss writer Charles Ferdinand Ramuz, and with brilliant music, in the style of blues, jazz and ragtime by Igor Stravinsky.

The spoken text, in a rhymed English translation, calls for three actors: a narrator, a Soldier and the Devil. Jones was quite good as the narrator, but well enough could not be left alone.

With utter arbitrariness, the character of the Soldier was turned into the soldierette “Josie,” so that the Prince he woos and wins becomes a “Princess.”

This absurdity was absolutely pointless, save, perhaps, to allow the two co-directors of the festival, Stephanie Jutt and Jeffrey Sykes (below) to play soldierette and the Devil against each other. In hilarious costumes, the two did well enough, Sykes especially, but the gender change grated all the way through the piece.

And there was another problem. The work was not only written for actors and musicians, but also with dancers in mind. No choreography survives, and the use of dancers in performances of the work is patchy.

Here we had hip-hop dancer Blake Washington introduced during the Three Dances movement as the recovering “Prince,” with a lot of spastic shivering and shaking that suggested more of painful decomposition than recovery.

The stars of the piece, however, were the seven outstanding instrumentalists: violinist Axel Strauss; David Scholl, double bass; Alan Kay, clarinet; Morejon, bassoon; Matt Onstad, trumpet; Dylan Chmura-Moore, trombone; and Anthony di Sanza, percussion. With truly superb playing, they upheld the high standards of the musicians that the BDDS brings us.

For more information about BDDS’ closing concerts this weekend – featuring guest soprano and critically acclaimed UW-Madison alumna Emily Birsan and music by Mozart, Schumann, Saint-Saens, Fauré, Ravel, Prokofiev, Barber and other composers in Madison, Stoughton and Spring Green tonight, Saturday and Sunday, go to: http://bachdancing.org/concerts/festival-concerts/


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Classical music: Madison Opera will stage its first-ever production of Mozart’s “The Abduction from the Seraglio” this Friday night and Sunday afternoon

February 7, 2018
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By Jacob Stockinger

This weekend, the Madison Opera presents The Abduction from the Seraglio by Wolfgang Amadeus Mozart on Friday, Feb. 9, at 8 p.m. and Sunday, Feb. 11, at 2:30 p.m. in the Capitol Theater at the Overture Center for the Arts, 201 State Street.

According to a press release, the opera — below is a mock-up of the locally designed and constructed set — will be sung in German with English used for dialogue and in the translated supertitles above the stage. Running time is about 2-1/2 hours with one intermission.

Tickets are $25-$114 with student and group discounts available. Call the Overture Box Office at (608) 258-4141 or visit www.madisonopera.org

With some of the most virtuosic vocal writing by Mozart (below), the opera is an adventure story of love, danger, humor and humanity.

Set in the 17th-century Ottoman Empire, the opera begins when Belmonte, a Spanish nobleman, arrives at Pasha Selim’s palace to rescue three people who had been captured during a shipwreck: his fiancée, Konstanze, and their servants, Blonde and Pedrillo.

A simple escape proves no easy task, and Mozart’s masterpiece weaves together comedy, quiet reflection and youthful optimism, with a happy ending brought about by an Enlightened ruler.

Abduction is a simply marvelous opera,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director who will give free pre-performance talks in the third-floor Wisconsin Studio at 7 p.m. on Friday night and 1:30 p.m. on Sunday afternoon. “It’s the opera with which Mozart started to reinvent opera, with not only the expected arias, but also brilliant ensemble work. The very real humanity of the piece – its funny parts, its moving parts and the universal truth of the ending – is extraordinary.”

The Abduction from the Seraglio (Die Entführung aus dem Serail) was Mozart’s first major success. Written for the National Singspiel in Vienna – a pet project of Emperor Joseph II – it premiered in 1782 and was an immediate hit. (You can hear the familiar and captivating Overture in the YouTube video at the bottom.)

Like all singspiels, the opera uses spoken dialogue; indeed, the critical role of Pasha Selim is entirely spoken, perhaps one of the few instances of a major opera character not singing a note. In Madison, the dialogue will be performed in English, with the music sung in German (with projected English translations).

With a libretto by Johann Gottlieb Stephanie the Younger – an unauthorized adaptation of a libretto by Christoph Friedrich Breztner – Abduction was one the first successful German-language operas.

It was immortalized in the film Amadeus, and is famous for a possibly apocryphal story in which Emperor Joseph II criticized the work, saying to Mozart, “Too many notes,” and Mozart responded, “Exactly as many as needed.”

Abduction would go on to become Mozart’s most popular opera during his lifetime, but it has been a comparative rarity in the United States. This is Madison Opera’s first production of the opera in the company’s 57-year history.

“Mozart’s music for Abduction is a delight from start to finish,” says John DeMain (below, in a photo by Prasad), Madison Opera’s artistic director and conductor. “Great – and at times excitingly challenging – arias are enhanced by beautiful duets, trios and quartets. It has always been a favorite opera of mine, and I’m so looking forward to Madison Opera’s first production of this masterpiece with an absolutely knockout cast of great young singers.”

Mozart’s phenomenal vocal writing requires a strong team of five singers, and Madison Opera’s cast features a number of returning favorites.

Amanda Woodbury (below) sings the Spanish noblewoman Konstanze, whose aria “Martern aller Arten” is one of the most challenging arias ever written. Woodbury debuted with Madison Opera as Pamina in The Magic Flute last spring, and has recently sung leading roles for the Metropolitan Opera and Los Angeles Opera.

Tenor David Walton (below) sings Belmonte, Konstanze’s fiancé; he debuted at Opera in the Park this past summer, has sung many leading roles for Minnesota Opera, and sings at the Glimmerglass Festival this summer.

Matt Boehler (below) returns as Osmin, the palace overseer with some devilishly low bass notes. He sang Rocco in Fidelio and Leporello in Don Giovanni for Madison Opera, and more recently has sung with Minnesota Opera, Opera Philadelphia, and the Canadian Opera Company.

Konstanze and Belmonte’s servants, Blonde and Pedrillo, are sung by Ashly Neumann(below top) in her Madison Opera debut and Wisconsin native Eric Neuville (below bottom), who sang Laurie in Little Women for Madison Opera.

Alison Mortiz (below) directs this new production in her debut with Madison Opera. Moritz has directed at opera companies around the United States, including Central City Opera, Tulsa Opera and Tri-Cities Opera.

The sets and costumes (below) are locally made specifically for this production.

The scenery and lighting are designed by Anshuman Bhatia, also in his Madison Opera debut, with costumes designed by Karen Brown-Larimore. As always, the opera features the Madison Opera Chorus and the Madison Symphony Orchestra.

Madison Opera’s production of The Abduction from the Seraglio is sponsored by Kay and Martin Barrett, Fran Klos, Sally and Mike Miley, and the Wisconsin Arts Board.


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Classical music: Teenage violin prodigy Julian Rhee performs the Brahms Violin Concerto with the Wisconsin Chamber Orchestra this Friday night. Also on the program are works by Stravinsky and Haydn

February 20, 2017
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By Jacob Stockinger

Over the years, The Ear has heard quite a few child prodigies, many of them impressive.

But he has heard only one Julian Rhee (below).

Julian Rhee with violin

Rhee, from Brookfield, is a young Milwaukee area violinist who has won numerous awards from and has performed with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Milwaukee Symphony Orchestra.

Rhee will perform again with the WCO (below), playing the complete Brahms Violin Concerto — not just separate movements or excerpts — this Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center.

WCO lobby

What makes Rhee so outstanding is that the level of his musicality matches his high technical mastery.

When he performed some of the Brahms concerto in the Madison Symphony Orchestra’s Final Forte competition, which he won two years ago, all eyes and ears popped open with the first notes. You just knew right away who was going to win.

(You can hear the Final Forte introduction to Julian Rhee, which aired on Wisconsin Public Televisi0n, in the YouTube video at the bottom.) 

Rhee’s playing exuded a maturity that even seasoned listeners did not expect. And the Brahms is a perfect vehicle to display his interpretive maturity as well as his technical virtuosity. Surely Rhee still has room to grow musically. But his mastery is already something to behold.

If you enjoy being able to say “I heard him when …,” this concert has all the hallmarks of being a must-hear, do-not-miss event.

But there are other attractions on the program, to be played under music director Andrew Sewell, who has again combined works from the 18th, 19th and 20th centuries.

Igor Stravinsky’s “L’histoire du soldat” (The Soldier’s Tale) will be performed with guest narrator Jim DeVita (below) of American Players Theatre in Spring Green. The story involves a soldier who sells his soul to the devil.

James_DeVita

And there will also be the Symphony No. 102 in B-Flat Major by Franz Joseph Haydn, a composer whose style brings out the best in WCO music director and conductor Sewell (below), an accomplished interpreter of music from the Classical era.

Andrew Sewell BW

To read Julian Rhee’s complete and impressive biography, and to find out more information about the program, the performers and tickets, go to:

http://www.wisconsinchamberorchestra.org/performances/masterworks-iii-2/


Classical music: Conservative Republican presidential candidate and Evangelical Christian Ted Cruz wants to ban the tritone – or Devil’s chord – from classical music. NOT. Then again, maybe he does

March 21, 2016
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By Jacob Stockinger

Today is the first day when you can vote early via absentee ballot for the presidential primary election in Wisconsin on Tuesday, April 5, when you can also vote to fill a seat on the state Supreme Court.

And tomorrow, Tuesday, brings more presidential primaries for both Republicans and Democrats in the Western states of Arizona and Utah. Plus, there will also be Democratic caucuses in Idaho.

So the following political piece — a pseudo-news report — seems timely and appropriate, especially given the drive by establishment Republicans to rally and choose the ultra-conservative U.S. Senator Ted Cruz from Texas (below) as a way to stop New York City businessman Donald Trump.

Republican presidential candidate, Sen. Ted Cruz, R-Texas, speaks at the Defending the American Dream summit hosted by Americans for Prosperity at the Greater Columbus Convention Center in Columbus, Ohio, Saturday, Aug. 22, 2015. (AP Photo/Paul Vernon)

Republican presidential candidate, Sen. Ted Cruz, R-Texas, speaks at the Defending the American Dream summit hosted by Americans for Prosperity at the Greater Columbus Convention Center in Columbus, Ohio, Saturday, Aug. 22, 2015. (AP Photo/Paul Vernon)

Sure, it’s a satire.

But it is a very well done satire — about something that was indeed banned in the Renaissance and Baroque eras by the Roman Catholic  Church.

But like so much satire, it is fun that also cuts close to the bone and contains more than a grain of truth about Cruz and about his many “first day on the job” promises if he gets elected president.

Cruz, the son of an evangelical minister, is such a devout and intolerant Christian fundamentalist, it is almost as if he is waging his own jihad, much like the Islamic terrorist state ISIS, on any culture he considers unChristian and heretical to his personal faith and what he considers to be the inerrant and literal truth of the Bible.

Hmm. Does that qualify him as an extremist or radical?

To The Ear, what is really and truly scary is Cruz — not the music.

And it is hard to say who is more threatening as a potential president: Donald Trump or Ted Cruz?

Well, make up your own mind, fellow music-lovers.

Here is the satire from submediant.com. It’s a good read with lots of details, specific composers and food for thought.

http://www.submediant.com/2016/03/15/citing-evangelical-faith-ted-cruz-calls-to-ban-satanic-tritone/

And here is a YouTube lesson in music theory that offers an explanation with examples of the Satanic tritone:


Classical music: Local opera star Kyle Ketelsen talks about returning to Madison Opera’s FREE Opera in the Park this Saturday night and why he continues to live here while having an international career.

July 21, 2015
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By Jacob Stockinger

This coming Saturday night will bring the 14th annual FREE outdoors Opera in the Park put on by the Madison Opera.

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.

Kyle Ketelsen face shot 1 Dario Acosta

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:

http://www.madisonopera.org/performances-2014-2015/park/

And here is a link to biographies of the guest soloists:

http://www.madisonopera.org/performances-2014-2015/park/cast/

Ketelesen, who just returned from a month-long stint out-of-town, kindly agreed to a Q&A with The Ear:

kyle ketelsen headshot 2

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!

Opera in the Park 2014 crowd

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.

Kyle Ketelsen as devil

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.)

Opera in Park 2012  Matt Boehler 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.

Kyle Ketelsen Leporello  The Met

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.)

Kyle Ketelsen in Carmen at Chicago Lyric

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.

 


Classical music: What is the best Devil-like scary music for Halloween?

October 31, 2013
15 Comments

By Jacob Stockinger

Today is Halloween.

Oh, so spooky.

Trick or Treat!!!!

What are the most scary pieces of classical music for Halloween that you can play for yourself – or perhaps in the background as you hand out your treats to Trick-or-Treaters?

halloween

In past years, I have chosen some favorites (Johann Sebastian Bach’s Organ Toccata and Fugue D Minor, Modeste Mussorgsky’s orchestral tone poem “Night on Bald Mountain” (at the bottom, in a popular YouTube video with almost 2 million hits), Maurice Ravel’s piano pieces “Le Gibet” (The Gallows) and “Scarbo” from “Gaspard de la Nuit,” Franz Liszt’s “Mephisto Waltz” among others) and asked readers for their favorites.

Here are some links to the past:

2010: https://welltempered.wordpress.com/2010/10/31/classical-music-poll-what-is-the-best-music-for-halloween/

2012:  https://welltempered.wordpress.com/2012/10/31/classical-music-happy-halloween-what-is-the-spookiest-classical-music-you-know/

Ghost

This year, I found a website devoted to the very topic.

Imagine! A sonic House of Horrors!

How many different pieces are there listed as Halloween favorites?

Why 13 – of course!

See how many you would choose or guess are on the list?

Here is a link:

http://www.limelightmagazine.com.au/Article/278068,the-13-scariest-pieces-of-classical-music-for-halloween.aspx

Now be sure to leave a COMMENT with what you think is the best and scariest piece of classical music for Halloween!

Boo!

The Ear wants to hear.


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