By Jacob Stockinger
The Ear has received the following announcement from UW Opera Props, the support organization for University Opera at the University of Wisconsin-Madison School of Music.
We invite you to attend a benefit concert showcasing the University of Wisconsin-Madison opera program’s talented students, along with special guest artist, distinguished alumna and mezzo-soprano, Lindsay Metzger (below top) who will be accompanied by pianist Daniel Fung (below bottom).
Please join us for a program of songs and arias, followed by a reception. Enjoy conversation with the singers, faculty and other musical friends, along with light refreshments including artisanal cheeses, fruit, wine, juices and chocolatier Gail Ambrosius’s delicious creations.
The concert is this Sunday, Sept. 18, at 3 p.m. followed by light refreshments and conversation. Sorry, no word about the composers or works to be sung.
The concert will take place in the Landmark Auditorium at the Frank Lloyd Wright-designed First Unitarian Society of Madison Meeting House, 900 University Bay Drive, Madison
Admission is a contribution of $25 in advance ($30 at the door), and $10 for students. All proceeds go to UW Opera student scholarships.
For more information, visit:
Lindsay Metzger (below) hails from Mundelein, Illinois. She spent two summers as an apprentice artist with Des Moines Metro Opera and was a studio artist in 2014-15 with Milwaukee’s Florentine Opera (Gannett in Donizetti’s L’elisir d’amore).
Among her other recent portrayals have been Daphne/Marc-Antoine Charpentier’s La descente d’Orphée aux enfers (Chicago’s Haymarket Opera Company), Cherubino in Mozart’s Le nozze di Figaro (La Musica Lirica in Novafeltria, Italy), Nella in Puccini’s Gianni Schicchi (DuPage Opera Theatre), the title role in Handel’s Ariodante, Béatrice in Berlioz’ Béatrice et Bénédict, and Beppe in Mascagni’s L’amico Fritz (all at the University of Wisconsin-Madison).
With Lyric Unlimited’s community-engagement program “Opera in the Neighborhoods,” Metzger was heard in the title role in Rossini’s La Cenerentola.
A soloist featured frequently in numerous Chicago-area venues, Metzger debuted with the Grant Park Symphony singing the soprano solo in Gabriel Fauré’s Requiem.
She was awarded the Paul Collins Fellowship from University of Wisconsin-Madison, the Virginia Cooper Meier Award from the Musicians’ Club of Women, and an Encouragement Award from the Metropolitan Opera National Council District Auditions.
Metzger is an alumna of the University of Wisconsin-Madison and DePaul University. Last season at Lyric she was featured in Mozart’s Le nozze di Figaro (debut) and Richard Strauss’ Der Rosenkavalier. In the 2016-17 season the mezzo-soprano will perform in Massenet’s Don Quichotte and Bizet’s Carmen.
By Jacob Stockinger
The Oakwood Chamber Players (below) have long been known for programming new music as well as neglected old music or neglected composers that they perform with top-quality music-making – often with a unifying theme to the programs.
Just look at the details of the following announcement of the new season:
The Oakwood Chamber Players are excited to announce their 2016-2017 concert series, “Perspective.”
Full of interesting viewpoints on life and relationships, the blended use of diverse musical styles with film and theater will help concertgoers see things from another’s point of view.
All concerts will be held in the auditorium (below) at Oakwood’s Center for Arts and Education, 6002 Mineral Point Road, on the far west side of Madison.
Tickets can be purchased at the door: $20 for general admission, $15 for seniors, and $5 for students. More information can be found at www.oakwoodchamberplayers.com
LOOKING ACROSS THE TABLE: CAN WE FIND COMMON GROUND?
Saturday, September 10, at 7 p.m. and Sunday, September 11, at 2 p.m.
Paul Schoenfield (below) – Café Music for piano trio
Michael Colina – Stairway to Midnight Café for mixed instruments
Jean Françaix – Dixtuor for woodwind quintet and string quintet
Edward Elgar – Elegy for string quintet
LOOKING BACK AND FORWARD: CAN THE PAST, PRESENT, AND FUTURE CHANGE US?
Sunday, November 27, 2016 at 1 p.m. and 3:30 p.m.
Frank Bridge (below) – Sir Roger de Coverly Christmas Dance for strings
Jon Deak – “Passion of Scrooge” for large mixed ensemble with baritone voice
LOOKING WITHIN: CAN WE SEE WITHIN OURSELVES THOSE WHO HAVE GONE BEFORE?
Saturday, January 21, 2017 at 7 p.m. and Sunday, January 22, 2017 at 2 p.m.
Byron Adams (below) – Serenade (Homage de Husa) for large mixed ensemble
Arnold Schoenberg – Notturno (Nocturne) for strings and harp (in the YouTube video at the bottom)
Francis Poulenc – Sextet for woodwind quintet and piano
Maurice Ravel/David Bruce – Kaddish for large mixed ensemble
LOOKING THROUGH THE LENS: CAN WE SPEAK WHEN THERE ARE NO WORDS?
Saturday, March 18, 2017 at 7 p.m. and Sunday, March 19, 2017 at 2 p.m.
Paul Bowles (below) – Music for a Farce (Movie – The Fireman) for clarinet, trumpet, piano and percussion
Dan Visconti – Low Country Haze with film for large mixed ensemble
Gaetano Donizetti – Trio for flute, bassoon and piano
LOOKING CLOSELY AT THE SCORE: CAN WE GET INSIDE THE MINDS OF THE COMPOSERS?
Saturday, May 13, 2017 at 7 p.m. and Sunday, May 14, 2017 at 2 p.m.
Joan Trimble (below) – Phantasy Trio for piano trio
Vincent d’Indy – Chanson et Danses (Song and Dances) for winds
Joachim Raff – Sinfonietta for double woodwind quintet
The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
ALERT 1: This afternoon at 2:30 p.m. in Overture Hall at the Overture Center, is your last chance to hear pianist Garrick Ohlsson and the Madison Symphony Orchestra under conductor John DeMain in a program of the Piano Concerto No. 1 by Johannes Brahms; the tone poem “Don Juan” by Richard Strauss; and the Symphony No. 1 by Steven Stucky. Critics have loved the performances.
Here is a link to a review by John W. Barker for Isthmus:
Here is a link to a review by Lindsay Christians for The Capital Times:
ALERT 2: UW-Madison clarinetist Wesley Warnhoff will perform a FREE recital, with renowned UW-Madison pianist Christopher Taylor, on Tuesday night at 7:30 p.m. in Mills Hall. They perform a sonata by Johannes Brahms and a rhapsody by Claude Debussy among others. Here is a link to more information and the compete program:
By Jacob Stockinger
In recent years, since 1942, there have been only three. There was Luciano Pavarotti and Juan Diego Florez, who astonished the audience by repeating the nine high C’s in Gaetano Donizetti’s “La Fille du regiment” (The Daughter of the Regiment).
But just recently there was a third.
His name is Mexican tenor Javier Camarena (below in a photo by Marty Sohl for The Met). He was singing in Don Pasquale,” also by Donizetti, one of the masters of the show-offy and impressively embellished “bel canto” or “beautiful singing” style.
Camarena wowed the crowd with a high D-flat, a half-step higher than the high C that his predecessors sang.
Here is a story, with an interview, on NPR or National Public Radio, that gets you excited about the man and the event just by reading about them:
And here in a YouTube video is the aria he sang — and then sang again:
ALERT: Today at 2:30 p.m in Overture Hall is your last chance to hear the season-opening program of music by Ludwig van Beethoven, Aaron Copland and Peter Ilyich Tchaikovsky by the Madison Symphony Orchestra. The performance won acclaim from local critics.
Here is a review by John W. Barker for Isthmus:
And here is a review by Jessica Courtier for The Capital Times:
And here is Greg Hettmansberger’s review for Madison Magazine:
By Jacob Stockinger
Next weekend sure is a train wreck for local music. Not that this past weekend wasn’t or that future weekends won’t be.
So much is happening that The Ear sometimes gets discouraged rather than excited. You begin to think not about what you will see or hear, but about what you will miss!
And then there are the major non-local events.
One such big one is the opening this coming Saturday, Oct. 3, of the 10th season of the series of “Live From the Met in HD,” the broadcast of live opera performances that are broadcast via satellite to thousands of cinemas around the globe.
Here in Madison, you have a choice of two locations: Eastgate cinemas on the far east side and Point Cinemas on the far west side.
Here is a link to the Marcus Theatres web site where you can find out about other locations in the area, state and region:
The opening production is Giuseppe Verdi’s “Il Trovatore” (The Troubadour, 1853) with the famous Anvil Chorus (heard from a previous production at the bottom in a YouTube video). The staging and production of the opera with a Spanish theme is the dramatic and disturbing art of Francisco Goya.
The show will start on Saturday at 11:55 a.m. Running time, with one half-hour intermission, is about 2 hours and 45 minutes. Admission is $24 for adults and $22 for seniors 60 and over; and $18 for children 3 to 11. Tickets to the encore productions are $18.
Here is a link with the title of the 10 other productions – including works by Richard Wagner, Wolfgang Amadeus Mozart, Gaetano Donizetti, Richard Strauss, Giacomo Puccini, Alban Berg and Georges Bizet for this season.
And you can follow links to plot synopses, cast notes and other information.
By Jacob Stockinger
For tenors, High C’s are the brass ring on the carousel of opera.
The late great Italian tenor Luciano Pavarotti and the very busy Peruvian tenor Juan Diego Florez both earned fame and fortune with their singing of the astonishing nine high C’s in Gaetano Donizetti’s bel canto opera “La Fille du Regiment.”
In fact, Florez repeated the same nine high C’s as an encore and it brought down the house.
But it seems there may be another King of the High C’s in the making.
He is a native of New Orleans (isn’t that fitting?) and he is America tenor Bryan Hymel (below, in a photo by Dario Acosta for Warner Classics), who was recently featured on the terrific blog “Deceptive Cadence” for NPR (National Public Radio).
You will surely be hearing more about him. The 35-year-old Hymel has already made his debut at the famed Metropolitan Opera, where he has sung in “Les Troyens” by Hector Berlioz — a role he also sang at the Royal Opera House in London. And he will open the Met’s 2018 season in “Samson and Delilah” by Camille Saint-Saens.
Here is a link to that story by Tom Huizenga. It is complete with sound samples from Hymel’s debut album “Héroïque” — in particular the difficult aria “Asile héréditaire” from the opera “William Tell” by Giachino Rossini — and the CD features a total of 19 high C’s. That led Huizenga to proclaim: “This is why we listen to opera!”
The Amazon.com reader reviews of the new all-French album (below, with an audiovisual clip of the behind-the-scenes recording process) not only praise Hymel for his high C’s – and C-sharps and even D’s — but single out the quality of his singing.
You can hear that strong, pitch-accurate and seemingly effortless quality in one of The Ear’s favorite tenor arias: “Nessun dorma” from “Turandot” by Giacomo Puccini, which Hymel signs with the Jerusalem Symphony Orchestra in a YouTube video at the bottom.
ALERT: TONIGHT at 7:30 p.m. in Old Music Hall (below) at the foot of Bascom Hill, student singers in the University of Wisconsin-Madison School of Music opera department, under the direction of UW-Madison professors Mimmi Fulmer and David Ronis, will perform a FREE Opera Workshop. Sorry, The Ear has no word on the specific program — and it is not on the UW-Madison School of Music website at http://www.music.wisc.edu/events/uw-opera-workshop/ But it usually features popular arias and familiar scenes from popular operas, all done with piano accompaniment. (JUST IN: The program includes excerpts from: Ludwig van Beethoven‘s “Fidelio,” Wolfgang Amadeus Mozart’s “Le nozze di Figaro” and “Cosi fan tutte”; Claudio Monteverdi’s “L’incoronazione di Poppea”; Gioachino Rossini’s “Il barbiere di Siviglia“; Gaetano Donizetti’s “Don Pasquale”; Jules Massenet’s “Cendrillon”; Johann Strauss’ “Die Fledermaus”; Vincenzo Bellini’s “I Capuleti ed i Montecchi“; and Stephen Sondheim‘s “A Little Night Music.”)
By Jacob Stockinger
Our friends at the Oakwood Chamber Players, known for the quality of its performance and its unusual repertoire, send us the following information:
The Oakwood Chamber Players (below) continues to celebrate its 30th anniversary season when the ensemble presents “Remix! Christmas Lights Memories” this coming Friday afternoon and Sunday afternoon.
The two concerts this coming weekend continue the group’s tradition of kicking off the holiday season over Thanksgiving weekend with Christmas-themed music. The concerts will revisit favorite holiday music from the past 30 years.
Guest musicians include Heather Thorpe, soprano, Mary Ann Harr, harp (below top), Jennifer Morgan, oboe (below bottom), and Mike Sczyzs, horn.
The concerts are on Friday, November 28, at 1 p.m. and Sunday, November 30, at 1:30 p.m. Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on the far west side of Madison.
This is the second concert in their celebratory 30th anniversary season series titled “Reprise! Looking Back Over 30 Years”
Upcoming concerts include:
The Oakwood Chamber Players is a group of Madison-area professional musicians who have been affiliated with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the University of Wisconsin-Madison School of Music. They have rehearsed and performed at Oakwood Village for 30 years.
Tickets are available at the door. Admission is $20 for the general public, $15 for seniors and $5 for students.
Visit www.oakwoodchamberplayers.com for more information.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
By Jacob Stockinger
Here is a the press release for the University Opera’s Student Showcase that will take place this coming Sunday afternoon and will preview the talent and productions of the upcoming season:
“A concert of favorite melodies by Vincenzo Bellini, Giuseppe Verdi and others -– mostly operatic but one clearly comic -– will be presented by students from the University of Wisconsin-Madison School of Music’s opera program.
The concert will take place this Sunday afternoon, September 14, at 3 p.m. in the First Unitarian Society of Madison’s Landmark Auditorium (below) at 900 University Bay Drive.
Directing the concert and this year’s University Opera program will be David Ronis (below, in a photo by Luke DeLalio), currently on leave from the Aaron Copland School of Music at City University of New York, and Hofstra University. He is serving as the interim successor to longtime director William Farlow, who retired from the University of Wisconsin-Madison last spring. (At bottom is a YouTube video of the work that the versatile Ronis recently did at Queens College with an early music version of Luigi Rossi’s opera “Orfeo.”)
Here is a link to a press release, issued by the UW-Madison School of Music when David Ronis was chosen from a nationwide search last spring, with Ronis’ impressive background:
Here is a link to information about the upcoming season of the University Opera:
But one singer -– soprano Shannon Prickett (below top) – is an alumna returning from her current work as Resident Artist at the Minnesota Opera.
While in Madison from 2011 to 2013 and working on her Master’s of Music degree, Prickett performed lead parts in Puccini’s La Bohème, Mozart’s Don Giovanni, Luigi Cherubini’s Medea, Pietro Mascagni’s L’amico Fritz, and Verdi’s Requiem.
In the Showcase concert, she will sing arias from Verdi’s I Lombardi, Giacomo Puccini’s Manon Lescaut, and a dramatic duet from Verdi’s Aïda with new mezzo-soprano doctoral student Jessica Kasinski, below bottom. (The Ear has no word on specific works to be performed.)
Other singers will take on arias by Mozart, Donizetti, Bellini, Richard Strauss and even Flanders and Swann: That number requires good humor as well as pianistic skill from the accompanist, and will provide a treat for fans of the multi-talented and critically acclaimed Thomas Kasdorf (below), another graduate of the UW-Madison.
The concert is a benefit for the University Opera that sponsored by Opera Props, which supports the University Opera. Admission is a contribution of $25 per person, $10 for students. A reception follows.
By Jacob Stockinger
It is a massive and complex event to stage, from choosing the right food vendors to supplying enough porta-potties and glow sticks.
The music starts at 8 p.m. and runs about two hours in Garner Park, on Madison‘s far west side off at the intersection of Mineral Point and Rosa Roads. It features four guest vocal soloists or singers, plus John DeMain (below, in a photo by Prasad), the artistic director of the Madison Opera and the music director of the Madison Symphony Orchestra, conducting members of the Madison Symphony and the Madison Opera Chorus.
The event is a chance for the opera company to preview the new season as well as to offer tried-and-true tidbits and hits, and even to offer some popular and classic Broadway show tunes.
It generally attracts more than 10,000 listeners — the record is about 14,000 — who can dine informally outdoors and then listen to the music.
For more details about Opera in the Park, here are some links:
This overview includes park hours and rules plus a schedule and address and affiliated events:
The repertoire or program that includes music by Wolfgang Amadeus Mozart, Giuseppe Verdi, Ludwig van Beethoven, Giacchino Rossini, Giacomo Puccini, Gaetano Donizetti, Ruggero Leoncavallo, Franz Lehar, Charles Gounod, Georges Bizet (including the famous “Toreador Song” from “Carmen,” which you can hear in a YouTube video at the bottom), Cole Porter, Stephen Sondheim and Richard Rogers:
This link features the biographies of the guest singers:
In the run-up to the event, Kathryn Smith (below, in a photo by James Gill), the Madison Opera’s general director, agreed to a Q&A for The Ear. She covered the past season, the upcoming season and Opera in the Park as well as the role of the new Opera Center that is located only a block away from the Overture Center for the Arts in downtown Madison.
What kind of artistic and financial shape did the Madison Opera emerge from for the past season? How does it compare to past seasons and your expectations?
This was artistically one of our strongest seasons ever. Although it is only my third season –- and only the second that I planned –- I have heard from a number of long-time patrons that Jake Heggie’s Dead Man Walking (below, in a photo by James Gill) was one of the greatest operas in the company’s history, and we all agree it was an artistic turning point.
That was my hope in programming the opera -– in my grant application to the NEA, I referred to it as “a stake in our artistic ground” -– so it is gratifying that it exceeded even my own goals in its impact.
I was also very proud of Puccini’s Tosca, as doing the classic operas well is the best way to make sure they thrive, and that The Daughter of the Regiment, by Gaetano Donizetti, was so well received. The latter was our first midwinter show in the Capitol Theater in five years, and its success lets people know that our February show is an important part of our offerings.
Our fiscal year doesn’t end until August 31, so it is too early to say definitively where we will end financially. We had some challenges this year, as we learned the costs of running the new Madison Opera Center (below) and saw ticket buyers lean toward less expensive tickets. But it has in general been a strong year, and we hope that our supporters will help us finish the fiscal year in the black.
Can you rank the shows in terms of popularity? Did you learn anything special from the season?
The Daughter of the Regiment was in a smaller theater, so it sold the best in terms of percentage of house, but Dead Man Walking was the best-seller in terms of number of tickets, slightly outselling Tosca. In fact, it outsold everything we have done but Don Giovanni in recent years, and even outsold operas like Faust and The Flying Dutchman — something I do not think anyone would have predicted for a 21st century American opera in Madison.
The main thing I learned from the season is to take chances.
Dead Man Walking was far from a sure thing: We lost many subscribers because of it, but single ticket-buyers, including a number of first-time opera-goers, made up the difference. I know that many people attended Dead Man Walking thinking they would not care for it, so it is a tremendous achievement that so many people were blown away, ranking it as one of the greatest artistic experiences of their lifetimes. There is no way to plan for that success, but if a company only offers Carmen and Madama Butterfly, it will never find the world beyond it.
The season also solidified a trend that every arts group in the U.S. is seeing: Last-minute ticket buying is now the norm. We sell around 20 percent of our tickets in the week before a show opens, regardless of the show’s title or what time of year it plays.
That is simply how arts ticket buying works these days, and I am guilty of it, too. So while it is nerve-wracking for me as a producer, it is something we need to learn to accept, rather than panic about.
What role did the new Madison Opera Center play in the past season’s productions?
The Opera Center, which officially opened only nine months ago, was designed to be both our administrative and artistic home, and it was certainly that. Apart from being a beautiful facility in which to work, it enabled us to do more outreach activities and hold multiple rehearsals simultaneously.
For example, during Dead Man Walking, John DeMain could work with cast members on music in the downstairs studio while Kristine McIntyre was staging the opening fight scene upstairs.
It also became a home away from the hotel for the artists, particularly on Dead Man Walking, which had a large cast, emotionally intense scenes, and long rehearsal days. They cooked in the kitchen, used the music library, and set up their laptops in our offices.
We were even able to let Michael Mayes’ dog, Pete, hang out in the Opera Center, so cast members could play with him on their breaks. That is very much what I wanted the Opera Center to be and why it is designed the way it is, so it was gratifying to see it used that way.
For example, below are photos of Dead Man Walking stars (below top, Michael Mayes, who sang Joseph De Rocher, and Alan Dunbar, who sang Owen Hart) on a break from rehearsals, playing their guitars in the Michael Klos Music Library of there Opera Center; and of Michael Mayes and his dog Pete (below bottom), who also seems to be singing as part of a photo shoot in our costume shop downstairs.
Will next season bring any major changes to the Madison Opera?
Next season is about building on the major changes of the past year -– the creation of the Madison Opera Center, which allows us to do more education programs such as Opera Novice, which proved very popular in its first iterations this year; the continued expansion of the repertoire; and a strategic look at how to build upon our recent success for the future.
How and why did you choose the operas for next season?
I aim for balance with every season: a mix of pieces with different plots by a variety of composers, with at least one classic piece and at least one Madison Opera premiere.
It has been 12 years since we last performed The Barber of Seville, so it was time to share this classic comedy with our audiences. For a new generation of opera-goers, our production might as well be a world premiere; I certainly remember the first time I heard Barber and discovered the glories of Giacchino Rossini (below).
To balance Barber, we wanted something more serious and not-as-classic. Madison Opera did a single performance of Fidelio by Ludwig van Beethoven (below) in concert 28 years ago, but has never staged the opera. Although it is Beethoven’s only opera, he was far from a rookie composer, and the score is just brilliant, with a powerful storyline and a truly moving choral ode to freedom.
Our middle piece, Sweeney Todd, is both a Madison Opera premiere and an American classic. Although it premiered on Broadway, it has lived in the opera house since 1984, when the Houston Grand Opera performed it, conducted by John DeMain. Both witty and tragic -– it has a higher body count than any opera we have performed recently –- the stunning score by Stephen Sondheim (below) requires powerhouse voices to sing, and we certainly have them in this production. Plus it is a delight to produce it with the full orchestra, rather than the reduced version many Broadway productions use. I look forward to offering Madison yet another side of what opera can be.
After I set the season, I noticed two things that no one will believe are coincidences: We are following up one opera set in a prison (Dead Man Walking) with another (Fidelio). And The Barber of Seville follows “The Demon Barber of Fleet Street,” which is Sweeney Todd’s subtitle. None of this was deliberate, but it will perhaps make good marketing.
What else would you like to say or add about the past season, the next season and perhaps also the Opera in the Park this summer?
I am tremendously grateful to everyone who has been involved with Madison Opera in the past year. We have done so much, from building the Madison Opera Center to the vast amounts of outreach that led up to Dead Man Walking. There were literally hundreds of people who supported us, performed with us, and joined us for education events, and none of this would have been possible without them.
I am also, of course, very much looking forward to Opera in the Park on this coming Saturday, July 26. It is truly a highlight of what we do, and we have four exciting soloists this year: Jamie-Rose Guarrine (below top), Wallis Giunta (below second), Sean Panikkar, (below third) and Kelly Markgraf (below fourth), as well as our wonderful Madison Opera Chorus and the Madison Symphony Orchestra. It will be a great night. You won’t want to miss it!
By Jacob Stockinger
This coming Friday night and Sunday afternoon, the Madison Opera performs its premiere production of Gaetano Donizetti’s “The Daughter of the Regiment” in the Capitol Theater at the Overture Center for the Arts.
Performances are at 8 p.m. on Friday and 2:30 p.m. on Sunday. The opera will be sung in the original French with English surtitles. The sets come from an acclaimed production by the Virginia Opera (below):
Tickets are $25-$107 with student and group discounts available. They are available at the Overture Center box office, 201 State St., Madison, WI; by calling (608) 258-4141; and by visiting http://www.madisonopera.org
As a Madison Opera press release says: “ “The Daughter of the Regiment” is a sweet romantic comedy, with vocal pyrotechnics and beautiful melodies interlaced with charm and humor.
“The plot is simple: Marie, an orphan who was raised by the 21st Regiment, is in love with Tonio, who joins the army so he can marry her. When Marie’s new-found aunt takes her away from her beloved regiment, she despairs. Fortunately, all ends happily ever after.
“I adore this opera,” says Kathryn Smith (below), Madison Opera’s general director. “Sometimes all we want from a night at the opera is entertainment, and ‘Daughter’ delivers. I fell in love with the show’s music years ago, and it’s a pure delight to bring this work to Madison Opera for the first time in the company’s 53-year history. It’s a perfect show for everyone, from opera novices to opera omnivores, from 8-year-olds to 88-year-olds.”
“At last we are bringing Donizetti’s comic masterpiece to our audience, with its scintillating score and adorably zany plot,” says John DeMain (below in a photo by Prasad), Madison Opera’s artistic director who will conduct the performances. “I’ve so loved my encounters with this opera in the past and so look forward to Madison’s first outing with such a marvelous cast, the Madison Opera chorus, and the Madison Symphony Orchestra. This is the way to escape from any winter doldrums.”
Appleton native Caitlin Cisler, who charmed audiences as the page Oscar in A Masked Ball and at Opera in the Park last season, returns to Madison Opera as Marie.
Tenor Javier Abreu, described by Opera News as “a natural Rossini singer,” makes his local debut as the high-C-prone Tonio. Nathan Stark, who was a chilling Commendatore in “Don Giovanni” last season, displays his comic side as Sulpice, one of Marie’s many “fathers.”
Local favorite Allisanne Apple (below) returns as The Marquise of Berkenfield. She is joined by Douglas Swenson as Hortensius. Christopher Apfelbach plays a Corporal, Katrina Brunner is The Duchess of Krakenthorp, and Robert Goderich is a Peasant.
David Lefkowich (below), who directed Handel’s “Acis and Galatea” here in 2013, directs this traditional staging, set in the Tyrol around 1820.
To find out more about such athletic singing, The Ear used an email interview to talk about it with tenor Javier Abreu (below):
Can you briefly introduce yourself and your career? When did you start music lessons and how did you get into opera?
I started singing when I was a child in Catholic school. My parents were involved in church choir, and I started picking it up then. As I started getting into my teen years, and my voice started changing, my mom decided to let me take some voice lessons, to make the transition a little easier. I was interested in singing pop at that point, but my voice teacher made sure I know how to breathe, and not to push my voice to its limits.
I didn’t get into opera until I was a sophomore in college. I was in the university choir, and a lot of my friends were doing it. I wanted to see what it was all about. I had a fantastic voice teacher during my undergrad years, and some really talented coaches. I feel very fortunate to have had the formative years that I had.
“La Fille du Regiment” is famous as a career-building opera for tenors, thanks to the 9 high C’s in “Ah, mes amis.” Luciano Pavarotti (below top) and Juan Diego Florez (below bottom) whose exciting show-stopping performance can be heard in a YouTube video at the bottom) come immediately to mind. How hard is do you find to sing those high notes and how successful have you been with the aria?
I started working on the aria at the age of 22. I knew it was something I wanted to sing at some point, but I decided to not take it lightly. The great thing about this role is that can be sung by many types of tenor. Everyone has their own strength to showcase.
That said, having the C’s in the aria is always essential. I find that I need to treat this aria like any other piece. It’s just one more aria with a few high notes. Giving too much importance to the fact that it’s high puts too much pressure on the moment. It is, after all, only 60 seconds of a 2-1/2 hour show. There’s plenty of show left after that.
What makes singing the high C’s so hard – the pitch, the length of the notes and breathing, whatever?
Tessitura certainly plays a big role in making this aria one of the most challenging in the repertoire. There is a certain finesse that bel canto requires, which takes plenty of effort. Add to that the fact that most roles don’t demand such fireworks from the tenor in such a short period of time.
The tenor in a Rossini opera will be required to sing plenty of C’s, but they are spread out through the show. The mere fact that it happens in such a short period of time requires from the tenor a certain stamina and control, making this sort of a specialized role.
What are the challenges of Donizetti’s “bel canto” style, versus say Baroque or Verismo opera, for you as a tenor and for the whole cast?
It is hard to compare all of these styles, because they are so different, though one is informed by the other. If we go chronologically, baroque certainly informed the bel canto style. The beauty of lines, and the exposed vocal fireworks transitioned from the baroque into the bel canto style very smoothly. Verismo came later, as an answer to what had come before.
The focus in bel canto – of “beautiful singing” — is the beauty of line, and the finesse from passage to passage. It’s the great combination of vocal prowess, and story telling. As a singer, I get to showcase what I do best, and cadenzas tend to be tailored to the specific abilities of the singer.
That is one of my favorite things about bel canto. It’s a great collaboration between, singer, stage director, maestro, and orchestra. It can be some of the most thrilling theater-music combination there is.
What makes this opera popular with audiences in general? The happy endings? The characters? The plot? The impressive and accessible lightness of the bel canto style? Some other element?
People like light stories. Add to that the fact that Donizetti was a masterful composer, and chose librettos that appealed to the masses. Who does not want to see the “good ol’ boy” get the girl?
There is a complexity to the show that is present in the great masterpieces by Donizetti (below). There are very light moments, in which you feel like you are in an operetta, in juxtaposition with moments of great sadness that are reminiscent of his great serious works. This show brings a lot of the elements that made Donizetti a master of his time.
How would you compare your role and this particular interpretation of it to other roles and to what other tenors have done with yours?
What I love about live theater and opera is the fact that every person interpreting a role is going to bring something different to it. To me, comparing two tenors singing the same role is like comparing two different beers. While they have many of the same kind of qualities, they will never be the same.
That’s what makes it interesting to me. Every interpretation is informed by the single individual who gets to perform it at any given time.
What us your sense of the ensemble spirit in the cast and production so far? Is there anything you s want to say about the Madison Opera and this production? (Below is a set from the Virginia Opera’s production that will be used.)
One of the best things about this show is the fact that it has a small cast. That allows us to really get to work with each other in a more intimate way, and form bonds that make the show more interesting.
This production is a lot of fun, and each of the cast members has their own quirky take on their role. That has made it more exciting, and hopefully it will translate as more fun for the audience.
As an audience member, I always enjoy a show in which the filial love of the cast is palpable. It makes a comedy really shine. Our director and conductor have done a great job at trying to use our individual strengths, and showcase them through out the show. It is full of tender moments, and I’m so excited to be a part of it. I think Madison will really like this beloved classic of the opera repertoire.