The Well-Tempered Ear

Classical music: Saturday at noon, Bizet’s “Carmen” airs in cinemas during “Live from The Met in HD” and on Wisconsin Public Radio. Saturday night, the Pro Arte Quartet performs a FREE concert of Haydn, Schumann and Shostakovich

February 1, 2019
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ALERT: This Saturday night, Feb. 2, at 8 p.m. in Mills Hall, the University of Wisconsin-Madison’s Pro Arte Quartet performs a FREE concert. The program offers the String Quartet in D Major, Op. 50, No. 6, “The Frog” by Franz Joseph Haydn; the String Quartet No. 9 in E-flat Major by Dmitri Shostakovich; and the String Quartet in A Major, Op. 41, No. 3, by Robert Schumann. For more about the unusual history of the critically acclaimed Pro Arte Quartet, go to: https://www.music.wisc.edu/event/pro-arte-quartet-2/

By Jacob Stockinger

This Saturday, Feb. 2, the seventh production of this season’s “Metropolitan Opera Live in HD” series is Georges Bizet’s lusty, sultry  and violent “Carmen,” one of the most popular operas ever composed.

Its successful world premiere was in Paris in 1875, which Bizet did not live to see. But Bizet’s masterpiece of the gypsy seductress who lives by her own rules has had an impact far beyond the opera house.

The opera’s beautiful melodies are as irresistible as the title character herself, a force of nature who has become a defining female cultural figure. (You can hear one of Carmen’s signature arias– “Love Is a Wild Bird” — in the YouTube video at the bottom.)

“Carmen” was a scandal at its premiere but soon after became a triumphal success and has remained one of the most frequently staged operas in the world.

French mezzo-soprano Clémentine Margaine reprises her acclaimed portrayal of opera’s ultimate temptress, a triumph in her 2017 debut performances.

Opposite her is the impassioned tenor Roberto Alagna (below right, in a photo by Karen Almond for The Met) as her lover, Don José.

French native Louis Langrée (below, in a photo by Jennifer Taylor), who heads the Mostly Mozart Festival and is the artistic director of the Cincinnati Symphony Orchestra, will conduct Sir Richard Eyre’s production, a Met favorite since its 2009 premiere.

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

There will be encore HD showings next Wednesday, Feb. 6, at 1 p.m. and 6:30 p.m. (“Carmen” is so popular that some cities will also host a second encore showing on Saturday, Feb. 9.)

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

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

The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.

Here is a link to the Marcus Theaters website for addresses and more information. You can also use them to purchase tickets:

https://www.movietickets.com/movies

Here is a link to the Metropolitan Opera’s website where you can find the titles, dates, casts, production information and video clips of all Met productions this season:

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

Here is a link to a synopsis and cast list:

https://www.metopera.org/globalassets/season/in-cinemas/hd-cast-sheets/carmen_global.pdf?performanceNumber=15202

Here is a link to other information about the production of “Carmen,” including photos and audiovisual clips:

https://www.metopera.org/season/2018-19-season/carmen/

And here is a Wikipedia history of the broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.

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


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Classical music: Con Vivo will perform a “Winter Warmth” chamber music concert this Sunday afternoon. Plus, a FREE viola da gamba concert is Friday at noon

January 31, 2019
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features the viola da gamba duo ViolMedium in “Façades and Duplicities,” a multi-dimensional exploration of the rich harmonic, timbral and dramatic potentials offered by violas da gamba.

The viol is the medium through which gambists Eric Miller of Madison and Phillip Serna of Chicago bridge contemporary and historically informed performance. They use experimental and innovative programming as exemplified in masterworks by Carl Friedrich Abel, Bela Bartok, Gottfried Finger, Marin Marais, Christoph Schaffrath and others.

The concert runs from 12:15 to 1 p.m. Food and beverages are allowed.

By Jacob Stockinger

The Madison-based chamber music group Con Vivo (below) will perform a “Winter Warmth” program of chamber music this coming Sunday afternoon, Feb. 3.

 

The concert will include the Finale from Symphony No. 6 for organ by Charles Marie Widor; the Quartet for oboe and strings by Wolfgang Amadeus Mozart; and the Piano Quintet for piano, clarinet and strings, Op. 42, by Czech composer Zdenek Fibich.

The concert takes place this Sunday afternoon, Feb. 3, at 2:30 p.m. in the First Congregational United Church of Christ, 1609 University Ave. across from Camp Randall Stadium.

Tickets can be purchased at the door. Admission is $18 for adults, $15 for seniors and students.

Audience members are invited to join the musicians after the concert for a free reception to discuss the concert.

New to this concert is that Con Vivo will perform in two different spaces. The first half of the concert will be in the sanctuary, and the second half in the chapel at the First Congregational Church. This will provide the audience with different experiences for hearing the chamber music.

In remarking about the concert, Con Vivo’s artistic director Robert Taylor said, “We continue our 17th season with music evocative of warm winter thoughts during these cold, dark winter days that we often have.

“The wonderful lush strains of Charles Marie Widor’s organ music are contrasted by the bright cheerful music of Mozart in his oboe quartet. (You can hear the opening movement of Mozart’s Oboe Quartet in the YouTube video at the bottom.) The afternoon is capped off by the rarely played Piano Quintet by Fibich (below). What better way to spend a cold winter afternoon?”

Con Vivo is a professional chamber music ensemble comprised of Madison area musicians assembled from the ranks of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, and various other performing groups familiar to Madison audiences.


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Classical music: Starting this Thursday, Madison Opera offers FREE preview events leading up to its staging of Stephen Sondheim’s “A Little Night Music” on Feb. 8 and 10

January 16, 2019
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ALERT: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features harpsichordist Trevor Stephenson, artistic director of the Madison Bach Musicians, will play selections by Johann Sebastian Bach for solo harpsichord. He will be joined by baroque flutist Kristen Davies for Bach’s Sonata in C major for Flute and Harpsichord. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

The Ear has received the following announcement to post:

The Madison Opera will present Stephen Sondheim’s classic A Little Night Music on Friday, Feb. 8, at 8 p.m. and Sunday, Feb. 10, at 2:30 p.m. in the Capitol Theater of the Overture Center for the Arts, 201 State Street.

One of the most popular stage pieces of the 20th century, this modern operetta waltzes through a story of the complications of love across generations, spiced with sparkling wit and rueful self-awareness.

Set in Sweden in the early 1900s, A Little Night Music tells of multiple couples with mixed ideas of love. During a weekend in the country, marriages are made and unmade and the summer nights smile on the young and old alike. Through delicious humor and a ravishing score, human folly eventually gives way to happily-ever-after.

A Little Night Music is an absolutely delicious piece,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director. “I think of it as a grown-up operetta, with some of the best dialogue and lyrics ever written, all to Sondheim’s brilliant score. It’s a delightful way to spend a winter evening, and I’m so thrilled with our cast and production team, who are creating a new production for the Capitol Theater.”

“A Little Night Music” opened on Broadway in 1973 to rave reviews. The New York Times wrote: “At last, a new operetta!  A Little Night Music is heady, civilized, sophisticated, and enchanting.”

It has since been performed by both theater and opera companies all over the world and was revived on Broadway in 2009. Sondheim composed the score entirely in variations of waltz time, and it includes several now-classic songs, such as “Send in the Clowns,” “A Weekend in the Country,” and “The Miller’s Son.” (You can hear Dame Judi Dench singing a restrained but deeply moving rendition of “Send in the Clowns” in the YouTube video at the bottom.)

“Can you imagine? An entire musical composed in some form of waltz time,” says John DeMain (below, in a photo by Greg Anderson), Madison Opera’s artistic director. “I love this score, which feels like Johann Strauss meets the harmonies of Ravel. It’s an incredible verbal and musical achievement that gets better every time I hear it. Madison Opera’s cast should prove to be sensational as we bring this Sondheim masterpiece to life. I so look forward to conducting it.”

Madison Opera’s cast features both returning artists and debuts.

Emily Pulley (below top) returns to Madison Opera as Desirée Armfeldt, a famous actress searching for “a coherent existence after so many years of muddle.” Daniel Belcher returns as Fredrik, Desirée’s ex-lover, who is currently married to the 18-year-old Anne, played by Wisconsin native Jeni Houser (below bottom), who recently made her debut at the Vienna State Opera.

Sarah Day (below), a member of the core acting company of American Players Theatre in Spring Green, makes her debut as Madame Armfeldt, the elegant ex-courtesan who is Desirée’s mother. Charles Eaton returns as Count Carl-Magnus Malcolm, Desirée’s current lover; his wife Charlotte is played by Katherine Pracht in her Madison Opera debut.

Rounding out the cast are Quinn Bernegger as Henrik, son of Fredrik; Emily Glick as the maid Petra; and Maddie Uphoff as Fredrika, Desirée’s 13-year-old daughter.

The Liebeslieders, who function as a waltz-prone Greek chorus throughout the show, are portrayed by Emily Secor, Cassandra Vasta, Kirsten Larson, Benjamin Liupaogo, and Stephen Hobe.

Doug Schulz-Carlson (below) returns to direct. The artistic director of the Great River Shakespeare Festival, his most recent Madison Opera production was Romeo and Juliet in 2016.

The original set is designed by R. Eric Stone (below top) and is being built in the Madison Opera Scene Shop. The costumes are designed by Karen Brown-Larimore (below bottom), who most recently designed costumes for Madison Opera’s production of Florencia en el Amazonas.

Members of the Madison Symphony Orchestra accompany Sondheim’s gorgeous score.

PREVIEW EVENTS

Events leading up to the performances can help the community learn more about A Little Night Music.

A FREE community preview will be held this Thursday, Jan. 17, from 7 to 8 p.m. at Capitol Lakes Retirement Community, 333 West Main Street.

Opera Novice, also FREEtakes place this Friday, Jan. 18, from 6 to 7 p.m. at the Madison Opera Center (below), 335 West Mifflin Street, and offers a free, entertaining look at the works of Stephen Sondheim including A Little Night Music.

Opera Up Close — which is free to season subscribers and costs $20 for others — provides an in-depth discussion of the production, including a cast roundtable, and takes place on Feb. 3 from 1-3 p.m. at the Madison Opera Center, 335 West Mifflin Street.

Pre-Opera Talks will take place at the Overture Center one hour prior to each performance.

For more information, including interviews with cast members and the production team, and to get tickets ($25-$115), go to: https://www.madisonopera.org/2018-2019-season/a-little-night-music/

Madison Opera’s production of “A Little Night Music” is sponsored by Thompson Investment Management, Inc., Fran Klos, David Flanders and Susan Ecroyd, and Charles Snowdon and Ann Lindsey.


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Classical music: The Middleton Community Orchestra impresses in a concert of “non-holiday” music for the holidays. Plus, what music is best to greet the Winter Solstice today?

December 21, 2018
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ALERT: Today we turn a  corner when the Winter Solstice arrives at 4:23 p.m. Days will start getting longer. What music would you celebrate it with? Antonio Vivaldi’s “Winter” section of “The Four Seasons”? Franz Schubert’s “Winterreise” or “Winter Journey”? Let The Ear know in the COMMENT section with a YouTube link if possible. Here comes the sun!

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 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. He also took the performance photos.

By John W. Barker

On Wednesday night at the Middleton Performing Arts Center, the mostly amateur Middleton Community Orchestra (below) proudly presented an alternative Christmas program of music, none of which had any connection whatsoever with that otherwise inescapable holiday.

It was a program of great variety, full of novelties.

It began soberly with Gustav Mahler’s early song cycle, the Lieder eines fahrenden Gesellen (Songs of a Wayfarer). This venture into German orchestral song (with a folk song background) provided symphonic inspiration for his First Symphony, the so-called “Titan,” so it unites many strains in the composer’s work.

Baritone Paul Rowe (below), of the UW-Madison’s music faculty, sang these songs. Rowe has a strong feeling for German, and he used clear diction to capture the dramatic meanings of the four song texts.

A contrast then, and a particular novelty, was the appearance of Matthew Coley (below), of the percussion ensemble Clocks in Motion, playing the cimbalom, the intensely Hungarian version of the hammered dulcimer. 

He was joined by the orchestra for a fancy arrangement of the Hungarian dance, the popular Czardas by Vittorio Monti. (You can hear Matthew Coley play the same piece on the cimbalom in the YouTube video at the bottom.) He followed this with an encore, a hand-me-down arrangement of a movement from one of Johann Sebastian Bach’s solo cello suites.

More contrast came with the mini-ballet score by Darius Milhaud Le Boeuf sur le toit (The Ox on the Roof) of 1919. This was one of the French composer’s trailblazing introductions of American jazz styles into European music.

It really works best with a small orchestra, so Middleton’s was a bit overblown for the assignment. But the elaborate solo role for violin was taken by Naha Greenholtz — concertmaster of the Madison Symphony Orchestra and wife of the evening’s guest conductor, Kyle Knox, who is the music director of Wisconsin Youth Symphony Orchestras and the Associate Conductor of the Madison Symphony Orchestra. There are some fiendish passages in the solo work, and Greenholtz brought them off with unfailing flair.

The final part of the program was devoted to the orchestral suite that Zoltan Kodaly derived from his Singspiel of 1926, Hary Janos, in which a comic Hungarian soldier upstages even Napoleon.

This is a satiric and highly colorful assemblage that offers wonderful opportunities for all of the instruments and sections to show off. And Coley was back with his cimbalom for Hungarian spice. The players clearly were having a great frolic, and conductor Knox drew the best out of them in a bravura performance.

Ah yes! Christmas without “Christmas” music. A wonderful idea to refresh the ears in December!


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Classical music: Ken-David Masur, son of famed conductor Kurt Masur, is the new music director of the Milwaukee Symphony Orchestra

November 13, 2018
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By Jacob Stockinger

Ken-David Masur (below), a critically acclaimed associate conductor of the Boston Symphony Orchestra and son of the late German conductor Kurt Masur, has been named the new music director of the Milwaukee Symphony Orchestra.

Masur, who was chosen after a 36-month international search to find the successor to Edo de Waart, will start his duties next season and expand the number of concerts he conducts the following season. His contract runs through the 2022-23 season.

Masur, who also performs new music, sounds appealing and accomplished. It makes The Ear hope that the Masur brings the Milwaukee Symphony Orchestra to perform at the Wisconsin Union Theater, as has been done in the past. 

Here are some links to stories and web sites with more information about appointment of the Grammy Award-nominated Masur (below, in a photo by Beth Ross Buckley), which was announced Monday.  (You can hear him conducting the dramatic opening of the “Romeo and Juliet” ballet suite by Sergei Prokofiev in the YouTube video at the bottom. His work is well represented on YouTube.)

Here is a long and very informative story, with a lot of detail and background, from the Associated Press: https://www.apnews.com/61dace4d8fe346cba3c36c9c25cd62ca

Here is a link to the online story in the Milwaukee Journal-Sentinel, along with spoken introductions he gave to performances in Milwaukee of the Symphony No. 2 by Johannes Brahms and the Piano Concerto No. 2 by Sergei Rachmaninoff: https://www.jsonline.com/story/entertainment/arts/2018/11/12/milwaukee-symphony-names-ken-david-masur-its-new-music-director/1963446002/

And here is a link to his own web site: http://ken-davidmasur.com


Classical music: Madison Opera gives completely satisfying and nearly perfect performances of “Cavalleria Rusticana” and “Pagliacci.” Here are four reviews

November 8, 2018
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By Jacob Stockinger

Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the Madison Opera and filed this review, with performance photos by James Gill:

By Larry Wells

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

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

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

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

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

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

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

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

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

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

Once again, the orchestral interlude was beautifully played.

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

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

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

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

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

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

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


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Classical music: What makes this weekend’s performances of “Cavalleria Rusticana” and “Pagliacci” classically Italian operas and especially inviting for beginners?

October 30, 2018
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By Jacob Stockinger

The Madison Opera will open its new season this weekend with two performances of Pietro Mascagni’s  “Cavalleria Rusticana” and Ruggero Leoncavallo’s ”Pagliacci.”

Details about the productions in Overture Hall on Friday night at 8 p.m. and Sunday afternoon at 2:30 p.m. appeared in a previous posting that includes information about the cast and the tickets ($18-$131):

https://welltempered.wordpress.com/2018/10/13/classical-music-madison-opera-offers-preview-events-leading-up-to-cavalleria-rusticana-and-i-pagliacci-on-nov-2-and-4/

https://www.madisonopera.org/tickets/

But Kathryn Smith (below, in a photo by James Gill), the general director of the Madison Opera, recently agreed to a Q&A with The Ear to discuss the two operas more specifically and at length. Here are her comments:

A veteran opera-goer told the Ear that he considers these two works ideal operas for people new to the art form.  Do you agree?

I think almost any opera is perfect for someone new to opera – supertitles make it possible to understand the words, so one can just sit down and enjoy the show.

That said, “Cav and Pag” are definitely what many people think of when you say the words “Italian opera”: elemental stories of love, hate and jealousy that lead to tragedy.

Cavalleria Rusticana, which means “Rustic Chivalry,” tells about a woman named Santuzza who had been seduced and abandoned by a man named Turridu. On Easter Sunday, she attempts to get Turridu back, then tells the husband of his new lover about that affair, resulting in a duel.

Pagliacci, which means “Clowns,” tells about a traveling theater troupe. Nedda, the wife of the troupe’s leader, Canio, wants to run away with her lover Silvio after the evening performance. Canio finds out, but goes on with the show even though his heart is breaking. He then snaps during the performance and kills both Nedda and Silvio.

The music in both operas ranges from glorious choral music (the Easter Hymn in Cavalleria Rusticana is one of the most famous opera choruses of all time for good reason) to famous arias (particularly the aria “Vesti la Giubba” from Pagliacci, or at least the line “Ridi, Pagliaccio!”), to orchestral music that is well-known in its own right, such as Cavalleria’s intermezzo, which plays an integral role in the final scene of “The Godfather” film trilogy. (You can hear that famous Intermezzo used in “The Godfather” film in the YouTube video at the bottom.)

They are also compact: Each opera lasts about 70 minutes, so a lot gets packed into a short amount of time. (Below is the set of “Pagliaccio” rented from the New Orleans Opera.)

What are the shared elements that make the two operas so compatible that they are often presented together?

Pagliacci was written in response to Cavalleria Rusticana:  Ruggero Leoncavallo (below top) saw what a hit Pietro Mascagni (below bottom) had his 1890 one-act opera about real people propelled by love and revenge, and wrote his own version that premiered just two years later, in 1892.

There are some obvious parallels: both take place in small Italian villages, both take place on religious holidays, and both involve love triangles that end with someone dead. Plus the last line of each opera is spoken, not sung.

They also have musical similarities, as both have full orchestrations, large choral segments, and a style of vocal writing that calls for dramatic, expressive singing. As a result, the combined pairing makes a satisfying night of Italian opera, rather than being simply two operas that happen to be done on the same night.

Does one usually overshadow the other or are they equals?

It very much depends on the tastes of an individual audience member. When the operas were new, Cavalleria was definitely the more popular of the two – even Queen Victoria wrote in her diary that she preferred it.

To modern eyes, Pagliacci may be more dramatically satisfying because more happens in it, such as the entire play-within-the-opera, which adds an element of humor to the high stakes of reality. But both are masterpieces in their own right, and the audience gets to enjoy them both.

Why do you think these verismo operas are still powerful today?

“Verismo” comes from the word “vero,” which means “true.” Cav and Pag tell stories about real people caught up in their lives, with all the emotional messiness that can entail – and those emotions are still driving people today.

Above all, the music of both operas is so powerful that it strikes to the heart of what opera can be. It can be thrilling, it can be moving, it can be funny – all in one night.

Is there something else you would like to say about the two operas and your production of them?

We have wonderful casts in each opera. Scott Piper (below top), who was last here as Cavaradossi in Puccini’s Tosca, sings both Turridu and Canio; and Michael Mayes (below bottom), who was last here as the lead in Jake Heggie’s Dead Man Walking, sings both Alfio and Tonio.

We have two extraordinary sopranos making their debuts with us:  Michelle Johnson (below top) as Santuzza in Cavalleria Rusticana and Talise Trevigne (below bottom) as Nedda in Pagliacci.

The Pagliacci cast is completed by Benjamin Taylor making his debut as Silvio and Robert Goderich singing Beppe; the Cavalleria cast is completed by Danielle Wright as Lucia and Kirsten Larson as Lola.


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Classical Music: The Chicago Gargoyle Brass and Organ Ensemble will take Madison listeners on a FREE concert of ‘Imaginary Journeys’ TONIGHT at 7 p.m.

October 27, 2018
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By Jacob Stockinger

The Ear has received the following announcement for a concert that sounds in keeping with the spirit of Halloween:

The Chicago Gargoyle Brass and Organ Ensemble (below, in a photo by Thomas Mohr) will lead listeners on aural adventures through space, time and fantasy at its “Imaginary Journeys” concert TONIGHT, Oct. 27.

The concert is FREE and open to the public, and will take place at 7 p.m. at Good Shepherd Lutheran Church, 5701 Raymond Road, in Madison.

For more information, call (608) 271-6633 or visit www.gslcwi.com or gargoylebrass.com.

The professional ensemble of brass quintet and pipe organ, with percussion, will perform the Madison premieres of new works and arrangements it recently commissioned for its novel array of instruments.

The concert’s namesake work, “Imaginary Journeys,” was written for the ensemble by Chicago-area composer Mark Lathan. It takes listeners on a rocket-powered interstellar adventure, inspired by recent astronomical discoveries.

“For this piece,” Lathan says, “I wanted to bring in some drama, somewhat in the manner of a film score.” Lathan earned a doctorate in music from the University of California at Los Angeles, where he received the Henry Mancini Award in Film Composition and studied film scoring with Jerry Goldsmith.

Another Madison premiere is Craig Garner’s brass-and-organ arrangement of Igor Stravinsky’s ever-popular Suite from “The Firebird,” a ballet based on Russian fairy tales. “The audience will hear an all-time favorite orchestral work like it’s never been heard before,” says Rodney Holmes, founder and artistic director of the Chicago Gargoyle Brass and Organ Ensemble.

Concertgoers will also hear the first local performances of “Short Fuse” for brass, organ and percussion by Chris Reyman (below), a jazz performance specialist teaching at the University of Texas at El Paso. Holmes says, “This piece shows off a very different face of what a pipe organ and brass can do.”

Other first hearings include Garner’s two-part instrumental suite from English Baroque composer Henry Purcell’s “Come Ye Sons of Art.”

The concert’s journey into the Baroque era includes brass and organ arrangements of movements from Johann Sebastian Bach’s chorale cantata “Ein feste Burg ist unser Gott” (A Mighty Fortress Is Our God), BWV 80.

The concert’s imaginative works include “Earthscape” by David Marlatt (below, and heard in the YouTube video at the bottom) as well as pipe-organ versions of “Clair de lune” (Moonlight) by Claude Debussy and Louis Vierne.

Performers will include Madison-based organist Jared Stellmacher (below), an award-winning musician heard on the Chicago Gargoyle Brass and Organ Ensemble’s critically acclaimed 2015 debut CD “Flourishes, Tales and Symphonies.” He holds a master’s degree in music from Yale University.

Gargoyle ensemble players are trumpeters Lev Garbar and Andrew Hunter, horn player Amy Krueger, trombonist Ian Fitzwater, tuba player Jason Lyons, and percussionist Logan Fox. Conductor will be Jakob Noestvik.

About the Chicago Gargoyle Brass and Organ Ensemble

“The Chicago Gargoyle Brass and Organ Ensemble plays with warmth, elegance, and panache,” said U.S. music magazine Fanfare in a review of the ensemble’s debut CD. “[They] are perfect companions for the music lover in need of calming nourishment.”

The group takes its whimsical name from the stone figures atop gothic buildings at the University of the Chicago, where the now-professional ensemble got its start in 1992 as a brass quintet of faculty and students.

Under its founder and artistic director Rodney Holmes, it has evolved over the decades into an independent organization of classically trained musicians that focuses on commissioning and performing groundbreaking new works and arrangements for brass and pipe organ. More information can be found at gargoylebrass.com.


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Classical music: Madison Opera offers preview events leading up to performances of “Cavalleria Rusticana” and “I Pagliacci” on Nov. 2 and 4

October 13, 2018
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By Jacob Stockinger

The Ear has received the following information to post:

The Madison Opera presents the classic double-bill of Cavalleria Rusticana and I Pagliacci, by Pietro Mascagni and Ruggero Leoncavallo respectively, on Friday, Nov. 2 ,at 8 p.m. and Sunday, Nov. 4, at 2:30 p.m. in Overture Hall.

“Cav and Pag” – as they are traditionally known because they are usually presented together — feature some of the most emotionally dramatic music in the repertoire, these two operas offer the ultimate portrayal of passion and jealousy on stage.

Both operas are set in rural Italy and follow characters whose human emotions lead to tragic endings. (The sets, below, used in Madison, come from the New Orleans Opera.)

Cavalleria Rusticana (“Rustic Chivalry”) tells the story of Turridu, who has abandoned his lover, Santuzza, to rekindle an affair with his now-married former girlfriend. As Easter Sunday unfolds, Santuzza and Turridu engage in a battle of emotions that will end with violent consequences.

I Pagliacci (“The Clowns”) tells of a small theatrical troupe arriving in a village for a performance.  Nedda, wife of the troupe’s leader Canio, agrees to run off with her lover, Silvio, that evening.  Another troupe member, Tonio, tells Canio, who responds violently.

But the show must go on, and as Nedda and Canio enact the play-within-a-play, reality bleeds over onstage and tragedy follows. (You can hear the famous aria “Vesti la giubba” sung by Luciano Pavarotti in the YouTube video at the bottom.)

“When people think of the phrase ‘Italian opera,’ it’s Cavalleria Rusticana and Pagliacci that often come to mind,” says Kathryn Smith (below, in a  photo by James Gill), Madison Opera’s general director.  “The intense emotions of both the characters and the music they sing has never been equaled. I vividly remember the first time I saw Cavalleria and was overwhelmed by the power of it. I am so delighted to produce these operas in Madison for the first time in over 30 years, with this fantastic cast and production team.”

Cavalleria Rusticana by Pietro Mascagni (below) was written for a one-act opera competition in 1890. Based on a short story and play of the same name, it was an immediate smash hit, with 185 productions around the world within three years, making Mascagni an international icon of Italian music.

Ruggero Leoncavallo (below) wrote I Pagliacci two years later in direct response, hoping for a similar success with a one-act opera about real people caught up in an emotional web. Like Mascagni, he had an immediate success, and the two operas have been paired together intermittently for much of the 20th century.

Madison Opera’s cast features both returning artists and debuts.

Making her debut in the role of Santuzza in Cavalleria Rusticana is soprano Michelle Johnson, who has been praised for her “extraordinary breath control and flawless articulation.”

Also making her Madison Opera debut is soprano Talise Trevigne in the role of Nedda in Pagliacci; Trevigne has received acclaim for her “luxuriant vocalism [and] unwavering commitment to character.”

Returning to Madison Opera are tenor Scott Piper(below top) in the dual roles of Turridu/Canio and baritone Michael Mayes(below bttom) in the dual roles of Alfio/Tonio. Piper was last seen in Madison as Cavaradossi in the 2013 production of Puccini’s Tosca; Mayes returns to Madison after his electrifying performance as Joseph De Rocher in Jake Heggie’s Dead Man Walking in 2014.

Rounding out the Cavalleria Rusticana cast are Kirsten Larson as Lola and Danielle Wright as Mamma Lucia, both in their Madison Opera debuts.

Pagliacci will also feature baritone Benjamin Taylor in his Madison Opera debut as Silvio and Madison favorite Robert Goodrich as Beppe.

Kristine McIntyre (below) returns to direct, after her highly acclaimed production of Daniel Catan’s Florencia en el Amazonas last season.

Conducting this production will be Joseph Mechavich (below), who made his Madison Opera debut with Mozart’s Don Giovanni and most recently conducted Opera in the Park 2017. Says Mechavich, “Seeing Cavalleria Rusticana and Pagliacci is the ultimate in an Italian operatic experience.  Audiences will have a visceral reaction to synthesis of music and drama.”

Cavalleria Rusticana and Pagliacci both have magnificent choral writing, from the celebrated Easter Hymn in Cavalleria Rusticana to the Chorus of the Bells in Pagliacci, as well as sumptuous orchestral music.

Rounding out the musical forces are the Madison Opera Chorus, members of the Madison Youth Choirs, and the Madison Symphony Orchestra.

Events leading up to the opera can help the community learn more about Cavalleria Rusticana and Pagliacci. Community preview will be offer an entertaining look at “reality opera” – the “verismo” school, which produced works like Cavalleria Rusticana and Pagliacci.

Cinematheque and Madison Opera will co-sponsor a showing of the 1928 silent film Laugh, Clown, Laugh on Oct. 22.  Opera Up Close provides an in-depth discussion of the operas, including a cast roundtable, on Oct. 28.

RELATED EVENTS

Laugh, Clown, Laugh (1928); Saturday, Oct. 20, 7 p.m.; UW Cinematheque, 4070 Vilas Hall (http://cinema.wisc.edu)

FREE and open to the public; doors open 30 minutes before showtime

Lon Chaney (below), the “Man of a Thousand Faces,” plays Tito, a smiling-on-the-outside circus clown heading for heartbreak after he becomes smitten with the fetching Simonetta (Loretta Young). This reworking of the Pagliacci story offers a great showcase for the two leads and talented director Herbert Brenon. The silent film will feature live piano accompaniment by David Drazin and will be preceded by Acrobatty Bunny (1946), starring Bugs Bunny.

Opera Up Close; Sunday, Oct. 28, 1-3 p.m.; the Margaret C. Winston Opera Center, 335 West Mifflin Street

$20 general admission; free for full-season subscribers; $10 for two-show subscribers

Join Madison Opera for a multimedia behind-the-scenes preview of Cavalleria Rusticana & Pagliacci.  General Director Kathryn Smith will discuss the composers and the history of these two pieces. Principal artists, stage director Kristine McIntyre and conductor Joseph Mechavich will participate in a roundtable discussion about Madison’s production and their own takes on these masterpieces.

Pre-Opera Talks: Friday, Nov. 2, at 7 p.m. and Sunday, Nov. 4, at 1:30 p.m. in the Wisconsin Studio at Overture Center, free to ticket holders. Attend an entertaining half-hour introduction to “Cavalleria Rusticana” and “Pagliacci” one hour prior to curtain.

Post-Opera Q&A: Friday, Nov. 2, and Sunday, Nov. 4, following the performance in the Wisconsin Studio at Overture Center, free to ticket holders

You’ve seen the operas and loved them. But are you perhaps wondering about …?  Join General Director Kathryn Smith immediately after the performances to ask questions about what you have just seen.

More information — including a blog that has interviews with the cast members — is available at www.madisonopera.org


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Classical music: Prize-winning UW-Madison conductor Chad Hutchinson talks about the FREE and unusual all-American, all-20th century concert he will perform with the UW Symphony Orchestra this Friday night

October 9, 2018
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By Jacob Stockinger

Chad Hutchinson (below) is starting his second season at the University of Wisconsin-Madison’s Mead Witter School of Music by putting his own stamp on programming with an intriguing, all-American and all-20th-century concert that combines music for the concert hall with music for plays and films.

The FREE concert by the UW Symphony Orchestra is in Mills Hall this Friday night, Oct. 12, and starts at 8 p.m. with an informal pre-concert talk by Hutchinson (below) at 7:30 p.m.

Hutchison recently won one first prize and two second prizes from The American Prize for work he did – in opera conducting, orchestral conducting and orchestral programming — at the University of Minnesota and the University of South Dakota.

For more details, go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-3/

The Ear asked Hutchinson how, after his first year, he feels about the UW-Madison.

He answered: “What makes the UW-Madison special is the camaraderie and support of the students, faculty and staff across the numerous disciplines within the Mead Witter School of Music.

“I’m thrilled to be back working with the orchestra (below), opera and conducting students and collaborating with the amazing faculty here. Seeing the “light bulb” moments when students realize and achieve a new level of competency for themselves and the ensemble is the best part of the profession.”

Here are his thoughts about the program:

“The UW-Madison Symphony Orchestra opens the 2018-2019 season with a program of three influential American composers. This concert will highlight the juxtaposition of traditional classical music and compositions heavily influenced by folk, jazz and the blues.

“A common thread throughout the concert is the idea of firsts and exploring new ideas as a composer.

“The Overture to “The School for Scandal” (1931) of Samuel Barber (below) was the first piece that he composed for full orchestra and is based on the Restoration comedy by Richard Sheridan.

“This performance will be the debut of one of the Symphony Orchestra’s new doctoral conducting students Ji-Hyun Yim (below). Ji-Hyun (Jenny) comes to Madison after completing a Master’s Degree in Orchestral Conducting from the University of North Texas.

“The second piece on the program is one that I have wanted to program for quite some time. The “Afro-American” Symphony (1930) of William Grant Still (below, in a photo by Carl Van Vechten), his first symphony, is widely regarded as the first large-scale piece of symphonic repertoire composed by an African-American and performed by a major symphony orchestra.

Each movement’s title is influenced by short poems by the 20th-century African-American poet Paul Laurence Dunbar (below, in 1890).

“Since the Barber and Still were composed within one year of each other in 1930-1931, I wanted to show the dichotomy of the straight-ahead classical world and the other side of classical music in the late 1920s and 1930s that was being heavily influenced by the more popular music of the time.

“Lastly, we feature the first and only film music that Bernstein composed. “On the Waterfront” (1954), an Oscar-winning film directed by Elia Kazan that starred Marlon Brando (below) and Eva Marie Saint, shows Bernstein writing simultaneously for the symphonic hall and the big screen.

“This work will feature UW-Madison professor of saxophone and composition Les Thimmig (below) and will showcase many soloists within the orchestra. While not programmed as often as his music from West Side Story or On the Town, I believe that Bernstein’s unique use of color, rhythm and melody in this work – heard in the YouTube video at the bottom — speak for themselves.”


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