The Well-Tempered Ear

Classical music: Wisconsin Chamber Orchestra offers FREE concert tickets to furloughed federal workers

January 17, 2019
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. 

By Jacob Stockinger

Restaurants, food banks, retail stores and other organizations have responded with compassion and generosity to victims of the ongoing partial shutdown of the U.S. government.

Here is an announcement of a timely move that The Ear thinks is terrific news for budget-strapped workers who have to cut back on entertainment or discretionary expenses. It should be a model for other local groups as well as statewide, regional and national arts presenters.

The Wisconsin Chamber Orchestra (below) is offering free tickets to furloughed federal workers for the Masterworks performance on Friday, Jan. 25, featuring the young cello prodigy and sensation, Miriam K. Smith.

Fresh from performances with the Cincinnati and Louisville symphonies, Smith (below) will perform the Cello Concerto No. 1 in A minor by Camille Saint-Saëns. (You can hear her perform a violin and cello duet by George Frideric Handel and Johan Halvorsen in the YouTube video at the bottom.)

If you want to know more about Smith, go to her website: https://miriamksmith.com

A forgotten gem by Domenico Cimarosa, Overture to The Secret Marriage, will open the concert, and the performance concludes with Ludwig van Beethoven’s Symphony No. 8, the sunniest of his even-numbered symphonies.

The concert, under the baton of WCO music director Andrew Sewell, will be held at 7:30 p.m. in the Capitol Theater at the Overture Center for the Arts, 201 State St.

If you are a furloughed federal employee, you can call the Wisconsin Chamber Orchestra offices at (608) 257-0638, and mention your place of employment. Best available tickets are on a first-come, first-served basis. Tickets are limited to two per person.

Others who want to attend this concert can find information about the soloist, the program and tickets at: https://wisconsinchamberorchestra.org/performances/masterworks-i-4/


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Classical music: Combining a ticket to a live music performance with a book or recording that is tied to the concert’s program makes a great holiday gift

December 20, 2018
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

The holidays seem to arrive earlier each year.

The Ear isn’t sure why that is.

Whatever the reason, a lot of holiday gift shopping can by now seem last-minute and somewhat frantic.

But if you are shopping for a classical music fan, you are in luck if you go local.

The best way to please the recipient and also to support the local arts is to give a ticket to a live concert – always the most powerful and exciting musical experience — perhaps coupled to a related book or recording. (Below is UW-Madison pianist Christopher Taylor in a photo by Michael R. Anderson).

This blog doesn’t have room to list separately all the many musical groups in the area. But here are some samples that might interest you.

Through Monday, Dec. 24, the Madison Symphony Orchestra (below, in a photo by Greg Anderson) is once again offering a special deal for the remainder of the season. Tickets to both the “Beyond the Score” program and the remaining four season concerts, including Mahler’s mammoth “Symphony of a Thousand,” have been reduced to two price ranges: $10 and $25 for the former; $25 and $50 for the latter.

For more information, go to: https://madisonsymphony.org/concerts-events/buy-tickets/offers-discounts/holiday-tickets-sale/

If you want to see what other performers and presenters are offering – say, the Wisconsin Chamber Orchestra (below), the Oakwood Chamber Players, the Madison Bach Musicians, the Middleton Community Orchestra, the Wisconsin Baroque Ensemble, the Bach Dancing and Dynamite Society, the Willy Street Chamber Players, the Wisconsin Union Theater, the Overture Center and the Madison Opera, to name just a few of the more prominent names – just go to Google and type in their name to search and go to their home page on the web.

Many of them have all sorts of other discounts for students, seniors, subscribers, groups and others.

Don’t forget that Madison features many FREE concerts, especially at the University of Wisconsin-Madison.

True, a few of the most attractive and gift-worthy UW concerts are ticketed ($17 for adults, $7 for UW students) – including the annual Schubertiade, the yearly recital by pianist Christopher Taylor and the world premiere of the new Viola Sonata by John Harbison (below). But you could offer to take someone to a free chamber music or orchestral concert and provide companionship, transportation and maybe even dinner.

Here is a link to the very busy lineup and informative previews at the UW-Madison’s Mead Witter School of Music: https://www.music.wisc.edu

To top it off, you could add one of two outstanding local books The Ear puts at the top of the holiday gift guide.

The first is John Harbison’s “What Do We Make of Bach” (below top) which is short, very readable, thoroughly engaging and wonderfully informative in an autobiographical way that helps us celebrate both the 80th birthday of Harbison and the upcoming 334th birthday of Johann Sebastian Bach.

The second book, now in its second printing, is a comprehensive history of the Pro Arte Quartet (below) done by John W. Barker, who often writes for this blog as well as Isthmus.

Of course, a CD with one of the composers or works on a program also makes a fine complement, whether it is a Mahler symphony, a Bach suite or Schubert’s “Swan Songs” from his final year.

Finally, The Ear wants to know: What are your suggestions for a for holiday gift of classical music?

It could be a live concert or a recording, either something new or an old favorite.

It could be a particularly informative and enjoyable or entertaining book, including biographies of Leonard Bernstein (including one by his daughter Jamie Bernstein, below), whose centennial has been celebrated this season.

Over the next few days, The Ear will post suggestions  and Top 10 lists by professional critics. But in the end, it is the audience, the ordinary public, that many people want to hear from.

So perhaps you will leave your ideas in the COMMENT section.

Thank you! And have Happy Holidays — a Merry Christmas, a joyous Kwanzaa and a Happy New Year.


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Classical music: University Opera’s “Poppea” proves engaging, satisfying and timely. Performances remain this afternoon at 2 and Tuesday night at 7:30 

November 18, 2018
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the University Opera and filed this review, with rehearsal photos of students, who alternate roles in different performances, by Michael R. Anderson.

By Larry Wells

The only other time I attended a performance of Claudio Monteverdi’s “The Coronation of Poppea” (1643) was in the early 1980s at The San Francisco Opera. Despite the appearance of Tatiana Troyanos as Poppea, I remember being baffled by both the static nature of the music and the grandness of the production of what seemed should be an intimate opera.

That memory, in addition to my being a fan of 20th-century music, made attending the opening performance of University Opera’s performance Friday evening fraught with foreboding.

Despite the production being a lengthy three hours, I must praise the ensemble and director David Ronis — who never disappoints — for keeping my attention throughout the evening as I witnessed an intimate retelling of the passion between Nero and Poppea (portrayed below by Benjamin Hopkins and Anja Pustaver).

The opera was staged in Music Hall on a semicircular platform with the small instrumental ensemble directly to the front side of the audience. Stunning lighting and beautiful costumes made up for the minimal set. I was seated in the center of the first row of the balcony and must say that the sightlines and the sound were superb, even though it was very hot up there. (Below is the coronation scene with Hopkins and Pustaver in the center.)

The ensemble was conducted by Chad Hutchinson (below) whom I had heard conduct the UW Symphony Orchestra the night before in a rousing Tchaikovsky’s Fifth Symphony. The plucked instruments – harp, guitars, theorbo (I had to look it up, too) and harpsichords – were the backbone of the accompaniment. Strings and recorders completed the orchestra, and they were a delight to the ear – totally delicate and restrained.

The plot of the opera involves love triangles and political intrigue. The supertitles created by David Ronis (below, in a photo by Luke Dalalio) were amusing and colloquial. So much of the political posturing by Nero, whose main motivation is consistently self-interest, seemed to be pertinent to our time.

Nero was sung by countertenor Thomas Aláan who has a voice of great agility and expressiveness. His lover, Poppea, who yearns to be his empress, was sung by Talia Engstrom. Hers is a voice of great suppleness and flexibility. Throughout the evening she acted and sang with great subtlety, and I admired her performance very much.

I had been primed for the opera’s very final duet (heard in the YouTube video at the bottom) to be the most sublime moment of the opera, but I was much more aroused by the farewell duet between Nero and Poppea toward the end of the first act. It was highly charged vocally and erotic in its beauty and delivery.

Other characters included Seneca, portrayed by bass Benjamin Galvin (below left front, surrounded, from left to right, by Eliav Goldman, Jack Innes, Jiabao Zhang, Jake Elfner and Noah Bossert.) The lower range of his voice is profound and impressive.

Kevin Green (below right with Pustaver) portrayed the hapless Ottone, and his baritone voice shows promise.

It was, however, a night for the female singers. Cayla Rosché’s Ottavia was beautifully sung. She was completely believable as the spurned wife of Nero. Likewise Kelsey Wang’s Drusilla, Ottone’s second choice, was also wonderfully sung.

In the first scene we were introduced to Fortuna, Virtù and Amore who shone vocally. Throughout the remainder of the opera they silently hovered in the background as visual reminders of the forces driving the plots. Love, portrayed by Emily Vandenberg, eventually triumphed and got to sing a bit more.

There were moments of humor sprinkled throughout the production. I do not know how historically informed they were, but they did help to lighten the heaviness of the political intrigue and amorous complexities.

Some were perhaps unintentional – particularly the absurdly amusing wig that Fortuna wore. But Professor Mimmi Fulmer, in the small role as Nutrice, had a moment of complete hilarity. Her performance – both vocally and as an actress – underlined the contrast between earnestly serious, focused students and a relaxed, confident professional. (Below is the final scene with Nero and Poppea).

Altogether, it was a surprisingly engaging evening. There remain chances to see it this afternoon and Tuesday evening. It is not a brief or light evening of entertainment, but it is wholly engaging, thought provoking, timely and certainly something out of the ordinary.

Two more performances take place in Music Hall: today at 2 p.m. and Tuesday night at 7:30 p.m. For more information including how to get tickets – adults are $25, seniors are $20 and students are $10 — go to: https://www.music.wisc.edu/event/university-opera-monteverdis-the-coronation-of-poppea/


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Classical music: Here are many of the major figures that classical music lost in 2017

January 2, 2018
2 Comments

By Jacob Stockinger

One of the traditional ways to start a new year is to take stock of the past year.

That often means compiling lists of the best performances, the best recordings, the best books, and so forth.

It also means listing the major figures who died in the past year.

Two of the more prominent classical music performers who died in 2017 were the renowned Russian baritone Dmitri Hvorostovsky (below top), who died of a brain tumor at 55, and the conductor Georges Prêtre (below bottom in a photo by Dieter Hagli for Getty Images).

There were many more, but they seem harder to find or to remember.

It seems to The Ear that such lists used to be more common.

It also seems to The Ear that many more of such lists for classical music are being incorporated into a overall lists of entertainers and celebrities in pop, rock, country, jazz, folk and even film stars who died. That is what National Public Radio (NPR) and The New York Times did this year.

Does that trend suggest that classical music is gradually and increasingly being marginalized or ignored? It is a reasonable question with, The Ear fears, a sad answer.

Does anyone else see it the same way?

But at least one reliable source – famed radio station WQXR-FM in New York City – has provided a list of performers, presenters and scholars of classical music who died in 2017.

Moreover, the list comes with generous sound and video samples that often make the loss more poignant.

Here is the link:

https://www.wqxr.org/story/music-made-classical-artists-lost-2017

Has someone been overlooked, especially among local figures?

If so, please use the COMMENT section to leave a name or even your reaction to the other deaths.

The Ear wants to hear.


Classical music: The Middleton Community Orchestra offers a head start on celebrating the New Year this coming Wednesday night

December 15, 2017
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By Jacob Stockinger

The Ear has received the following information to post:

“Dear friends,

“The mostly amateur and critically acclaimed Middleton Community Orchestra (below) has a fun and entertaining evening planned for this coming Wednesday night, Dec. 20.

“Think of it as an early New Year’s Eve concert.

“The concert starts at 7:30 p.m. in the Middleton Performing Arts Center that is attached to Middleton High School, 2100 Bristol Street.

“The program features:

Johann Strauss            Overture to Die Fledermaus (The Bat)

Johannes Brahms            Hungarian Dances 5, 6, 7 

Antonin Dvorak         Slavonic Dances Op. 46, Nos. 6, 7

Peter Tchaikovsky (below)   Selections from the Swan Lake               Suite; Opening Scene, Little Swans, Czardas, Dance Russe with Naha Greenholtz, violin

Johann Strauss            Persian March

Maurice Ravel             Tzigane, Naha Greenholtz, violin

Johann Strauss        Emperor Waltz (see the YouTube video below)

“The MCO is having a great time preparing this concert with our regular guest conductor Kyle Knox (below top) and our violin soloist, Naha Greenholtz (below bottom), who many of you know as the concertmaster of the Madison Symphony Orchestra. The two musicians are also married.

“Tickets are $15 and are available at the door or in advance at the Willy Street Coop West. Students are FREE.

“The box office opens at 6:30 p.m. Doors open at 7p.m.

“A meet-and-greet reception (below) follows the concert.

“For information, call (608) 212-8690.

Hope to see you there.”

Mindy Taranto and Larry Bevic, co-founders of the Middleton Community Orchestra


Classical music: On Saturday “The MET Live in HD” will feature Mozart’s opera “The Magic Flute.” Also, UW trombonist Mark Hetzler’s concert is TONIGHT (NOT Saturday) as is a concert of Mozart’s music for piano-four hands

October 13, 2017
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CORRECTION: The Stravinsky concert by UW trombone professor Mark Hetzler and friends is TONIGHT at 8 p.m. in Mills Hall – NOT Saturday night as incorrectly listed in the posting yesterday. For more information about the performers and the program, go to:

https://welltempered.wordpress.com/2017/10/12/classical-music-uw-trombonist-mark-hetzler-explores-stravinsky-with-alumni-musicians-in-a-free-concert-on-saturday-night-plus-you-can-hear-free-brahms-at-noon-this-friday/

ALERT: The Ear received the following word from early music specialist Trevor Stephenson: “Tonight, my distinguished colleague from France, Marcia Hadjimarkos, will join me for a program of Mozart’s thrilling music for piano four-hands.

“The concert will be held at the Madison Christian Community church, 7118 Old Sauk Road. The acoustics there for the fortepiano are really wonderful. Tickets are available at the door. They cost $20 for the general public and $10 for students.”

By Jacob Stockinger

The broadcasts of “The Met Live in HD” don’t usually fall in consecutive weeks.

But this weekend is an exception.

Last Saturday and then again on Wednesday, the current season premiered with a critically acclaimed  production of Bellini’s “Norma.”

This Saturday, a new production of the ever-popular “The Magic Flute” by Mozart will be featured.

The three-hour show starts at 11:55 a.m. on Saturday at the Marcus Point Cinema on the far west side of Madison and the Marcus Palace Cinema in Sun Prairie.

Encore performances at both movie theaters are this coming Wednesday at 1 p.m. and 6:30 p.m.

The full-length opera will be sung in German with English surtitles.

Tickets are $22 for the public, and $18 for seniors.

The production promises to be special for two reasons: the elaborate, colorful staging and innovative costumes by director Julie Taymor, famous for her oversized puppet-like costumes in “The Lion King”; and vibrant conducting by longtime Metropolitan Opera artistic director and now emeritus conductor James Levine. (You can hear the upbeat Overture in the YouTube video at the bottom.)

Below are some other photos to give you a taste of the production:

Here is a link for notes about the production, including several videos:

http://www.metopera.org/Season/2017-18-Season/zauberflote-mozart-tickets/

And here is a link to a synopsis and notes about the cast:

http://www.metopera.org/metoperafiles/season/2017-18/operas/zauberflote/hd_syn_Zauberflote_global_and_usa_dates.pdf


Classical music: The Token Creek Festival splendidly captures the poignancy and intimacy of late Schubert through songs and smaller piano works

September 1, 2017
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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 photographs.

By John W. Barker

The Token Creek Chamber Music Festival for this year is presenting three concert programs of what the directors consider “Necessary Music” — as MacArthur “genius,” Pulitzer Prize-winning composer and festival co-artistic director John Harbison (below) puts it, “We did not even know we needed it until it appears.”

Of the resulting concerts, the first, on last Saturdays night and Sunday afternoon, featured music by Johann Sebastian Bach and Franz Joseph Haydn, plus Harbison, suggesting their interaction.

The third program, to come on this coming Saturday night at 7:30 p.m. and Sunday afternoon at 4 p.m. explores various works in waltz form, old and new. (For more information about the program and tickets, go to www.tokencreekfestival.org.)

And in between, on this past Wednesday night, came Franz Schubert. That was the concert I caught.

Three performers were involved.

To begin with, the two pianists, Ya-Fei Chuang (below foreground) and Alison D’Amato, played the slow movement from Schubert’s so-called “Grand Duo,” D. 812.

That full-length, four-movement work has been claimed by some commentators to be the surviving bit of Schubert’s supposed “Gastein” Symphony. It is splendid music in its own right, and I rather wished it had been played complete, especially with two such polished performers at hand. (You can hear it in the YouTube video at the bottom.)

Next, Chuang played the six pieces that constitute the collection known as the Moments Musicaux, D. 780. These pieces, mostly in ABA form, bring Schubert’s inherent lyricism into a range of moods that go far beyond mere entertainment. Chuang played them with deeply probing intensity.

The second half of the program was entirely devoted to Schubert’s final collection of Lieder, his Schwanengesang, or “Swan Song,” as the publisher titled it.

It is not a true cycle, but a gathering of 14 songs on which Schubert had been working in his last years, published after his death. One can, to be sure, find common themes among them of longing, loss, isolation, loneliness and apprehension — themes that preoccupied the composer at the end of his all-too-brief life.

The singer, Charles Blandy (below), joined D’Amato in a deeply involving performance. His lyric tenor voice is flexible, with particularly fine German diction and a capacity for subtle variations in the moods of the individual songs. The pianist was a sensitive partner whose careful support offered a musical dimension of its own. The texts and translations were provided to the audience, allowing full immersion in these songs.

All of this music came from Schubert’s later years, when the composer, knowing that he was soon to die, concentrated his thinking so poignantly.

In bypassing the larger of the final works, too, this program stressed personal intimacy and demonstrated that Schubert’s reflections on the human condition do, indeed, make his music “necessary.”


Classical music: Today is Thanksgiving Day 2016. Classical music fans should give thanks for Wisconsin Public Radio, which has lots of holiday fare to listen to throughout the day. Plus, famed New York City radio station WQXR offers its Top 5 musical expressions of giving thanks.

November 24, 2016
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By Jacob Stockinger

Today is Thanksgiving Day, 2016.

Music is such a integral part of Thanksgiving Day, from hymns and songs, solo music and chamber music, symphonies and oratorios.

Today, Wisconsin Public Radio — on both the Ideas Network and the News and Classical Music Network — will feature a lot of music and informative shows, all with the theme of Thanksgiving and giving thanks.

Here is the announcement from WPR, which keeps many of us in classical music year-round:

“Wisconsin Public Radio has prepared a variety of food, music and entertainment programs to keep you and your guests engaged this Thanksgiving.

“Turkey is the star of the show on America’s Test Kitchen Radio Thanksgiving Special, 10 a.m. on WPR’s Ideas Network stations. Host Bridget Lancaster is promising a tender, juicy, perfect turkey with all the trimmings, dessert and a dash of fun that will make you a Thanksgiving rock star.

At 11 a.m., Lancaster changes her apron and joins Lynne Rossetto Kasper for more tips on the Ideas Network with the Splendid Table’s Turkey Confidential. This live two-hour Thanksgiving Day tradition returns to take listener calls for culinary help.

In the kitchen this year you’ll also find Mario Batali, Francis Lam, Melissa Clark and Chris Thile, the new host of “A Prairie Home Companion,” sharing fun and helpful advice for the novice, and the experienced, Thanksgiving home cook.

thanksgiving dinner

After the feast, you may be in the mood for a good story. How about ten of them? Starting at 1 p.m. the Ideas Network presents Best of the Best: Third Coast Audio Festival Winners. With more than 500 entries from around the world, you’ll hear the ten best that will intrigue, inform and inspire you.

While the Ideas Network serves up helpful advice and engaging stories, WPR’s NPR News & Classical Music Network delivers a generous helping of music for you to enjoy throughout the day.

At 10 a.m., tune in for this year’s Wisconsin School Music Association Honors Concerts (below). The two-hour music special highlights top performances of students from across the state. Middle school and high school choirs and orchestra will be featured.

“It’s one of the highlights of the year with some of our state’s most talented young performers,” said WPR’s News & Classical Music Network Director Peter Bryant.

wpt state honors concert 2014

Then, at 1 p.m. join host John Birge and his special guest, legendary Chef Jacques Pepin as they share conversation and music on Giving Thanks: A Celebration of Fall, Food and Gratitude.

Here is a link to the WPR website with program guides and playlists:

http://www.wpr.org/hear-special-programs-thanksgiving-day

WPR new logo

But you might also be interested to stream some other music. WQXR, the famed classical music radio station in New York City, has put together the Top 5 musical expressions — including the famous Sacred Song of Thanksgiving from a late string quartet by Ludwig van Beethoven — of giving thanks. The website has audio and visual performances of the works that you can stream.

Here is a link:

http://www.wqxr.org/#!/story/top-five-expressions-thanks-classical-music/

And if you have other ideas about music that is appropriate for Thanksgiving this year – perhaps a composer or work you give special thanks for — please leave them in the COMMENT section, preferably with a YouTube link if possible.

The Ear wants to hear.

Happy Thanksgiving to all.


Classical music: Edgewood Chamber Orchestra opens its new season this coming Sunday afternoon with music by Handel, Haydn and Beethoven.

September 19, 2016
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By Jacob Stockinger

The Edgewood Chamber Orchestra will present its first concert of the new season on this coming Sunday afternoon at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive.

Admission is free for persons with an Edgewood College ID, and $5 for others. Tickets will be available at the door.

The Edgewood Chamber Orchestra, under the direction of conductor Blake Walter (below), will perform the Overture to the oratorio “Samson” by George Frideric Handel, a rarely played masterpiece.

blake walter john maniaci

Also featured is the Symphony No. 82 in C major, “The Bear,” by Franz Joseph Haydn. In its last movement, Haydn imitates the music used in the 18th-century Austria to accompany dancing bears — a popular form of street entertainment. (You can hear the last movement of the symphony in the YouTube video at the bottom.)

The central part of the program is the last movement Finale of the Piano Concerto No. 3 in C minor, Op. 37, by Ludwig van Beethoven. It marks the orchestral debut of pianist Johanna Novice-Leonard (below), winner of the Edgewood College Concerto Competition, and a student of Dr. Beatriz Aguilar.

Johanna Novich Leonard

Founded in 1993 via a generous endowment established by benefactors William O. Hart and Vernon Sell, the Edgewood Chamber Orchestra fulfills a unique role in the Madison community, providing high-quality performances and unique educational opportunities. The ensemble is the permanent, in-house chamber orchestra of the college.


Classical music: The superb final concert of the Madison Early Music Festival took the audience through an Elizabethan day with inventive fun

July 20, 2016
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By Jacob Stockinger

You have to hand it to early music advocate, scholar, conductor and performer Grant Herreid (below), who once again was a major player in the 17th annual Madison Early Music Festival, which wrapped up this past Saturday night.

MEMF 2016 all-festival Grant Herreid

What could have been a scissors-and-paste job to wrap up the celebration of music in Shakespeare and Elizabethan England was turned by the creative Herreid into an event that was thoroughly enjoyable and thoroughly inventive.

What the final All-Festival Concert did was to bring together what seemed a very large number of students, faculty and guest performers.

MEMF 2016 all-festival all forces

Then what the combined forces did was offer a sampler of a typical Elizabethan day. That day included the usual routines from waking up, exercising and going to bed, but also included prayers, romance and entertainment.

It used snippets from plays by William Shakespeare (below) and snippets by many composers of the period including Thomas Tomkins, Anthony Holborne, Thomas Morley, Orlando Gibbons, Thomas Weelkes, John Bennet, John Coperario, Thomas Ravenscroft, John Dowland and Thomas Tallis as well an anonymous composers and reconstructions.

shakespeare BW

The formula must have appealed because it drew a large and enthusiastic audience.

Since it was such an ensemble effort, it is difficult to single out individuals for praise or criticism.

Instead, The Ear simply wants to mention a few of his favorite things with photos to illustrate them.

Here is what The Ear liked:

He liked that the entire 90-minute program of sacred and secular music was done without an intermission. Once you were in the zone, you didn’t have to leave it and then have to get back into it. Plus, the unity of the day was preserved.

He liked the diverse and always highly accomplished singing.

He liked seeing the unusual period string and wind instruments that are beautiful as well as useful.

MEMF 2016 all-festival strings left

He liked how the entire hall, not just the main stage, was used, including the balconies from which a fanfare opened the concert:

MEMF 2016 all-festival balcony

He liked the many “actors” who stepped to the edge of the Mills Hall stage and did an exceptional job reading the excerpts of Shakespeare that were kept short and to the point:

MEMF 2016 all-festival Shakespeare reader

He liked the period and very energetic dancing with handkerchiefs and leg bells:

MEMF 2016 all-festival dancing

There was more. But you get the idea.

Once again, if you can’t make it to other concerts in the Madison Early Music Festival’s annual week-long schedule, try to make it to the impressive All-Festival Concert at the end.

In 17 years, it has never disappointed.

That is a record to be envied and praised.


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