The Well-Tempered Ear

Classical music: Madison Opera travels to the jungle for the local premiere of the Spanish opera “Florencia en el Amazonas” this Friday night and Sunday afternoon

April 23, 2018
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By Jacob Stockinger

This weekend, the Madison Opera travels to the jungle to present the Madison premiere of Florencia en el Amazonas (with sets from the production by the Arizona Opera, below) by Daniel Catán on Friday night, April 27, at 8 p.m. and Sunday afternoon, April 29, at 2:30 p.m. in the Overture Hall at the Overture Center for the Arts, 201 State Street.

The opera will be sung in Spanish with English supertitles. Running time is 2 hours and 15 minutes with one intermission.

Tickets are $18-$130 with discounts available for students and groups. For more information about tickets and the production, go to www.madisonopera.org

Mexican composer Daniel Catan’s lush and accessible orchestral soundscape brings the Amazon River to life in this magical and mystical journey.

Set in South America at the turn of the 20th century, the story begins when Florencia Grimaldi, a famous opera singer, embarks anonymously on a voyage down the Amazon River to sing a concert in Manaus, Brazil.

She is traveling to the concert incognito; her real hope for the journey is to be reunited with the lover she left behind, a butterfly hunter.

On the boat with her are a young journalist, Rosalba, who is writing a biography of Grimaldi; a couple feeling the strain of their long marriage, Paula and Alvaro; the boat’s captain; the captain’s restless nephew, Arcadio, who falls in love with Rosalba; and a man who is a rather mystical presence, Riolobo.

Over the course of the journey, the passengers encounter a storm, piranha, and ultimately cholera.

Florencia en el Amazons is simply gorgeous,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s General Director.  “I heard only wonderful things about it following its 1996 premiere, and when I saw the opera 10 years ago, I realized why audiences love it so much.

“The music is ravishing, the setting is physically beautiful, and the characters are fascinating. I am delighted to be presenting it in Madison, as part of our vision of sharing operas from all time periods and in all languages.”

Florencia was the third opera composed by Daniel Catán (below, in a photo by Gina Ferazzi for the Los Angeles Times) and the first Spanish-language opera to be commissioned by a major U.S. opera company. Houston Grand Opera premiered the work in 1996; it has since been performed across North America and Europe, with companies like Houston, Los Angeles, and Seattle producing it multiple times due to audience demand.

The opera’s libretto, while an original story, was inspired by the writings of the Nobel Prize-winning Colombian novelist Gabriel García Márquez (below) author of 100 Years of Solitude and Love in the Time of Cholera. Librettist Marcela Fuentes-Berain was a protégé of Márquez; according to Catán, he and Fuentes-Berain would show García Márquez parts of the libretto as they were finished. Elements of the author’s trademark magic realism pervade many parts of the opera.

Catán’s music was acclaimed for its lush writing.  The New York Times said, “Mr. Catán’s writing for the voice is luxuriously lyrical; and he orchestrates with skill.” (You can hear the opera’s opening scene in the YouTube video at the bottom.)

Catán wrote two more operas before dying at age 62 of a heart attack. At his sudden death in 2011, Plácido Domingo called him “one of the great opera composers of our time, beloved by audiences and especially by the musicians who had the privilege of performing his incredible work.”

“I am so happy to have the opportunity to perform this absolutely gorgeous opera,” says John DeMain (below, in a photo by Prasad), Madison Opera’s Artistic Director. “I had the pleasure of knowing Daniel Catán, and commissioned an orchestral suite from this opera for the Madison Symphony Orchestra, which we performed in 2003.

“We all were struck by the power and sweep of the music. This story of the power of love and music in all of our lives will be sung by a great cast of singers, and the orchestral fabric will lift audiences out of their seats and transport them to the magical world of the Amazon. This is an opera written in our time, with a musical score that will leave audiences wanting to hear it again and again.”

Madison Opera’s cast features a number of returning favorites. For revealing 10-question interviews with cast members, go to the MadOpera blog at: http://madisonopera.blogspot.com

Elizabeth Caballero (below) sings Florencia Grimaldi, a role she has sung for New York City Opera and Nashville Opera. The Cuban-American soprano debuted with Madison Opera at Opera in the Park in 2007 and returned in Carmen, La Traviata,and Don Giovanni. Last month, she sang Mimì in La Bohème at the Metropolitan Opera.

Rachel Sterrenberg sings the journalist Rosalba; she debuted in Charlie Parker’s Yardbird here last season.

Adriana Zabala (below), who sang in The Tales of Hoffmann and at last summer’s Opera in the Park, sings Paula, a role she has also sung at San Diego Opera and Arizona Opera.

Nmon Ford (below, in a photo by Guy Madmoni), who sang Scarpia in Tosca with Madison Opera in 2013, sings the mysterious Riolobo.

Mackenzie Whitney, who debuted as Rodolfo in La Bohème with Madison Opera in 2015, returns as Arcadio, the Captain’s nephew. Levi Hernandez, who debuted in The Magic Flute here in 2005, returns as Alvaro. Bass Ashraf Sewailam (below) makes his Madison Opera debut as the Captain of the El Dorado.

Kristine McIntyre (below) returns to direct this Madison Opera premiere. She has directed many successful productions for Madison Opera, including Dead Man Walking and The Tales of Hoffmann. Recent work includes productions at Pittsburgh Opera, Utah Opera, Des Moines Metro Opera, and Kentucky Opera.

The production prominently features members of Kanopy Dance Company, playing spirits of the river.  Lisa A. Thurrell, co-artistic director of Kanopy, has created choreography for her dancers and this production.

The set (below) comes from Arizona Opera, with costumes designed by Madison Opera’s Karen Brown-Larimore, who designed the costumes for The Abduction from the Seraglio in February.

As always, the opera features the Madison Opera Chorus and the Madison Symphony Orchestra.

Madison Opera’s production of “Florencia en el Amazons” is sponsored by the National Endowment for the Arts, Thompson Investment Management, Inc., Carla and Fernando Alvarado, Thomas Terry, the Ann Stanke Fund, Kennedy Gilchrist and Heidi Wilde, and Charles Snowdon and Ann Lindsey.

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Classical music: On Saturday night, the UW Wind Ensemble will mark a first by performing a FREE concert that will also be live-streamed

April 6, 2018
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By Jacob Stockinger

Something important — even pioneering or groundbreaking — will take place this on Saturday night at the University of Wisconsin-Madison’s Mead Witter School of Music.

At 7:30 p.m. in Mills Hall, the UW Wind Ensemble (below) will give a FREE concert that will also be a LIVE-STREAMED – a first for the UW-Madison.

Live-streaming of concerts by students, faculty members and guest artists is something that many music schools are now doing on a regular basis.

They include big schools like the Yale School of Music and smaller institutions like the Lawrence University Conservatory of Music in Appleton, Wis.

Streaming allows alumni and other listeners all over the world to hear the concert in real time. It can be prestigious form of outreach and a terrific tool for fundraising and recruiting students. Imagine the worldwide audience for, say, the Pro Arte Quartet, which has toured to South America, Europe and Asia.

The Ear has heard several reasons why live-streaming is not yet standard practice at the UW-Madison. Those reasons include the lack of specialized staff, too little equipment, too little money, and difficulty or expense in obtaining the rights from performers and composers or publishing companies.

This time, the live streaming is being done on a paid basis by a local School of Music alumnus who has the expertise and experience. Sources at the school say that more concerts are likely to be live-streamed next season.

The program on Saturday night features the “French Suite” of Francis Poulenc; “Circuits” by Cindy McTee (below top); and the Symphony in Three Movements by the retired UW tuba professor and composer John Stevens (below bottom). You can hear the opening of the work by John Stevens, which was recorded for Naxos Records, in the YouTube video at the bottom.

The performance will be done under the batons of director Scott Teeple (below top) and two graduate student assistants: O’Shae Best (below middle) and Cole Hairston (below bottom).

For the link for streaming and more information, go to: https://www.music.wisc.edu/event/wind-ensemble-3/


Classical music: A busy week at the UW-Madison includes FREE concerts of music for strings, winds, voice and brass

February 26, 2018
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By Jacob Stockinger

This week will be busy at the University of Wisconsin-Madison’s Mead Witter School of Music.

There is something just about every day and all of it is FREE and OPEN to the public.

For all events, including some interesting doctoral recitals and lectures, go to: https://www.music.wisc.edu/events/

Here is a schedule of the major events:

TUESDAY

NOTE: The concert by guest artists flutist Cristina Ballatori and guitarist Jonathan Dotson has been CANCELED.

At 7:30 in Mills Hall, a concert and discussion of Eastern European string music will be given by Maria Pomianowska (below top) and Seth Parker Woods (below bottom in a photo by Michael Yu).

For more information, go to:

https://www.music.wisc.edu/event/maria-pomianowska-seth-parker-woods-eastern-european-string-music/

WEDNESDAY

At 7:30 p.m. in Mills Hall, UW trombonist Mark Hetzler (below top, in a photo by Katrin Talbot) and UW collaborative pianist Martha Fischer (below bottom) will perform music from their latest CD on Summit Records “Themes and Meditations.” Featured composers include Sandro Fuga, Jan Bach, Anthony Plog, Anthony Barfield and Frank Bridge.

For more information, go to: https://www.music.wisc.edu/event/faculty-duo-recital-mark-hetzler-trombone-martha-fischer-piano/

THURSDAY

At 7 p.m. at Oakwood Village West, 6209 Mineral Point Road, in Madison’s far west side near West Towne Mall, the UW Wingra Wind Quintet will perform a free concert. Sorry, no words on composers or pieces on the program. Members are (below, from left, in a photo by Katrin Talbot) bassoonist Marc Vallon, flutist Timothy Hagen, clarinetist Alicia Lee, oboist Aaron Hill, and hornist Joanna Schulz.

FRIDAY

At 5 p.m. in Morphy Hall, the voice students of UW professor Mimmi Fulmer (below) will perform a “Rush Hour Recital” of classical and popular songs. Sorry, no word on composers or pieces on the program.

At 8 p.m. in Mills Hall, UW cellist Parry Karp (below left), who plays with the Pro Arte Quartet, will perform a recital with longtime partner pianist Eli Kalman (below right), who did his graduate studies at UW-Madison and now teaches at UW-Oshkosh.

The program features the “Romance for Violin and Piano” by Polish composer Karl Szymanowski as transcribed by Karp; the Cello Sonata No. 2 in F major by Johannes Brahms; and the Sonata for Cello and Piano by French composer Charles-Valentin Alkan. (You can hear the original setting of the Szymanowski Romance in the YouTube video at the bottom.)

For more information, go to:

https://www.music.wisc.edu/event/faculty-recital-parry-karp-cello-and-eli-kalman-piano/

SUNDAY

At 3 p.m. in Morphy Hall the winners of the Irving Shain Woodwind and Piano Duo Competition will perform. The winners have not yet been named and there is no program yet posted. Stay tuned and go to here for an update: https://www.music.wisc.edu/event/irving-shain-woodwind-piano-duo-competition-winners-recital/


Classical music: Bellini’s opera “Norma” opens the new season of “Live From the Met in HD” at movie theaters this Saturday and Wednesday

October 6, 2017
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By Jacob Stockinger

At a time when so many classical music programs are striving desperately for commercial success and popularity with the public, one program stands out as phenomenally successful: The Metropolitan Opera’s “Live From the Met in HD” broadcasts.

Those broadcasts reach hundreds of cinemas around the world in North America, South America, Europe, Africa and Asia. Here is a list of the international showings:

http://www.metopera.org/season/in-cinemas/international-locations/

The new season of the live broadcasts by the Metropolitan Opera (below) opens this Saturday.

The broadcasts in Madison will take place at two Marcus Corporation cinemas: at the Point Cinemas on the far west side and the Palace Cinemas in Sun Prairie on the far east side.

The first of 10 operas in the season is a new production of Vincenzo Bellini’s Druid-based bel canto opera “Norma.”

The outstanding cast of singers and actors includes Sondra Radvanovsky, Joseph Callejo and Joyce DiDonato. Carlo Rizzi is the conductor. (You can hear a preview of this production in the YouTube video at the bottom.)

The running time is 3 hours 30 minutes.

Tickets are $18.

Here is a season trailer:

http://www.metopera.org/Season/In-Cinemas/?gclid=Cj0KCQjwjdLOBRCkARIsAFj5-GBXxKzE43SMmgIUAPUrx1p2YrxzvDPG4cMZZk_7JwaoFQOMy22lf_0aAl8xEALw_wcB

The live performance is this Saturday, Oct. 7, at 11:55 a.m.:

http://www.marcustheatres.com/movies/met-norma-live

Encore presentations and rebroadcast are on Wednesday, Oct. 11, at 1 pm. and 6:30 p.m.:

http://www.marcustheatres.com/movies/met-norma-encore

For this production of “Norma,” here are:

A link to a synopsis and cast list:

http://www.metopera.org/Season/In-Cinemas/SynopsisCast/norma/?performanceNumber=14827

Links to production notes and program notes:

http://www.metopera.org/Season/2017-18-Season/norma-bellini-tickets/

http://www.metopera.org/metoperafiles/season/2017-18/operas/norma/programs/100717%20Norma.pdf

Much of the upcoming season features standard tried-and-true operas by Mozart (“The Magic Flute” and “Cosi fan tutti“); Puccini (“Tosca” and “La Bohème”); Verdi (“Luisa Miller”)’ Rossini (“Semiramide”) and Donizetti (“The Elixir of Love”). But there is also a contemporary work, “The Exterminating Angel,” by Thomas Adès and a holiday production of Humperdinck’s “Hansel and Gretel.”

What do you think of the “Live From the Met” screenings?

What do you think most makes them so successful? The quality of the productions? The affordable price? The accessibility?

And what do you think of the choice of operas in the new season?

The Ear wants to hear.


Classical music: Starting this Sunday night, the next month is busy for the UW-Madison’s acclaimed Pro Arte Quartet with FREE concerts of music by Mozart, Brahms and Schubert

September 18, 2017
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By Jacob Stockinger

The opening concert of the new season of the Pro Arte Quartet (below, in a photo by Rick Langer) is this coming Sunday night, Sept. 24, at 7:30 p.m. in Mills Hall.

The Pro Arte Quartet will give an all-Mozart program, featuring Alicia Lee (below), the new clarinet professor at the UW-Madison. The works to be performed are the G Major “Haydn” String Quartet, K. 387, called the “Spring” Quartet, and the famed late Clarinet Quintet in A Major, K. 581. (You can hear the sublime slow movement of the Clarinet Quintet in the YouTube video at the bottom.)

Here is a link to biographies of new faculty members at the UW-Madison School of Music, including that of Lee:

http://www.music.wisc.edu/2017/06/20/new-faculty-hires-at-the-school-of-music/

In early October, the internationally celebrated violist Nobuko Imai (below) returns to the UW-Madison campus, on her way from Europe to a concert in Minneapolis.

Her master class on viola and chamber music will be on Wednesday, Oct. 4, at 7:30 p.m. Morphy Recital Hall. It is FREE and OPEN TO THE PUBLIC.

The following day, Thursday, Oct. 5, at NOON in Mills Hall, Imai  will perform a FREE public concert with members of the Pro Arte Quartet and guest cellist Jean-Michel Fonteneau (below).

The program is a single work, a masterpiece: the Brahms G Major Viola Quintet, Op. 111. It is legendary for the first viola part, according to a member of the quartet, and Imai would herself be legendary in this role.

Cellist Fonteneau is a member of the San Francisco Trio, and is familiar to Madison audiences through his many acclaimed appearances with the Bach Dancing and Dynamite Society.

Adds Pro Arte violist Sally Chisholm: “This particular concert is another gesture to all the long-time supporters of the Pro Arte and the Madison community who remain part of our legacy.”

The Pro Arte’s second concert, also FREE and open to the public, is Saturday night, Oct. 28, in Mills Hall. It is will be all Schubert – the flute and piano theme and variations, and the Schubert Octet, featuring members of both the Wingra Wind Quintet and the Pro Arte Quartet.

Says Chisholm: “The Schubert Octet has been much discussed up and down the fourth floor of the School of Music for several years, and suddenly, we said “Let’s do it!”

“We checked calendars, and the Wingra was free to join us on Oct. 28. Whether this is a first performance of the Schubert, or one of many, the feeling is always that we never have the chance to perform it often enough. We hope it brings us all together with hope and joy.”

The Pro Arte Quartet’s longtime cellist Parry Karp continues to teach and coach chamber musicians, but he has been sidelined by a finger injury and will not yet be back to perform these concerts. He is scheduled to return to performing in November, according to Chisholm.


Classical music: Who are the best pianists of all time? And which ones do you think were left off the list by Classic FM?

September 16, 2017
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By Jacob Stockinger

The British radio station and website Classic FM recently published its list of the 25 greatest pianists of all time.

Plus, the website also included samples of the playing where possible.

It is an impressive list, if pretty predictable — and heavily weighted towards modern or contemporary pianists. You might expect that a list of “all-time greats” would have more historical figures — and more women as well as more non-Western Europeans and non-Americans, especially Asians these days.

Here is a link:

http://www.classicfm.com/discover-music/instruments/piano/best-pianists-ever/

So The Ear started what turned out to be a long list of others who should at least be considered and maybe even included.

Here, then, is the question for this weekend: What do you think of the list? Which pianists do not belong on the list? And which are your favorite pianists who are not included in the compilation?

Leave your candidate or candidates in the COMMENT section with a link to a YouTube link of a favorite performance, wherever possible.

Happy listening!


Classical music: Amy Beach turns 150. Read about the woman and her music

September 7, 2017
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By Jacob Stockinger

Amy Beach (1867-1944, below) was a pioneering American composer who fought against sexism in her lifetime and who benefitted greatly from the rediscovery of women artists during the feminist revival of the 1970s and 1980s.

But here is a link to the most comprehensive story The Ear has yet read about Beach and her music, which is still neglected and not getting the attention it deserves, especially the larger and more ambitious works. (You can find many on YouTube and other streaming services.)

The story marked the 150th anniversary of her birth and appeared last Sunday in The New York Times.

Here is a link:

https://www.nytimes.com/2017/09/01/arts/music/amy-beach-women-american-composer.html

And here, introduced and played by Rachel Barton Pine in a YouTube video, is one of her last and more minor works: a lovely Romance for violin and piano. It remains one of The Ear’s favorites.


Classical music: The Salon Piano Series at Farley’s House of Piano announces its new season of four concerts

August 8, 2017
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By Jacob Stockinger

The reliably virtuosic and musically enjoyable Salon Piano Series has just announced its 2017-18 season.

A piano duo, piano soloists and the Pro Arte Quartet provide traditional salon concert experiences with informal seating and restored pianos.

The 2017-18 Salon Piano Series season again includes piano soloists and ensembles typical of 19th-century European salon concerts, with well-known concert artists from Italy, Russia, Israel and Ireland.

According to a press release, the season’s offerings are:

Roberto Plano and Paola Del Negro Duo (below) on Sunday, Sept. 24, 2017 at 4 p.m.

Italian husband and wife piano duo Roberto Plano and Paola Del Negro kick off the season with Schumann’s “Pictures from the East” (Bilder aus Osten, Op. 66), Brahms’ Hungarian Dances 1-5, “The Moldau” by Smetana, and Brahms’ Sonata for Two Pianos, Op. 34b, the earlier version of his great Piano Quintet. The duo will perform on one piano for the first half of the program and on two for the second half. (You can hear them perform Hungarian Dances by Brahms in the YouTube video at the bottom.)

Ilya Yakushev (below) on Sunday, Nov. 12, 2017 at 4 p.m.

Returning by popular demand, Ilya Yakushev will perform an exhilarating program of Haydn’s Piano Sonata in D Major, Tchaikovsky’s “Sentimental Waltz,” Gershwin’s “Rhapsody in Blue” and Mussorgsky’s “Pictures at an Exhibition” in his November concert.

Alon Goldstein (below top) and the UW-Madison’s Pro Arte Quartet (below bottom in a photo by Rick Langer) on Saturday night, March 10, 2018 at 7:30 p.m. and Sunday afternoon, March 11, 2018 at 4 p.m.

To accommodate the crowds, Salon Piano Series booked two performances for Alon Goldstein and the UW-Madison’s Pro Arte Quartet in March. Goldstein will perform selected Scarlatti sonatas solo, then the Pro Arte Quartet and bassist David Scholl will join him for Mozart Concerto No. 23 in A Major, K. 488, in a reduced arrangement, and the Brahms Piano Quintet, Op. 34.

John O’Conor (below) on Saturday, May 12, 2018, 7:30 p.m.

To cap off the season in May, the great Irish pianist John O’Conor will perform Haydn, Beethoven and Schubert in his first Salon Piano Series appearance.

Visit salonpianoseries.org for complete concert programs, and artist information.

All concerts are at Farley’s House of Pianos, at 6522 Seybold Road, on Madison’s far west wide near West Towne Mall. All concert includes a post-concert artist reception.

Tickets are $50 at the door or $45 in advance; season tickets are $150.

You can purchase tickets online at brownpapertickets.com or in-person at Farley’s House of Pianos. Service fees may apply.

About the Salon Piano Series

Now in its fifth season, Salon Piano Series was founded by Tim and Renée Farley to continue the tradition of intimate salon concerts at Farley’s House of Pianos.

The setting replicates that experienced by audiences throughout the 18th and 19th centuries, and offers audiences the chance to hear artists whose inspiring performances are enhanced by the setting and the fine pianos.


Classical music: This Saturday night the Ancora String Quartet will perform a program that features works by Beethoven, Shostakovich and Niels Gade

July 25, 2017
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By Jacob Stockinger

As it has often done over its 16-year history, the Madison-based Ancora String Quartet (ASQ) will mix a relatively unknown work by a neglected composer into a program of more established chamber music by more well-known composers.

The program it will perform this coming weekend — and then again at “Sunday Afternoon Live From the Chazen” on Sunday, Aug. 6 — is no exception.

The program features: the String Quartet No. 7 in F-sharp minor, Op. 108, by Dmitri Shostakovich; the String Quartet No. 1 in D Major, Op. 63, by Danish composer Niels Wilhelm Gade; and the String Quartet No. 1 in F Major, Op. 18, No. 1, by Ludwig van Beethoven. (You can hear the melodious opening of the quartet by Niels Gade in the YouTube video at the bottom.)

Members of the Ancora String Quartet (below, from left, in a photo by Barry Lewis) are violinists Wes Luke and Robin Ryan; violist Marika Fischer Hoyt; and cellist Benjamin Whitcomb.

Various members the Ancora String Quartet perform with such professional groups as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Bach Musicians;  members also teach both privately and publicly, including at the University of Wisconsin-Whitewater.

The first performance takes place this coming Saturday night (NOT Friday night, as mistakenly listed earlier in a erroneous headline),  July 29, at 7:30 p.m., at St. Andrew’s Episcopal Church, 1833 Regent St., on Madison’s near west side. There will be a FREE champagne reception after the concert

Tickets will be available at the door, and are for general seating. Ticket prices are $15 for the general public; $12 for seniors and students; and $6 for children under 12.

NOTE: The Ancora String Quartet will perform the same program on “Sunday Afternoon Live From The Chazen” in Brittingham Gallery No. 3  at the Chazen Museum of Art on Sunday, Aug. 6, starting at 12:30 p.m. It will be live-streamed that day from the museum’s website,  and then re-broadcast two weeks later at 3 p.m. on Sunday, Aug. 20, on WVMO, 98.7 FM, the “Voice of Monona.”

Here is a description of the program from the quartet:

“The ASQ offers a summer program of music from Europe’s northern, eastern and western corners. The Danish composer Niels Gade (below) reveals influences of Mendelssohn and Schumann in his lyrical and dreamy quartet. Seemingly from another planet, Shostakovich’s Quartet No. 7 is a masterpiece of ambivalent modernist paranoia, telling his story with brevity and wit.

“Last on the program is Beethoven’s first published string quartet, written on the cusp of the 18th century. It combines Haydn’s witty Classicism, and Mozart’s lyricism,​ with a vigor, brilliance and expansive vision that is Beethoven’s own. The second movement Adagio depicts in stark terms the tragic tomb scene from Shakespeare’s tragedy “Romeo and Juliet,” while the other movements are distinguished by confidence, contrast, and contrapuntal complexity. ”

For more information about the performance and the quartet, including detailed biographies, go to:

http://ancoraquartet.com


Classical music: The inventive and unpredictable Bach Dancing and Dynamite Society wraps up its 26th season with an impressive display of virtuosic vocal and piano music as well as hip-hop dancing

June 27, 2017
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By Jacob Stockinger

This review is by guest contributor Kyle Johnson, who also took the performance photos. As a pianist since elementary school, Kyle Johnson has devoted most of his life to music. Born and raised in Lexington, Kentucky, he is now a doctoral candidate in piano performance at the UW-Madison, where he studies with Christopher Taylor and specializes in modern and contemporary music. He participates in many festivals and events around the U.S. and Europe. Recently, he co-founded the Madison-based ensemble Sound Out Loud, an interactive contemporary music ensemble. For more information, visit: www.kyledjohnson.weebly.com

By Kyle Johnson

The Bach Dancing and Dynamite Society’s 26th season is in the books.

This weekend’s Friday performance at the Overture Center’s Playhouse Theater was repeated in Spring Green on Sunday afternoon and was entitled “Cs the Day,” which continued the series’ Alphabet Soup theme. It was a full-bodied program that left the audience in full anticipation for what the BDDS will bring next summer.

Bass-baritone Timothy Jones (below) — whom the Madison Symphony Orchestra featured last month in its performance of Johannes Brahms’ A German Requiem — has a wonderfully rich, dynamic voice.

In the collection of songs by Ralph Vaughan Williams (1872-1958), Gerald Finzi (1901-1956) and Roger Quilter (1877-1953) — all of which were aptly named “Carpe Diem” songs in the program booklet — Jones showcased the sensitivity of his higher notes and the power of his mid-low register, all the while showing a bit of charm and theatricality. I felt at times that the rich sonorities from the piano covered up Jones’ diction, so texts of the English poems came in handy.

A surprise performance came after the art songs. The night’s entire cast of musicians — Stephanie Jutt on flute, Soh-Hyun Park Altino and Hye-Jin Kim on violins, Ara Gregorian on viola, Madeleine Kabat on cello, and Jeffrey Sykes and Randall Hodgkinson on piano — began playing an arrangement of music from Gioachino Rossini’s comic opera The Barber of Seville.

They were quickly joined by Blake Washington (below, in a  file photo), a hip-hop dancer who studies at the University of Wisconsin-Milwaukee. He performed a rendition – in movement – while the ensemble played. Judging from the audience’s approval, it’s safe to assume that similar collaborations would be welcome in the future.

One annual program event is a chamber music arrangement of a complete piano concerto by Wolfgang Amadeus Mozart (1756-1791).

This year, Jeffrey Sykes was keen on presenting the Piano Concerto in D Major, K. 537 (1788), called ”Coronation.” Sykes (below) labeled the work a “miracle piece” in brief remarks before the musicians listed above, minus Hodgkinson, began.

As a pianist, I sympathize with anyone who takes on such a Mozart work, since the smallest of mistakes – uneven passage work, unclear ornamentation or misplayed notes – are magnified. Nonetheless, it’s a treat to hear such an expansive work in an up-close, intimate setting like the Playhouse Theater at the Overture Center.

Judging by the audience’s reaction alone, Carl Czerny’s Grand Sonata Brillante in C minor for piano four-hands, Op. 10 (1822), proved the highlight of the program.

Not only does the work live up to its “grand” and “brilliant” title, but Sykes’ and Hodgkinson’s dexterity and acrobatics throughout were displayed – literally – for all to see.

A camera was suspended over the keyboard, and that eagle’s-eye view (below) was projected onto the large, white backdrops at the rear of the stage. Czerny’s four-hand sonata was the perfect piece to utilize this multimedia aspect, as well as show off two virtuosic pianists. (You can see and hear the first movement of the work in the YouTube video at the bottom.)

Last on the program was Cool Fire (2001) by American composer Paul Moravec (b. 1957). All of the performers on stage — the same cast from the Rossini on the first half of the program minus Sykes — were completely committed to the demanding and energetic score.

There were moments of athleticism in everyone’s part, and several times, the hands of Hodgkinson (below) — and his body — had to jump the length of the keyboard in an instant. His playing, in general, has always been vigorous and brawny – similar to Madison’s own Christopher Taylor. Fittingly, the two pianists studied with the same teacher, Russell Sherman.

This season of the Bach Dancing and Dynamite Society was exceptionally consistent. Every concert featured interesting music, skilled musicians and engaging surprises.

In the first week, attendees were treated to sandwiches served by the Earl of Sandwich and the Queen of Sheba. In Week Two, Madison’s City-Wide Spelling Bee Champion proved his expertise in musical lingo. Lastly,  Week Three provided dance moves of fellow Wisconsinite Blake Washington.

It was nice to encounter many works I had never heard. In future years, I hope the BDDS’s repertoire list can be widened more to be inclusive of non-Western and female composers. Through continued diversity of programming, the BDDS should not only retain its most loyal of patrons, it might also broaden its audience base even further.


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