The Well-Tempered Ear

Classical music: Madison Opera will present the Midwest premiere of ‘Charlie Parker’s Yardbird.’ Here are the many impressive preparatory events for the public that start this Friday

January 17, 2017
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By Jacob Stockinger

The Ear has received the following information to post about a local opera production that is both exciting and an inspired choice to mark February as Black History Month:

Madison Opera will present the Midwest premiere of “Charlie Parker’s Yardbird” on 8 p.m. on Friday, Feb. 10, and 2:30 p.m. on Sunday, Feb. 12, in the Capitol Theater at Overture Center for the Arts.

charlie-parkers-yardbird-logo-for-maidson-opera

For more information about the cast and the production as well as about purchasing tickets ($25-$114), go to:

http://www.madisonopera.org/performances-2016-2017/charlie-parkers-yardbird/

With music by Swiss composer Daniel Schnyder (below top) and a libretto by writer and poet Bridgette A. Wimberly (below bottom), the acclaimed opera “Charlie Parker’s Yardbird” tells of the legendary jazz musician and the people closest to him.

daniel-schnyder-2017

bridgette-wimberly

The opera, which melds jazz and opera, is set on the day that saxophone great Charlie Parker died in 1955. As his body lies unclaimed in a New York City morgue, Parker returns in spirit to the jazz club Birdland, determined to compose a final masterpiece. Family and friends blend in and out of his memories, including his three wives, his mother, his friend Dizzy Gillespie and even his drug dealer.

Charlie Parker’s Yardbird premiered in June 2015 at Opera Philadelphia (below is tenor Lawrence Brownlee, in a photo by Dominic Mercier, in the title role of Charlie Parker in the Philadelphia production) and was subsequently presented by the company at the Apollo Theater in New York City in April 2016. (You can hear an excerpt in the YouTube video at the bottom.)

The New York Times praised it for its “pulsing, jazz-infused score,” while the Wall Street Journal said, “its rhythms snap and swing, its melodies – including real arias – seize the ear, its ensembles crackle with energy.”

Tenor Lawrence Brownlee in Charlie Parker's Yardbird CR Dominic Mercier for Opera Philadelphia

Madison Opera will be only the second company to present this work, which is sung in English with projected text and runs 90 minutes without an intermission.

“I saw Charlie Parker’s Yardbird when it premiered in Philadelphia and instantly knew it would be a perfect opera for Madison,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director. “The very American story and the exciting jazz-inflected music fit perfectly into our ever-expanding range of repertoire.”

She adds, “It’s not a straightforward narrative of Parker’s life, but rather elements of his life as refracted through his memories and imagination, and particularly his relationships with the women in his life.”

Kathryn Smith Fly Rail Vertical Madison Opera

Madison Opera’s cast includes both debuts and returning favorites, as well as a number of singers who created their roles in the world premiere.

Joshua Stewart (below), a young American tenor who has sung at La Scala, Bayerische Staatsoper, and Opera de Lausanne, debuts in the tour de force role of Charlie Parker.

joshua-stewart-2017

Angela Brown (below) returns following her performance at Opera in the Park 2016 as Addie Parker, Charlie’s mother, a role she created in Philadelphia.

Angela Brown 2016

Will Liverman, who sang Figaro in Rossini’s The Barber of Seville here in 2015, sings jazz legend Dizzy Gillespie, a role he created in Philadelphia.

will-liverman-2017

Krysty Swann debuts as Rebecca Parker, Charlie’s first wife. Angela Mortellaro, who sang Galatea in Handel’s Acis and Galatea in 2013, returns as Doris Parker, Charlie’s third wife, a role she created in Philadelphia.

Rachel Sterrenberg debuts as Chan Parker, his final wife, a role she created in Philadelphia. Baroness Pannonica de Koenigswarter, in whose hotel suite Parker died, is sung by Julie Miller in her Madison Opera debut.

Directing this production is Ron Daniels (below), who staged the world premiere and was the opera’s dramaturge, involved in the creation and workshop process. 

ron-daniels-opera-director-2017

John DeMain (below, in a photo by Prasad) conducts, with members of the Madison Symphony Orchestra in the pit.

DeMain says:  “I am so happy to be a part of Madison Opera’s Midwest premiere of Charlie Parker’s Yardbird. Parker was consumed with music, breathing it day and night. All of us who are passionate about performing and listening to music can identify with this phenomenal musician and will not want to miss this jazz-infused opera, the perfect expression of Parker’s range and depth as a musician.”

John DeMain full face by Prasad

Composer Daniel Schnyder will attend the opening night performance and join Smith for the Pre-Opera Talk that evening at 7 p.m. in the Wisconsin Studio.

In addition to the performances, Madison Opera and its community partners are hosting a series of related events, collectively known as “Extending the Stage,” which culminate in a concert of Charlie Parker’s music with composer Daniel Schnyder and the UW-Madison’s Blue Note Ensemble.

These events include Opera Novice; community previews; Opera Up Close; discussions of the life and music of Charlie Parker (below); and presentations of rare jazz films.

All events are open to the public and the majority are free of charge.

charlie-parker-1

RELATED EVENTS: EXTENDING THE STAGE

Opera Novice: Jazz Opera?
 Friday, Jan. 20 | 6-7 p.m. The Margaret C. Winston Madison Opera Center, 335 W. Mifflin Street. FREE and open to the public

New to opera? Passionate about Puccini, but not sure about a jazz opera? Join General Director Kathryn Smith for a short, fun, and informative evening exploring the history of jazz and opera, including a live performance of an aria from Charlie Parker’s Yardbird.  With plenty of time to ask questions, it’s the perfect jump-start for the opera-curious.

Community Preview of Charlie Parker’s Yardbird,
 Tuesday, Jan. 24 | 7-8 p.m. Capitol Lakes Retirement Community, 333 W. Main St. FREE and open to the public

Join a Madison Opera staff member for a multimedia look at Charlie Parker’s life, the history of the opera Charlie Parker’s Yardbird, and some insights into Madison Opera’s production.

Opera Up Close, Sunday, Feb. 5 | 1-3 p.m. The Margaret C. Winston Madison Opera Center, 335 West Mifflin Street. Admission: $20; free for full-season subscribers and full-time students with ID; $10 for two-show subscribers.  Tickets available at the door.

Come even closer with a behind-the-scenes preview of Charlie Parker’s Yardbird.  A multimedia presentation on Charlie Parker and the history of this opera will be followed by a roundtable discussion with the leading artists of Madison Opera’s production.  There is no better way to get “up close” to this acclaimed new opera.

A Charlie Parker Concert and Discussion with Daniel Schnyder and the Blue Note Ensemble Thursday, Feb. 9 | 7:30 p.m. Morphy Recital Hall, UW-Madison. FREE and open to the public

Composer Daniel Schnyder joins UW-Madison’s Blue Note Ensemble for an evening featuring music by Charlie Parker, with solos performed by both Schnyder and UW-Madison saxophone students. The evening includes an aria from Charlie Parker’s Yardbird and a discussion about Parker and the opera with Schnyder, UW-Madison Professor of Saxophone Les Thimmig, and General Director Kathryn Smith.

Pre-Opera Talks: Friday, Feb. 10 |7 p.m. and Sunday, Feb. 12 | 1:30 p.m. Wisconsin Studio at Overture Center. FREE to ticket holders

Attend an entertaining introduction to Charlie Parker’s Yardbird one hour prior to curtain. On Friday night, composer Daniel Schnyder will join General Director Kathryn Smith to talk about the piece. Be sure to arrive early, as space is limited.

An Evening of Rare Jazz Films: Alicia Ashman Library. Friday, Feb. 3 | 7 p.m.; Goodman South Madison Library. Tuesday, April 11 | 6 p.m. FREE and open to the public (Below is footage of Charlie Parker playing and of people discussing the man and his artistic achievement.)

Jazz archivist Gary Alderman will present and explain films of the historically significant innovators of modern jazz, including the only two known existing videos with sound of Charlie Parker.

Among the other musicians shown will be those relevant to Parker’s music and career, including Lester Young, Coleman Hawkins, John Coltrane, Dizzy Gillespie and Miles Davis.

The Life and Music of Charlie Parker: DeForest Area Public Library: Monday, Feb. 13, 6:30 p.m.; Alicia Ashman Library: Friday, Feb. 24, 7 p.m.; Fitchburg Public Library: Sunday, Feb. 26, 2 p.m.; Oregon Public Library:  Friday, March 10, 6:30 p.m. FREE and open to the public

UW-Madison Professor of Saxophone Les Thimmig (below) will talk about Charlie Parker’s life and music, as well as the history of bebop.

More information is available at www.madisonopera.org/education.

Les Thimming


Classical music: Stephen Hough explains why the piano concerto by Dvorak is not heard more often — even as he is about to record it. Hear it here. Plus, you can hear via live streaming the Pro Arte Quartet play works by Mozart, Beethoven and Benoit Mernier at the Chazen Museum starting at 12:30 p.m.

May 3, 2015
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ALERT: It is the first Sunday of the month. That means the Chazen Museum of Art will broadcast its own version of “Sunday Afternoon Live from the Chazen” — abandoned by Wisconsin Public Radio after 36 years — via live streaming as well as FREE and public attendance.

Today’s concert features chamber music starting at 12:30 p.m. with a link directly from the Chazen website. The artists are the UW-Madison’s popular Pro Arte Quartet performing the String Quartet in C Minor, Op. 18, No. 4, by Ludwig van Beethoven; the String Quartet in A Major, K. 414, by Wolfgang Amadeus Mozart; and the String Quartet No. 3 by Belgian composer Benoit Mernier, which the Pro Arte (below, in a photo by Rick Langer) is about to record.

Here is a link to the Chazen for streaming the concert:

http://www.chazen.wisc.edu/visit/events-calendar/event/sal-5-3-15/

Pro Arte Quartet new 2 Rick Langer

By Jacob Stockinger

British pianist, composer, painter, blogger and polymath Stephen Hough is one of the outstanding concert pianists on the scene today. He has performed several times in Madison, with the Madison Symphony Orchestra and at the Wisconsin Union Theater, giving master classes at the UW-Madison School of Music.

Known for both his outstanding technique and his deep musicality, Hough (below) has won numerous of awards and Hyperion will soon release three new CDs that each feature his own compositions as well as other standard repertoire.

Hough_Stephen_color16

So The Ear was pleased to read what Hough recently had to say about the neglected Piano Concerto by Antonin Dvorak (below top) whose Violin Concerto and Cello Concerto have fared much better, to say nothing of his symphonies and chamber music.

After all, the work’s last great champion was the Russian pianist Sviatoslav Richter (below bottom), whose recorded performance you can hear in a YouTube video at the bottom.

dvorak

Sviatoslav Richter

Wouldn’t it be fun to hear the Dvorak Piano Concerto performed live by some soloist – maybe Hough himself– and the Madison Symphony Orchestra in a future season? What a chance to resurrect the neglected past and to explore an unknown work by a very well known and beloved composer.

I tend to trust Hough’s judgment, although he is especially close to the work these days as he prepares to record it. After all, he has played and often recorded most of the standard piano concertos and quite a few of the more rarely heard Romantic concertos.

Here are his remarks:

http://blogs.telegraph.co.uk/culture/stephenhough/100076512/probably-my-favourite-piano-concerto/

And here is the famous performance by Sviatoslav Richter:

 


Classical music: Madison Opera brings singing, acting and sets together to stage a memorably fun production of Rossini’s “The Barber of Seville.” You can hear the last performance this afternoon at 2:30 p.m.

April 26, 2015
1 Comment

By Jacob Stockinger

Loyal readers of this blog know very well the name of Mikko Rankin Utevsky. The young violist, singer and conductor is a sophomore at the University of Wisconsin School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and plays in the UW Symphony Orchestra.

Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra  (MAYCO), which will perform its fourth season this summer. He has been named the new Music Director of a local community orchestra, The Studio Orchestra. The ensemble has an out-of-date website here (www.disso.org).

You can check out his many honors and projects by typing his name into the search engine on this blog site.

Utevsky offered The Ear a review of this weekend’s two performances of Gioachino Rossini’s “The Barber of Seville” by the Madison Opera in Overture Hall at the Overture Center.

The Ear immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour three summers ago with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.

Here is the review, with performance photo by James Gill, by Mikko Utevsky (below):

new Mikko Utevsky baton profile USE

By Mikko Rankin Utevsky

Madison Opera’s production of Rossini’s “The Barber of Seville” this Friday evening was delightful, entertaining, and well-sung throughout. The cast — mostly young — excelled in both their comic acting and singing, making for a performance that the company can be proud of.

Madison Opera barber of seville 2015 cast

As Count Almaviva (below top right and below bottom disguised as Don Basilio at the keyboard), John Irvin’s lush and youthful tenor shone throughout the evening, growing if anything more secure as the night went on. Emily Fons played a girlish and coy Rosina (below left) with impressive vocal flexibility and pure high notes.

Madison Opera barber of seville Ronsiina and Almaviva

Madison Opera barber of seville music lesson

Alan Dunbar was delightful as the imperious Doctor Bartolo; his aria “Un dottor della mia sorte” was both solidly sung and absolutely hilarious.

Soprano Chelsea Morris, a Madison Opera Studio Artist, made her company debut as the maid Berta. Her clear and focused tone rang effortlessly atop the ensemble writing, and her lone aria was morbidly funny.

Chelsea Morris soprano

Thomas Forde made for a hysterical Don Basilio from beginning to end, while Bryan Royston did the unbelievable — he stood out in a silent role as the servant Ambrogio with deft physical comedy throughout the night.

The star of the evening was the young baritone Will Liverman (below) in the title role of the barber Figaro. His voice has power and beauty throughout its impressive compass, including a ringing upper register to rival a tenor’s. Coupled with comic sensitivity and delightful physicality, Liverman must certainly be a singer to watch, and it is our fortune to hear him here. (You can hear his famous “Largo al factotum” aria sung by Thomas Hampson in a YouTube video at the bottom.)

Will Liverman as Figaro, the title role

Perhaps above all, director Doug Scholz-Carlson should be commended for an absolutely hilarious staging that managed to balance the schticky and slapstick with some truly clever opera in-jokes.

The fourth wall is occasionally shattered to tremendous effect, and every singer is in full command of their comic timing and physicality.

This staging does not put Rossini on a pedestal — it acknowledges that this music is, above all, riotously funny stuff, and it makes full use of the modern stage’s arsenal of gags and tricks to remind the audience of this fact. Judging by the response in the hall, most in attendance agreed.

Madison Opera barber of seville cast action

John DeMain led members of the Madison Symphony Orchestra in a clean and capable pit ensemble, with pacing and ensemble mostly tight (though the first act Finale lacked momentum — difficult to bring to so much static music). Scott Gendel provided imaginative accompaniment from the harpsichord, including a few clever musical jokes.

A lovely and versatile set — created by Peter Dean Beck for Opera Carolina — provided an evocative setting, with lighting by Marcus Dilliard including a very nice storm.

Madison Opera barber of seville set 2015

You can see it for yourself this afternoon at 2:30 in Overture Hall — and you should, if only to hear Will Liverman before the big houses snap him up for good. It is a thoroughly entertaining way to pass a Sunday afternoon.

 


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