The Well-Tempered Ear

Classical music: Here are classical music winners — and nominees — of the 61st annual Grammy nominations for 2019.

February 17, 2019
2 Comments

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By Jacob Stockinger

This should have come out sooner since the Grammy Awards (below) were given out a week ago. But it has been such a busy week for Iive music in Madison – as will next week be – that this was the first occasion to post them.

In any case, for all their insider shortcomings they are a matter of interest to many, and can be helpful in understanding the contemporary classical scene and new music as you build your own playlists and recording library.

There are some points of interest including the fact that two Grammys were won by Canadian violinist James Ehnes for his performance of the Violin Concerto by the contemporary composer Aaron Jay Kernis.

Ehnes (below) is in town this weekend to play the Violin Concerto by Johannes Brahms with the Madison Symphony Orchestra (the last performance is this afternoon at 2:30 p.m. in Overture Hall. The Ear hopes he might return to perform the Kernis concerto with MSO.

Also, Apollo’s Fire, which won in the Best Solo Vocal category, will perform Baroque music by Johann Sebastian Bach, Antonio Vivaldi and Marco Uccellini at the Wisconsin Union Theater on Saturday, March 30.

Finally and unfortunately, some Madison nominees — including retired UW-Madison flute professor Stephanie Jutt and her co-director of the Bach Dancing and Dynamite Society pianist Jeffrey Sykes — got edged out in the Producer category, as did retired UW professor James P. Leary for his liner notes to “Alpine Dreaming.”

 In the orchestra category is John Harbison — who is in town marking his 80th birthday with many events, including the world premiere tonight at the W-Madison of his Sonata for Viola and Piano. In the Chamber Music category, Canadian pianist Marc-André Hamelin will solo in concertos by Maurice Ravel and Richard Strauss with the Madison Symphony Orchestra on April 12-14. 

Look at the winners carefully. Clearly, the recording industry is, by and large, skipping over the usual classical masters such as Bach, Beethoven and Brahms to focus instead on living composers and contemporary music or stories relevant to our times, such as the opera by Mason Bates about the late Apple wizard Steve Jobs.

One major exception is the third Grammy in a row for the cycle of symphonies by the famed Russian composer Dmitri Shostakovich being done by the Latvian-born conductor Andris Nelsons and the Boston Symphony Orchestra.

Here are the nominees and winners – the latter marked with an asterisk, a photo and the word WINNER — for the 61st Grammy Awards. Leave a comment with wa you think of the nominees and winners.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS. Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES. Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds).

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

*WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS. Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)

* WINNER — BLANTON ALSPAUGH (below)

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei)
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  • Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
    • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
    • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
    • Presentiment (Orion Weiss)
    • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus) 

ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
    • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN

  • Beethoven Unbound (Llŷr Williams)
    • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
    • Bolcom: Piano Music (Various Artists)
    • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
    • Love Comes In At The Eye (Timothy Jones, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt)
    • Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
    • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
    • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
    • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
    • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
    • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
    • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)
  1. Best Orchestral Performance Award to the Conductor and to the Orchestra
  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) 
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony) 
  • RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)
  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas, conductor (San Francisco Symphony) 
  • * WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 Andris Nelsons, conductor (Boston Symphony Orchestra)

 76.  Best Opera Recording Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers) 
  • * WINNER –BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 
  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, Dmitri Hvorostovsky & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir) 
  1. Best Choral Performance. Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 
  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • * WINNER — MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing) 
  • RACHMANINOV: THE BELLS. Mariss Jansons, conductor; Peter Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 
  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  1. Best Chamber Music/Small Ensemble Performance. For new recordings of works with chamber or small ensemble (24 or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
  • * WINNER — ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet 
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Aizuri Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS. Leif Ove Andsnes & Marc-André Hamelin
  • VISIONS AND VARIATIONS. A Far Cry 

  1. Best Classical Instrumental Solo. Award to the Instrumental Soloist(s) and to the Conductor when applicable. 
  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang; Simon Rattle, conductor (Berliner Philharmoniker) 
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque) 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • * WINNER — KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)
  1. Best Classical Solo Vocal Album. Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.
  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble 
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles) 
  • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish, accompanist 
  • * WINNER — SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI. Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles
  •  
  1. Best Classical Compendium. Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist. 
  • * WINNER — FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer 
  1. Best Contemporary Classical Composition. A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • * WINNER — KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis (below top), composer (James Ehnes, Ludovic Morlot & Seattle Symphony). You can hear the first movement in the YouTube video at the bottom.
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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Classical music: Here are the Grammy Award nominations for 2019 in classical music. They can serve as a great holiday gift guide and many have local ties

December 8, 2018
2 Comments

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

Is there a classical recording you wish to give or get?

Perhaps the list of classical Grammy nominations for 2019, which was just released yesterday, can help you.

It is worth mentioning that many of the musicians nominated have past, present or future ties to Madison.

Flutist Stephanie Jutt, singer Timothy Jones and pianist Jeffrey Sykes perform regularly with the Bach Dancing and Dynamite Society and Jutt and Sykes also have ties to the University of Wisconsin-Madison; producer Judith Sherman recorded the centennial commissions for the Pro Arte Quartet at the UW-Madison; and Canadian violinist James Ehnes has performed several times with the Madison Symphony Orchestra and will do so again this season, while pianist Marc-André Hamelin will make his MSO debut this season.

And there are other local tie-ins including pianist Jonathan Biss and the Pulitzer Prize-winning composer John Harbison, who also co-directs the  Token Creek Chamber Music Festival. Plus, the group Apollo’s Fire makes its local debut playing Bach and Vivaldi in March at the Wisconsin Union Theater.

Here are — without record labels, curiously  — the nominees for the 61st annual Grammy Awards. The winners will be announced during a live TV broadcast on CBS on Sunday, Feb. 10, 2019, from the Staples Center in Los Angeles. For more information, go to: https://www.grammy.com


  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS
Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES
Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 (below)
Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS
Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

 

  1. Producer Of The Year, Classical A Producer’s Award. (Artist names appear in parentheses.)

BLANTON ALSPAUGH

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  •  Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra)
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
  • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
  • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
  • Presentiment (Orion Weiss)
  • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

 ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
  • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN (below top)

  • Beethoven Unbound (Llŷr Williams)
  • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
  • Bolcom: Piano Music (Various Artists)
  • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
  • Love Comes In At The Eye (Timothy Jones, below bottom, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt). An excerpt is in the YouTube video at the bottom.
  •  Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
  • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
  • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
  • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
  • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
  • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
  • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)


Best Orchestral Performance

 Award to the Conductor and to the Orchestra

  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony)

      •  RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)

  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas (below), conductor (San Francisco Symphony)

      • SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording – Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers)

      •   BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 

  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, the late Dmitri Hvorostovsky (below) & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

 

  1. Best Choral Performance

Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 

  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

      •  RACHMANINOV: THE BELLS. Mariss Jansons (below), conductor; Peter      Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 

  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  • Best Chamber Music/Small Ensemble Performance 

For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

  • ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Azure Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS Leif Ove Andsnes & Marc-André Hamelin (below)
  • VISIONS AND VARIATIONS. A Far Cry

 

  1. Best Classical Instrumental Solo

Award to the Instrumental Soloist(s) and to the Conductor when applicable. 

  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang (below); Simon Rattle, conductor (Berliner Philharmoniker)
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque). 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)

  1. Best Classical Solo Vocal Album 

Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

      • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish,     accompanist

 SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI.          Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles 

  1. Best Classical Compendium 

Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist. 

  • FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS (below) EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer

 

  1. Best Contemporary Classical Composition 

A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis, composer (James Ehnes (below), Ludovic Morlot & Seattle Symphony) 
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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Classical music: Madison Opera’s FREE 17th annual “Opera in the Park” takes place this Saturday night in Garner Park

July 16, 2018
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By Jacob Stockinger

Madison Opera’s annual Opera in the Park (below) celebrates its 17th year on this coming Saturday night, July 21, at 8 p.m. in Garner Park on Madison’s far west side, near West Towne Mall.

The annual FREE and family-friendly concert of opera and Broadway favorites closes the company’s 2017-18 season and provides a preview of the 2018-19 season.

A Madison summer tradition that often attracts over 15,000 people (below, in a photo by James Gill), Opera in the Park is an evening of music under the stars that features selections from opera and Broadway.

This year’s Opera in the Park features four soloists: soprano Elizabeth Caballero; soprano Brenda Rae; tenor John Lindsey; and baritone Levi Hernandez.

Caballero (below top) and Hernandez (below bottom) recently starred in Madison Opera’s acclaimed production of “Florencia en el Amazons” last spring.

Lindsey (below) is making his debut, and will return to the company as the Prince in Antonin Dvorak’s Rusalka in April, 2018.

Rae (below) is also making her Madison Opera debut. She did her undergraduate work at the UW-Madison’s Mead Witter School of Music before going on to the Juilliard School and an international career. She is singing Cunegonde in Candide at Santa Fe Opera this summer, and is performing at Opera in the Park in between performances there.

The four soloists are joined by the Madison Opera Chorus and Madison Symphony Orchestra (below top, in a photo by James Gill), conducted by Gary Thor Wedow (below bottom), who has guest conducted Opera in the Park before.

The evening is hosted by Madison Opera’s General Director Kathryn Smith and WKOW-TV’s 27 News co-anchor George Smith (below).

Opera in the Park  is the most wonderful and most unique performance we give at Madison Opera,” says Kathryn Smith (below, in a photo by James Gill). “We have beautiful voices performing music from many centuries in many languages, while thousands of members of our community relax together under the same night sky. It truly shows how music and opera can connect us. I am so grateful to all of our supporters for enabling us to produce this free concert every summer, harnessing the community-building power of music.”

Opera in the Park 2018 features arias and ensembles from Cavalleria Rusticana and Pagliacci, which open the 2018-19 season in November; Stephen Sondheim’s A Little Night Music, which will be performed in February; and Antonin Dvorak’s Rusalka, which will be performed in April. (You can hear the beautiful “Song to the Moon” from Rusalka — a signature aria for superstar soprano René Fleming — sung by Frederica von Stade, in the YouTube video at the bottom.)

The program also includes selections from La Bohème, Turandot, La Sonnambula, The Marriage of Figaro, El Niño Judío, La del Soto del Parral, My Fair Lady, Candide, On the Town, and more. For a complete list of repertoire on the program, which is subject to change, go to: https://www.madisonopera.org/2018-2019-season/oitp/

As always, this evening will include one number conducted by the audience with light sticks (below).

Garner Park is located at 333 South Rosa Road, at an intersection with Mineral Point Road. Parking is available in the CUNA Mutual Group and University Research Park lots across the street.

Attendees are encouraged to bring picnics, blankets and chairs. Alcohol is permitted but not sold in the park. On the day of the concert, Garner Park will open at 7 a.m. Audience members may not leave items in the park prior to this time.

The rain date for Opera in the Park is Sunday, July 22, at 8 p.m.

While Opera in the Park is free to attend, it would not be possible without the generous support of many foundations, corporations and individuals.

Sponsors of Opera in the Park 2018 are:  the BerbeeWalsh Foundation, the John and Carolyn Peterson Charitable Foundation, Full Compass Systems, the Raymond B. Preston Family Foundation, University Research Park, Colony Brands, the Evjue Foundation – the charitable arm of The Capital Times, Hooper Foundation, MG&E Foundation, Johnson Bank, National Guardian Life, Wisconsin Bank and Trust, the Wisconsin Arts Board, Dane Arts and the Madison Arts Commission.

Madison Magazine, Wisconsin Public Radio, Magic 98, and La Movida are media sponsors for this community event.

RELATED EVENT: Prelude Dinner at Opera in the Park 2018 is on Saturday, July 21, at 6 p.m. in the park under a tent.

This annual fundraiser to benefit Opera in the Park helps support Madison Opera’s free gift to the community. The event includes dinner catered by Upstairs Downstairs, VIP seating at the concert, a complimentary light stick, and a reception with the artists following the performance. Tickets are $145 per person or $1,100 for a table of eight. More information is available at www.madisonopera.org

Madison Opera is a non-profit professional opera company based in Madison, Wisconsin. Founded in 1961, the company grew from a local workshop presenting community singers in English-language productions to a nationally recognized organization producing diverse repertoire featuring leading American opera singers and emerging talent.

A resident organization of the Overture Center for the Arts, Madison Opera presents three annual productions in addition to the free summer concert Opera in the Park and a host of educational programming.


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Classical music: Should the Madison Symphony Orchestra return to a traditional Opening Gala concert with a guest soloist and big pieces, and move the all-orchestra concert to a later date?

October 28, 2017
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By Jacob Stockinger

You can’t blame longtime music director and conductor John DeMain (below, in a photo by Peter Rodgers) for wanting to put the spotlight on the players of the Madison Symphony Orchestra that he has built up over nearly 25 years.

After all, the orchestra members play well and respond superbly to DeMain’s direction, no matter what you might think of his programming and interpretations. He is proud of them with good reason.

So The Ear can easily understand why for the past few years DeMain has chosen to use an all-orchestra concert, with its principals taking the place of guest soloists, to open the season.

Yet DeMain also likes to emphasize the challenges he faces in selling tickets, filling seats and keeping the MSO a commercially successful orchestra.

The Ear noticed that this year, the all-orchestra opening concert of works by Bach-Stokowski, Mendelssohn and Berlioz, with principal violist Christopher Dozoryst as soloist, seemed to draw a smaller and less enthusiastic audience than the second concert did last weekend.

That second concert included the “Mother Goose” Suite by Ravel, the surefire “New World” Symphony by Dvorak and the Piano Concerto by Samuel Barber with guest pianist Olga Kern (below). The audience wildly cheered her and her flashy, virtuosic playing until it received an encore (the Prokofiev etude heard in the YouTube video at the bottom.)

So the question came to The Ear:

Should the MSO return to a traditional Gala Opening, with a surefire program and a high-profile guest soloist, and leave the all-orchestra concert until the second concert of the season?

The Ear checked out what other orchestras do.

This year, The Chicago Symphony Orchestra opened with violinist Anne-Sophie Mutter in the Tchaikovsky Violin Concerto. The Los Angeles Philharmonic opened with a gala program that featured pianists Yuja Wang and Jean-Yves Thibaudet teaming up in an all-Mozart program. The San Francisco Orchestra featured superstar cellist Yo-Yo Ma.

The Philadelphia Orchestra programmed pianist Emanuel Ax and the music of Beethoven, Brahms and Leonard Bernstein, whose centennial is being celebrated this season. The Boston Symphony Orchestra opened with Frederica von Stade, plus other singers, in an all-Bernstein program.

True, the Sheboygan Symphony also used the all-orchestra opener, and The Ear is sure there are many other orchestras, including some prominent ones, that do the same.

But it got The Ear to wondering. So he asked some other loyal MSO fans what they thought about returning to a traditional Gala Opening – one that announces to potential subscribers that great soloists will be featured during the season – and then moving the all-orchestra concert to a different date.

All the people he spoke to agreed that such a move would probably draw bigger audiences and capture the public’s attention better. One loyal patron even said that by going to the all-orchestra opening, the MSO (below, in a photo by Greg Anderson) was “just being cheap.”

Plans are probably already being made for next season, so it is likely too late to make any changes that soon.

But what about the 2018-19 season?

What do you think?

Should the Madison Symphony Orchestra return to a traditional Gala Opening that features big-name soloists and well-known pieces?

Should it move the all-orchestra concert with principal soloists to, say, the second concert of the season?

Or should things stay the way they are?

Which way do you think would be more commercially successful and sell more seats for that concert and for the rest of the season?

And which way would be more artistically satisfying?

The Ear wants to hear.


Classical music: The Oakwood Chamber Players will give two performances of “Holiday Fun” this coming Sunday afternoon.

November 23, 2015
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By Jacob Stockinger

The Ear’s friends at The Oakwood Chamber Players write:

Join the Oakwood Chamber Players as they present two performances of Holiday Fun, their annual Christmas Lights concert on this coming Sunday, Nov. 29.

Oakwood Chamber Players 2015-16

Holiday Fun, which will mix in the sweet appeal of pieces such as Home for the Holidays, the upbeat It’s the Most Wonderful Time of the Year, and Vaughan-Williams’ gentle and lulling Withers Rocking Song.

Also on the program is Old World Wisconsin Christmas arranged for the group by Wisconsin composer and arranger Pierre LaPlante.

Pierre LaPlante

An array of holiday songs and carols, interspersed with stories, will fill out the concert programming. The group will offer a range of combinations from solo piano to keyboard plus a variety of winds and strings.

The ensemble is pleased to feature the talents of soprano Heather Thorpe (below) who will collaborate with the Oakwood Chamber Players on “The Oxen,” which brings to life the poetry of Thomas Hardy in a setting by Paul Brantley, as well as Pietro Yon’s “Gesu Bambino.” (You can it sung by Kathleen Battle and Frederica von Stade in a popular YouTube video at the bottom.)

Heather Thorpe

Both performances are on Sunday afternoon and will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison far west wide. The first performance will be 1 p.m. with a second performance at 3:30 p.m.

Tickets are available at the door. Prices are $20 for general admission, $15 for seniors and $5 for students. Visit www.oakwoodchamberplayers.com for more information.

This is the second of five concerts in the Oakwood Chamber Players’ 2015-2016 season series titled “Play.” Remaining concerts include Fairy Tales and Other Stories on Jan. 16 and 17, Children’s Games on March 5 and 6; and Summer Splash on May 14 and 15.

The Oakwood Chamber Players is a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years.

The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


Classical music: Easter Sunday is a fitting time to think about death, forgiveness and redemption — and about the Madison Opera’s upcoming premiere production of Jake Heggie’s famed opera “Dead Man Walking” next Friday night and Sunday afternoon.

April 20, 2014
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By Jacob Stockinger

It is Easter Sunday — a day when Christians and many others around the world think about the spiritual meaning of death, redemption and forgiveness. That also makes it an appropriate time to think about certain pieces of music — say, the Passions and Cantatas of Johann Sebastian Bach — and certain operas. 

Take, for example, the Madison Opera’s upcoming production of the contemporary opera “Dead Man Walking.”

Later this week, The Well-Tempered Ear will feature interviews that arts critic Mike Muckian did with “Dead Man Walking” composer Jake Heggie and librettist Terrence McNally. (Below in a photo by James Gill are Daniela Mack as Sister Helen Prejean and Michael Mayes as the convicted killer facing execution Joseph DeRocher.)

PLEASE NOTE: The real Sister Helen Prejean and composer Jake Heggie will be in Madison and offer a FREE public discussion this Thursday night at 7 p.m. at the First Congregational United Church of Christ, 1609 University Avenue. No reservations are needed.

Dead Man Walking Daniela Mack and Michael Mayes

But on this special day, to whet your appetite and set the stage, so to speak, with basic facts, here is an official press release:

“The Madison Opera will present Jake Heggie’s “Dead Man Walking” at 8 p.m. on Friday, April 25 and 2:30 p.m. Sunday, April 27 in Overture Hall at the Overture Center for the Arts.

Sets and costumes come from the Eugene Opera’s acclaimed production in Oregon.

Dead Man Walking Eugene Opera

The opera will be sung in English with project text in surtitles. Tickets are $18 to $121. Call (608) 258-4141 or visit www.madisonopera.org.

The opera does carry a Parental Advisory because it contains nudity, graphic violence, and explicit language; it is not recommended for anyone under age 18.

The production is a Madison Opera and Upper Midwestern premiere, and “Dead Man Walking” is cathartic and humanizing, set to a stunning American score that ranges from hymns to zydeco.

With a libretto by Terrence McNally, “Dead Man Walking” is based on the book of the same name by Sister Helen Prejean, which also served as the inspiration for the critically acclaimed 1995 film starring Susan Sarandon and Sean Penn.

The opera tells of a nun’s journey as the spiritual advisor of 
a convicted murderer on Louisiana’s death row. From its shocking beginning to its emotionally searing final scene, this opera changes everyone who encounters it. Its stunning score and intense story combine into a work that the San Francisco Chronicle says, “must be reckoned something of a masterpiece – a gripping, enormously skillful marriage of words and music to tell a story of love, suffering and spiritual redemption.”

At bottom is a YouTube video of the production by the Houston Grand Opera, where Madison Symphony Orchestra music director and Madison Opera artistic director John DeMain worked before coming to Madison 20 years ago) with Joyce Di Donato, Frederica von Stade and Philip Cutlip in the title roles.

Dead Man Walking is, for me, unquestionably one of the greatest operas ever written,” says Madison Opera’s General Director Kathryn Smith (below in a photo by James Gill). “When I saw it in 2002 at New York City Opera, I was completely blown away by its music, its dramatic power, and the sheer theatrical intensity that seared particular scenes in my mind for a decade. I am thrilled to produce it in Madison with this stunning cast, and particularly honored that Jake Heggie and Sister Helen Prejean are coming to Madison for opening night and to speak with our community the evening before.”

Kathryn Smith Fly Rail Vertical Madison Opera

“Dead Man Walking” also has special significance to conductor and Madison Opera Artistic Director John DeMain (below, in a photo by Harper Fritsch), who has a long history with the opera.

“From my very first encounter with “Dead Man Walking” at its 2000 premiere in San Francisco, I knew it was an opera for the ages, and one that I wanted to conduct and present to an ever-widening audience,” recalls DeMain. “I was fortunate to be able to create the second new production of the work, and conduct it in Orange County, Detroit, New York City, and its first international production in Australia.

“In every instance, this new opera connected viscerally with its audience for all the right reasons. It was a powerful, immensely moving drama with lyrical, memorable music, and a fine libretto. The playwright, Terrence McNally, knew exactly how to handle a sad and tragic situation with pathos, great humanity, and a wonderful sense of humor. “

John DeMain casual opera by Harper Fritsch

Maestro DeMain encourages local audiences, whether long-time devotees of opera or completely new to the art form, to experience “Dead Man Walking.”

“It is deeply spiritual, deeply moving, and deeply human with a score steeped in the American vernacular including the blues, which is so appropriate to New Orleans and the protagonist’s world,” he says. “This is a real opera that works the way all operas that we cherish work. Powerful arias, duets, and ensembles, sung by a variety of characters, all of whom we can identify with. I assure our Madison audiences that this is a riveting evening, a great moment in our history, and an occasion not to be missed.”

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