The Well-Tempered Ear

Classical music: This summer’s Token Creek Festival is CANCELED. Plus, a teenager’s piano “practice journal” on Instagram is instructive, entertaining and encouraging

July 17, 2020
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NEWS ALERT: This summer’s Token Creek Festival (TCF) — with the chamber music theme of Legacy to run from Aug. 21-Sept. 6 –has been CANCELED. Organizers say they hope to launch a virtual online season of archived performances at the end of the summer.  Also, once modestly sized gatherings are safe again, the TCF hopes to hold an off-season event. For more information and an official statement from TCF, go to: https://tokencreekfestival.org 

By Jacob Stockinger

Somewhere in New York City is a young Chinese piano prodigy who can help you get through what is often the most challenging and discouraging part of piano lessons: practicing.

His name is Auston (below) – no last name is given – and you can find him, in T-shirts and shorts, on Instagram at Auston.piano.

Auston is quite the prodigy. A 13, he plays difficult and dramatic repertoire: the Nocturne in C minor, the Scherzo No. 1 in B minor and the Ballade No. 1 in G minor, all by Chopin.

You can also hear him play the Prelude and Fugue No. 3 in C-sharp minor from the Well-Tempered Clavier, Book I, by Johann Sebastian Bach; the fiendish Toccata by Sergei Prokofiev; and the Piano Concerto No. 2 by Sergei Rachmaninoff.

One day, The Ear expects, Auston might well be among the impressive amateurs and, later, professionals who compete in international competitions.

But more than listening to him playing, his frequent social media entries – sometimes he posts two or three times a day — allow us to hear him practice. We even hear him practicing scales – so-called Russian scales that combine scales in parallel and contrary motion.

This week, he hit 100 video posts. Just yesterday Auston started sight-reading the “Winter Wind” Etude of Chopin, Op. 25, No. 11, which many consider to be the most technically difficult of all Chopin’s etudes. (You can hear the etude – played by Maurizio Pollini – and see the note-filled score in the YouTube video at the bottom.)

Starting out, he often plays hands separately (below) and sight-reads the score very, very slowly, making mistakes and working out fingering. He also uses a metronome at a very slow tempo. He gets frustrated but he never gives up. He just starts over again and provides an excellent role model for aspiring piano students.

But this young man is also fun to read. In his one-minute or less entries of his “practice journal” – which he also calls his “practice journey” — he is witty and self-deprecating in his commentaries about the music and especially about himself when he makes mistakes. As seriously as he takes the piano and practicing, he doesn’t take himself too seriously.

All in all he can even encourage others – including The Ear –to persevere and go through the same frustrations of practicing and learning a new piece.

In this case, it is the piano, but the postings could easily apply to practicing any other instrument or even to singing.

Check it out.

You will be impressed.

You will admire him.

You will laugh along with him.

And you just might practice more.

If this practice journal is a pandemic project, it succeeds way beyond what you — and probably Auston himself — might expect.

Happy listening!

And patient, productive practicing!

 


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Classical music: In Dvorak’s “Rusalka,” the Madison Opera demonstrated how beautiful music and convincing stagecraft can overcome a weak story

May 1, 2019
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event

By Jacob Stockinger

The Opera Guy for this blog – Larry Wells – took in last weekend’s production by the Madison Opera of “Rusalka” and filed the following review. Performance photos are by James Gill.

By Larry Wells

I thoroughly enjoyed attending the Sunday afternoon performance of Antonin Dvorak’s opera “Rusalka” presented by Madison Opera in Overture Hall. Until then I had only heard recordings of this lushly orchestrated work.

The opera is a fairy tale involving a rather dithering water sprite (below right) who does not follow her father’s wise advice not to pursue a mortal prince (below left) and to stick to her own kind. She ignores his advice, and this leads to her eventual unhappiness and to the death of her prince.

That she also becomes mute when in the presence of the prince adds to everyone’s woes, and it seems a peculiar device to have the lead soprano not be able to sing for most of the second act of the opera.

Her inability to communicate naturally leads to the prince’s frustration, and my companion suggested that she could simply have used paper and pencil to communicate. But since she had been brought up in a river, perhaps she never learned to read and write.

Nevertheless, common sense did not seem to inhabit either Rusalka or her prince. As my companion also pointed out, love isn’t always logical.

In any event, the production and the music made up for the libretto’s shortcomings.

The set featured beautiful projections, from the Minnesota Opera, of forest, water and woodlands during the first and third acts.

The second act took place at the prince’s palace. It appeared to be an International Style palace in the manner of architect Mies van de Rohe, which must have also been disconcerting for Rusalka. Nonetheless, the set was very striking and beautifully lit.

Tenor John Lindsey (below top) portrayed the prince and William Meinert (below bottom left, with Emily Birsan) was Rusalka’s father, a water goblin. Both sang well, although Lindsey had the distracting habit of casting his chin and eyes downward as he sang.


But the stage belonged to the women.

Emily Birsan (below) as Rusalka was a study in subtle shadings of her expressive soprano voice (below, singing the famous  aria “Song to the Moon”). She is a powerful singer and convincing actress who was engaging to watch and to hear.

Lindsay Ammann (below) as the sorceress Jezibaba was powerful in voice and in her command of the stage. Her third act aria was sensational, and her calling Rusalka a “empty little water bubble” was so apt it made the audience titter.

The villainous Foreign Princess portrayed by Karin Wolverton (below, standing over John Lindsey) seemed to be the only sensible character in the opera. She likewise commanded the stage and displayed a powerful voice with passionate commitment to her role.

Three water sprites – portrayed by Kirsten Larson, Saira Frank and Emily Secor (below, in order from left) – provided Rhine maiden-like commentary and gorgeous vocalizations despite having to wander around the stage at times seeming to be fascinated by twigs.

A shout-out goes to tenor Benjamin Liupaogo (below), still a student at the University of Wisconsin-Madison’s Mead Witter School of Music, who only sang a couple of lines but sang them very beautifully. He is someone to watch!

The Madison Symphony Orchestra was conducted by John DeMain (below, in a photo by Greg Anderson). The strings and winds sounded particularly good that day, and DeMain brought out all of the interesting Bohemian folky gestures Dvorak included in the score. I found Dvorak’s orchestral score engaging throughout the performance. (You can hear the opening Overture in the YouTube video at the bottom.)

Altogether it was charming afternoon of beautiful music, excellent singing and fetching staging of a strange tale.

Madison Opera has announced its upcoming season offerings, which are Giuseppe Verdi’s “La Traviata” (Nov. 1 and 3), Gregory Spears’ “Fellow Travelers” (here Feb. 7 and 9, it has already hit Chicago and Minneapolis and is slated for Tucson next season as well), and Jacques Offenbach’s comic “Orpheus in the Underworld” (April 17 and 19).

It seems a very interesting season, and subscription tickets will go on sale in early May. For more information, go to: https://www.madisonopera.org


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