The Well-Tempered Ear

Classical music: Here are the winners of the seventh annual Handel Aria Competition held Friday night before a record audience

June 9, 2019
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By Jacob Stockinger

Co-founders Orange and Dean Schroeder have sent the following announcement about the winners of the seventh annual Handel Aria Competition that was held Friday night in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music:

The seventh annual Handel Aria Competition was a joyous evening of arias! We had a record audience — we don’t have the final numbers yet, but we ran out of 240 printed ballots and figure there were 250 to 300 people present — despite a widespread power outage on the near west side and severe parking challenges.

The winners, accompanied by the Madison Bach Musicians, were: Australian soprano Morgan Balfour, first prize (below center, in a photo by Tom Miller); soprano Emily Yocum Black, second prize (below right); and bass-baritone Jonathan Woody, third prize and audience favorite (below left).

We are excited to know that Morgan will be singing in St. George’s Church, Hanover Square, next spring thanks to the London Handel Festival. In addition, she will receive $1,500 in cash and – like all finalists — $500 toward travel costs for competing. Other awards were $1,000 for second place, $750 for third place and $500 for Audience Favorite.

Here are the arias, from opera and oratorios, sung by the three winners:

Morgan Balfour: “Spietati, io vi giurai” from “Rodelinda” and “Mean as he was, he is my brother now … Author of Peace” from “Saul”

Emily Yocum Black: “Art thou not Zaphnath? … Prophetic raptures swell my breast” from “Joseph and His Brethren” and “Credete al mio dolore” from “Alcina.”

Jonathan Woody: “Oh memory, still bitter to my soul! … Opprest with never-ceasing grief” from “Belshazzar” and “Why do the nations so furiously rage together?” from “Messiah.”

Schroeder says: “The seven finalists (below in a photo by Tom Miller) were all excellent, presenting a real challenge for audience members picking their favorite as well as for the judges.” (For names and more biographical information about the finalists and judges, go to https://handelariacompetition.com

Adds Schroeder: “The caliber of applicants gets better and better every year. This year everybody was amazing and one of the judges said he was blown away by the quality of the competition. Yet we still try to make the sure that the competition is friendly and most collegial, not cutthroat.”

All the performances from all the finalists as well as the winners were video recorded and, after they are processed, will be posted on YouTube in about a month. (The Ear will let you know when they are available.)

You can also see and hear most of the finalists from the past six years on YouTube now; and more information about the past six years of the competition is on its home website at https://handelariacompetition.com/past-competitions

Did you go to the competition?

Did you agree with the judges about the winners and the Audience Award?

What did you think of the annual competition?

The Ear wants to hear.


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Classical music: The 7th annual Handel Aria Competition, which has grown in international stature and ties, will take place this Friday night at 7:30 p.m. in Mills Hall. Here are the 7 finalists and more information

June 5, 2019
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By Jacob Stockinger

The final round of the seventh annual Handel Aria Competition will be held on this Friday night, June 7, at 7:30 p.m. in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music. (Below is soprano Suzanne Karpov, the winner last year. You can hear her prize-winning performance in the YouTube video at the bottom. To whet your appetite, you can also find many other outstanding competition performances from past years on YouTube.)

As in recent years, the accompaniment will be provided by the Madison Bach Musicians (below), a period instrument Baroque music ensemble under the direction of harpsichordist Trevor Stephenson that uses historically informed performance practices.

Tickets will be $15 each for general admission, and will be available at the door.

The seven finalists were chosen from a field of 100 singers from five countries.

Three prizes are awarded by the guest judges, and the audience also gets to award its own prize — which doesn’t always agree with the judges.

The finalists are (below, from the upper left):

  • Emily Yocum Black, soprano
  • Jonathan Woody, bass-baritone
  • Katherine Cecelia Peck, soprano
  • Scott J. Brunscheen, tenor
  • Sarah Moyer, soprano
  • Morgan Balfour, soprano
  • Ryne Cherry, baritone

To read extensive biographies about each of these singers, go to the competition’s home website.

There is other important news to announce. The competition has a new director, Wisconsin native Sarah Brailey (below), a soprano who is pursuing graduate work at the UW-Madison while maintaining a busy concert schedule and blossoming career. She is also a co-founder of the free monthly Just Bach midday concerts that started this past season.

Read her biography and be impressed: https://sarahbrailey.com/about/

This year also saw the competition foster music education with its first showcase concert by high school singers performing Handel arias at the Capitol Lakes Retirement Community near the Capitol Square.

Finally, an international link has been established.

There is a new cooperative initiative with the esteemed London Handel Festival! The first prize winner of this year’s Handel Aria Competition will be invited to give a lunchtime recital in London at Handel’s own parish church, St. George’s in Hanover Square, next spring. (It is contingent, of course, on being able to coordinate the singer’s schedule with that of the London Handel Festival.)

The winner will receive a travel grant of up to $750, and the London Handel Festival will provide a home stay, professional accompaniment and even a small stipend.

The Handel Festival in London, now in its 18th year, was one of the inspirations in starting the Handel Aria Competition in the U.S.


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Classical music: Next season the Wisconsin Chamber Orchestra will expand to two performances of its winter Masterworks concerts by adding a Saturday night concert in Brookfield, near Milwaukee

May 21, 2019
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By Jacob Stockinger

Next season will mark the 20th anniversary of Andrew Sewell (below top) coming to Madison to serve as the music director and principal conductor of the Wisconsin Chamber Orchestra (below bottom).

It is hard to imagine a better Bravo! or anniversary gift for the maestro – who has said he wants the WCO to become a chamber orchestra, as its name implies, for the entire state of Wisconsin — than what will in fact take place: the WCO will expand its winter Masterworks concerts to two performances by adding a Saturday night performance at 7:30 p.m. in the Sharon Lynne Wilson Center for the Arts (below) in Brookfield, a suburb of Milwaukee. (Sewell is also the music director of the San Luis Obispo Symphony in California.)

Madison performances of Masterworks will continue to take place at 7:30 p.m. on Friday night in the Capitol Theater of the Overture Center.

You can find out more about the Masterworks programs for next season by going to the WCO home website:

https://wisconsinchamberorchestra.org/performance-listing/category/masterworks

There you will find the usual eclectic mix of new guest artists and new or neglected composers and repertoire that has marked Sewell’s tenure and brought him critical acclaim.

Pianist Orion Weiss will perform the popular  Piano Concerto No. 21 in C Major, K. 467 – “Elvira Madigan” – by Wolfgang Amadeus Mozart; violinists Giora Schmidt and Eric Silberger will perform concertos by Dmitri Kabalevsky and Niccolo Paganini, respectively; harpist Yolanda Kondonassis will perform a concerto by Argentinian Alberto Ginastera; and Andrew Balio (below), principal trumpet of the Baltimore Symphony Orchestra, will return to Madison where he grew up and perform a 1948 trumpet concerto by Italian composer Andre Tomasi.

Early music and new music to be featured includes works by: Donald Fraser (an acclaimed English conductor, composer and arranger, below) who now lives in Illinois, and often comes to Madison); Joseph Martin Kraus, known as the “Swedish Mozart”; Norwegian composer Johann Svensen; and three English composers (always favorites of Sewell who was born and educated in New Zealand) who are John Marsh, James Macmillan and York Bowen. (In the YouTube video at the bottom you can hear the English Symphony Orchestra, conducted by Kenneth Woods — a native Madisonian who will return next season to conduct the Madison Symphony Orchestra — recording the Scherzo movement from Donald Fraser’s “Sinfonietta,” the same work that the WCO will perform.) 

Works by Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Felix Mendelssohn and Sergei Prokofiev also figure prominently, including Mozart’s Symphony No. 41 “Jupiter” and Beethoven’s Symphony No. 6 “Pastoral” in honor of the composer’s 250th birthday in 2020.

Also on the website, you will find the upcoming season of Wednesday night Concerts on the Square for this summer (June 26-July 31) plus the dates and themes – although no guest artists or works — for 2020 (June 24-July 29).

Go to: https://wisconsinchamberorchestra.org/performances

You can also find information for next season about the WCO performing George Frideric Handel’s “Messiah,” Peter Ilyich Tchaikovsky’s ballet “The Nutcracker” with the Madison Ballet; the Young Artist Concerto Competition; the free Family Series; and the community Super Strings program for elementary students.

To receive a brochure with information about all these events and about how to get tickets — an “early bird” discount on subscription tickets runs through May 31– call (608) 257-0638 or go to: https://wisconsinchamberorchestra.org


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Classical music: Saturday afternoon, Live From the Met in HD closes this season with an acclaimed production of “Dialogues of the Carmelites.” Here is a background story, two rave reviews, and next season’s 10 operas

May 10, 2019
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ALERT:The Brass Choirs of the Wisconsin Youth Symphony Orchestras will present an afternoon of brass music this Saturday afternoon, May 11, at 2:30 p.m. in Mills Concert Hall, 455 North Park Street, in Madison. Directed by Tom Curry, the program features brass musicians from WYSO’s Concert, Philharmonia and Youth Orchestras. The concert is FREE and OPEN TO THE PUBLC. Music to be played is by Johann Sebastian Bach, George Frideric Handel, Giovanni Gabrieli, Charles Gounod, Edward Elgar, Paul Hindemith, Alan Hovahaness and Karel Husa.

CORRECTION: The Madison Youth Choirs will perform its “Legacy” concerts this weekend in the Capitol Theater of the Overture Center on Saturday and Sunday — NOT Friday, as mistakenly listed and then corrected in the original post, which is below: https://welltempered.wordpress.com/2019/05/08/classical-music-the-madison-youth-choirs-will-explore-the-theme-of-legacy-in-three-concerts-this-saturday-and-sunday-in-the-capitol-theater-of-the-overture-center/

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By Jacob Stockinger

This Saturday afternoon, May 11, the last production of this season’s “Live From the Met in HD” series, broadcast worldwide via satellite to cinemas, is Francis Poulenc’s “Dialogues of the Carmelites.”

By all accounts, it would be hard to end on a higher, stronger or more darkly dramatic note, given the outstanding music and performance of the score as well as the superb acting. (There is a brief preview of short scenes in the YouTube video at the bottom.)

The world premiere of the opera took place in 1957 at La Scala in Milan, Italy. One of the most successful operas of the later decades of the 20th century,  “Dialogues of the Carmelites” is a rare case of a modern work that is equally esteemed by audiences and experts, according to program notes from the Metropolitan Opera.

The opera focuses on a young member of the order of Carmelite nuns, the aristocratic Blanche de la Force, who must overcome a pathological timidity in order to answer her life’s calling. The score reflects key aspects of its composer’s personality: Francis Poulenc (below) was an urbane Parisian with a profound mystical dimension, and the opera addresses both the characters’ internal lives and their external realities.

The opera takes place between 1789 and 1794 in Paris and in the town of Compiègne in northeastern France, the site of the Carmelite nuns’ convent.

Its historical basis is the martyrdom of a group of 16 Carmelite nuns and lay sisters from Compiègne, who chose to offer themselves as victims for the restoration of peace to France during the French Revolution.

The Met uses the classic John Dexter production of Poulenc’s devastating story of faith and martyrdom.

Mezzo-soprano Isabel Leonard (below right) sings the touching role of Blanche and soprano Karita Mattila (below left), a legend in her own time, returns to the Met as the Prioress.

The conductor for the performance is the Met’s highly acclaimed new music director Yannick Nézet-Séguin, who also leads the Philadelphia Orchestra and the Metropolitan Orchestra of Montreal.

The high-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at noon and runs until 3:10 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)

The encore HD showings are next Wednesday, May 15, at 1 p.m. and 6:30 p.m.

The opera will be sung in French with supertitles in English, German and Spanish.

Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.

The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the far west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.

Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:

https://www.movietickets.com/movies

Here is a link to the Metropolitan Opera’s website where you can find the titles, dates, casts, production information and video clips of all 10 productions this past season — PLUS an announcement, with dates and titles, for next season’s 10 productions (which feature five new productions but no Verdi):

https://www.metopera.org/season/in-cinemas/

Here is a background story that focuses on the French-Canadian conductor Yannick Nézet-Séguin, who leads the orchestra in this production and is the new music director of the Metropolitan Opera:

https://www.nytimes.com/2019/05/02/arts/music/met-opera-dialogues-des-carmelites.html

Here is a rave review of “Dialogues of the Carmelites” by senior classical music critic Anthony Tommasini for The New York Times:

https://www.nytimes.com/2019/05/05/arts/music/dialogues-des-carmelites-met-opera-review.html

And here is another rave review from New York Classical Review:

http://newyorkclassicalreview.com/2019/05/met-closes-season-with-a-riveting-devastating-carmelites/

Here are links to a synopsis and program notes:

https://www.metopera.org/discover/synopses/dialogues-des-carmelites/

https://www.metopera.org/season/2018-19-season/dialogues-des-carmelites/

And here is a Wikipedia history of the hi-def broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.

https://en.wikipedia.org/wiki/Metropolitan_Opera_Live_in_HD


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Music education: The Madison Youth Choirs explore the theme of “Legacy” in three concerts this Saturday and Sunday in the Capitol Theater of the Overture Center

May 8, 2019
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By Jacob Stockinger

The Ear has received the following announcement to post from the Madison Youth Choirs about their upcoming concerts this weekend:

This spring, Madison Youth Choirs singers are exploring the meaning of “Legacy,” studying works that have endured throughout history, folk traditions that have been passed on, and musical connections that we maintain with those who have come before us. Along the way, we’re discovering how our own choices and examples are leaving a lasting impact on future generations.

In our upcoming concert series in the Capitol Theater of the Overture Center, 201 State Street, on this Saturday, May 11, and Sunday, May 12, we’ll present a variety of works. They  include Benjamin Britten’s “The Golden Vanity,” Palestrina’s beloved “Sicut Cervus,” Sweet Honey in the Rock’s “Wanting Memories,” the final chorus of Handel’s oratorio Samson, American and Scottish folk songs, and Zoe Mulford’s powerful modern folk piece, “The President Sang Amazing Grace.”

The concert will also pay tribute to our alumni, with selections featured on the very first Madison Boychoir album, and past Cantabile singers invited to join us on stage for “Sisters, Now Our Meeting is Over.”

At the Saturday concert, MYC will present the 2019 Carrel Pray Music Educator of the Year award to Diana Popowycz (below), co-founder of Suzuki Strings of Madison.

DETAILS ABOUT “LEGACY” MYC’S SPRING CONCERT SERIES

Saturday
7:30 p.m. Purcell, Britten, Holst and Ragazzi (boychoirs)

Sunday
3:30 p.m. Choraliers, Con Gioia, Capriccio, Cantilena and Cantabile (girlchoirs)

7:30 p.m. Cantilena, Cantabile and Ragazzi (high school ensembles)

THREE WAYS TO PURCHASE TICKETS:

  1. In person at the Overture Center Box Office (lowest cost)
  2. Online (https://www.overture.org/events/legacy)
  3. By phone (608-258-4141)

Tickets are $15 for adults and $7.50 for students. Children under 7 are free, but a ticket is still required and can be requested at the Overture Center Box Office. Seating is General Admission.

This concert is supported by the Pleasant T. Rowland Foundation, American Girl’s Fund for Children, BMO Harris Bank, the Green Bay Packers Foundation, the Kenneth A. Lattman Foundation and Dane Arts with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, charitable arm of The Capital Times, and the W. Jerome Frautschi Foundation. This project is also made possible by a grant from the Wisconsin Arts Board with additional funds from the State of Wisconsin and the National Endowment for the Arts.

ABOUT MADISON YOUTH CHOIRS (MYC):

Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community. Cultivating a comprehensive music education philosophy that inspires self-confidence, responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.

REPERTOIRE

SATURDAY

For the 7:30 p.m. Concert (featuring MYC Boychoirs)

Britten

“The Golden Vanity,” by Benjamin Britten (to our knowledge, this will be the first time the work has ever been performed in Madison)

Purcell

“Simple Gifts” by Joseph Brackett, arr. Aaron Copland

“Tallis Canon” by Thomas Tallis

“Sound the Trumpet” from Come Ye Sons of Art by Henry Purcell

Britten   

“Ich jauchze, ich lache” by Johann Sebastian Bach

Holst

“Hallelujah, Amen” from Judas Maccabeus by George Frideric Handel

“Sed diabolus” by Hildegard von Bingen

“Bar’bry Allen” Traditional ballad, arr. Joshua Shank

“Ella’s Song” by Bernice Johnson Reagon

Ragazzi

“Let Your Voice Be Heard” by Abraham Adzenyah

“Sicut Cervus” by Giovanni Pierluigi da Palestrina

“Agincourt Carol,” Anonymous, ca. 15th century

Ragazzi & Holst

“The President Sang Amazing Grace” by Zoe Mulford, arr. Randal Swiggum

Holst

“Shosholoza,” Traditional song from Zimbabwe

Combined Boychoirs

“Will Ye No Come Back Again?” Traditional Scottish, arr. Randal Swiggum

Legacy Choirs

“Day is Done” by Peter Yarrow, arr. Randal Swiggum

SUNDAY

For the 3:30 p.m. Concert (featuring MYC Girlchoirs)

Choraliers

“Music Alone Shall Live,” Traditional German canon

“Ut Queant Laxis,” Plainsong chant, text attributed to Paolo Diacono

“This Little Light of Mine” by Harry Dixon Loes, arr. Ken Berg

“A Great Big Sea,” Newfoundland folk song, arr. Lori-Anne Dolloff

Con Gioia

“Seligkeit” by Franz Schubert

“Blue Skies” by Irving Berlin, arr. Roger Emerson

“When I am Laid in Earth” from Dido and Aeneas by Henry Purcell

“Pokare Kare Ana” by Paraire Tomoana

“Ah, comme c’est chose belle” Anonymous, 14th century

“Hope” by Marjan Helms, poem by Emily Dickinson

Capriccio

“Non Nobis Domine,” attributed to William Byrd

“Ich Folge Dir Gleichfalls” from St. John Passion by Johann Sebastian Bach

“Dirait-on” by Morten Lauridsen

Cantilena

“Aure Volanti” by Francesca Caccini

“Ella’s Song” by Bernice Johnson Reagon

Cantabile

“Come All You Fair and Pretty Ladies” Traditional Ozark song, adapted by Mike Ross

“Wanting Memories” by Ysaye M. Barnwell

Legacy Choir

“Music in My Mother’s House” by Stuart Stotts

For the 7:30 p.m. concert (featuring High School Ensembles)

Cantilena

“Aure Volanti” by Francesca Caccini

“Una Sañosa Porfía by Juan del Encina

“Ella’s Song” by Bernice Johnson Reagon

“O Virtus Sapientiae” by Hildegard von Bingen

Ragazzi

“Sicut Cervus” by Giovanni Pierluigi da Palestrina

“Agincourt Carol,” Anonymous, ca. 15th century

“Let Your Voice Be Heard” by Abraham Adzenyah

“The President Sang Amazing Grace” by Zoe Mulford, arr. Randal Swiggum

Cantabile

“In a Neighborhood in Los Angeles” by Roger Bourland

“Sed Diabolus” by Hildegard von Bingen

“Come All You Fair and Pretty Ladies” Traditional Ozark song, adapted by Mike Ross

“Wanting Memories” by Ysaye M. Barnwell

Combined Choirs

“Let Their Celestial Concerts All Unite” by George Frideric Handel

 Cantabile and Alumnae

“Sisters, Now Our Meeting is Over,” Traditional Quaker meeting song


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Classical music: The Wisconsin Chamber Choir celebrates 20 years with a retrospective concert and alumni singers this Saturday night

April 11, 2019
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By Jacob Stockinger

This Saturday night, the Wisconsin Chamber Choir (below) will celebrate its 20th anniversary with a retrospective concert that includes alumni.

The performance is at 7:30 p.m. in the Atrium Auditorium (below, in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive.

The program features favorite works from the choir’s history.

Founding conductor Gary McKercher (below top) will join current artistic director Robert Gehrenbeck (below bottom) – who directs choral activities at the University of Wisconsin-Whitewater — to lead the choir in this special performance.

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Familiar composers such as Felix Mendelssohn, Sergei Rachmaninoff and Franz Joseph Haydn share billing with Jean Belmont Ford (below), whose Sand County, a setting of Aldo Leopold’s words, will be performed.

Also on the program are a set of pieces by Howard Helvey (below top) that the WCC commissioned in 2002, and the U.S. premiere of Utyos by longtime WCC member Albrecht Gaub (below bottom).

Alumni of the choir will participate as guest singers in the final two works on the program: Haydn’s humorous Eloquence; and Gregg Smith’s serene Now I Walk in Beauty, which is based on a Navajo prayer and can be heard in the YouTube video at the bottom. 

Immediately following the performance, audience members are invited to join the singers for cake and refreshments to celebrate this milestone in the history of one of Madison’s premiere music ensembles.

Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Johann Sebastian Bach, George Frideric Handel, Wolfgang Amadeus Mozart and Johannes Brahms; a cappella works from various centuries; and world premieres of commissioned works.

Artistic director Gehrenbeck has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks.

Advance tickets for the April 13 performance at are available for $15 ($10 for students) from www.wisconsinchamberchoir.org, via Brown Paper Tickets.

Tickets are also available in Madison from Orange Tree Imports, all three Willy Street Co-op locations, and from members of the choir. Tickets at the door will be available for $20 for adults and $10 for students.


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Classical music: Two noteworthy concerts of Baroque chamber music, organ music and vocal music take place this Wednesday midday and Saturday night

February 19, 2019
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By Jacob Stockinger

This is another very busy week for classical music in the Madison area. If Baroque music interests you, there are two noteworthy concerts this week that should attract your attention.

JUST BACH

This Wednesday, Feb. 20. at 1 p.m. in Luther Memorial Church, 1021 University Avenue, the February midday concert by Just Bach (below, at its September concert) will take place.

Admission to the all-Johann Sebastian Bach concert is FREE with a goodwill offering accepted.

Because it will be lunchtime, food and drink are allowed.

This month’s concert includes three diverse works.

Organist Mark Brampton Smith (below) will open the program with the first movement of the Concerto in D Minor BWV 596. This is Bach’s arrangement for organ of the popular Concerto for Two Violins by Antonio Vivaldi, and it comes off with dramatic effect when transcribed to the organ.

Violinist Leanne League will take the stage next, with the Sonata for Violin in A Minor, BWV 1003.

The program ends with the hauntingly beautiful Cantata 82 “Ich habe genug”(I have enough), scored for solo bass voice and oboe, strings and continuo. The vocal soloist will be UW-Madison bass-baritone Paul Rowe (below). You can hear the incomparable Dietrich Fischer-Dieskau sing the aria in YouTube video at the bottom.) 

The orchestra of baroque period-instrument specialists will be led by concertmaster Leanne League, and will include oboist Claire Workinger (below), in her Just Bach debut.

Organizers and performers say the goal of this series is to share the immense range of Bach’s vocal and instrumental repertoire with the Madison community at large. The period-instrument orchestra will bring the music to life in the manner and style that Bach would have conceived.

The audience will be invited to sing along during the opening hymns and the closing cantata chorales.

The other Just Bach dates, all Wednesdays, this semester are March 13, April 24 and May 29.

WISCONSIN BAROQUE ENSEMBLE

The veteran Wisconsin Baroque Ensemble will perform a varied concert of vocal and instrumental chamber music this coming Saturday night, Feb. 23, at 7:30 p.m. in St. Andrew’s Episcopal Church, 1833 Regent Street.

Tickets can be purchased only at the door. Admission is$20, $10 for students.

Performers are: Nathan Giglierano, baroque violin; Eric Miller; viola da gamba; Sigrun Paust, recorder; Charlie Rasmussen, baroque cello and viola da gamba; Consuelo Sañudo, mezzo-soprano; Daniel Sullivan, harpsichord; and Anton TenWolde, baroque cello.

The program is:

Nicolas Bernier – “Diane” Cantata for voice and basso continuo

Marin Marais – Pièces de violes (Pieces for Viola da Gamba), selections from Book 4

Louis Couperin – Pièces de clavecin (Pieces for harpsichord)

Joseph Bodin de Boismortier – Trio sonata, Op. 37, No. 2

INTERMISSION

Francesco Paolo Supriani – Sinfonia for cello and basso continuo

Georg Fridrich Handel – “Nel dolce dell’ oblio” (In Sweet Forgetfuness)

Tommaso Giordani – Duo for two cellos, opus 18 no 5

Georg Philipp Telemann – Quartet in G minor TWV 43 g4

Following the concert, there will be a reception at 2422 Kendall Ave., Apt. 2.

For more information, go to www.wisconsinbaroque.org


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

February 17, 2019
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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: FREE Handel aria concert by area high school singers is this Saturday afternoon at Capitol Lakes

January 23, 2019
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, will feature flutist Marilyn Chohaney, of The Oakwood Chamber Players, with pianist Joseph Ross and clarinetist James Smith. The program is salon music by Arnold Bax, Florent Schmitt, Claude Debussy and Dmitri Shostakovich. Sorry, no titles have been given. The concerts run from 12:15 to 1 p.m.

By Jacob Stockinger

On this coming Saturday afternoon, Jan. 26 at 2 p.m. at Capitol Lakes Retirement Community, 333 West Main Street – two blocks off the Capitol Square — there will be an hour-long program featuring five young singers performing Handel arias.

There will also be a guest performance of a Handel duet by the Handel Aria Competition’s new artistic director Sarah Brailey (below top) and founding artistic director Cheryl Bensman-Rowe (below bottom).

You can hear Brailey, who won the Handel Aria Competition in 2015  and is now doing graduate work at the UW-Madison’s Mead Witter School of Music while pursuing her growing career, in the YouTube video at the bottom.

Karlos Moser, professor emeritus of the UW-Madison Mead Witter School of Music’s opera program, will accompany on the piano.

The performance is FREE and OPEN TO THE PUBLIC.

“Our goal is to encourage high school singers in the Madison, Wisconsin area to explore works from Handel’s vocal repertoire,” says Brailey.

All participating high school singers will receive a $100 Handel Aria Competition scholarship towards voice lessons or membership in the Madison Youth Choirs.

The high school singers who will perform are: Allana Beilke from Madison West High School; Daphne Buan from Verona Area High School; Ava DeCroix from Middleton High School; Cecilia League from McFarland High School; and Virginia Morgan from Madison West High School.

The students are all very active in the local arts scene and have participated in Wisconsin Badger All-State Choir, the Madison Opera Youth Apprentice Program, the Madison Symphony Chorus, the 50th anniversary Wisconsin School Music Association State Honors Treble Choir, and have won numerous awards in the National Association for Teachers of Singing Student Auditions and the State Solo and Ensemble Festival.

The program will include selections from operas and oratorios “Agrippina,” “Joshua,” “L’Allegro,” “Semele” and “Solomon.”


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Classical music: We should hear more operas sung in English translation – like Wisconsin Public Radio’s live broadcast TODAY at noon of the Metropolitan Opera’s shortened version of Mozart’s “The Magic Flute”

December 29, 2018
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By Jacob Stockinger

The Ear thinks that we in English-speaking countries should hear more operas sung in our native language.

Yes, sung in English – not the original Italian, French or German.

You can see how you’d like it for yourself if you listen at noon TODAY– Saturday, Dec. 29 — to Wisconsin Public Radio. That’s when you can hear the Metropolitan Opera’s live broadcast of its family-friendly production of Mozart’s “The Magic Flute.”

The Ear did so and – except for deleting the wonderful overture — loved it.

So, apparently, did a lot others. (You can hear Nathan Gunn in a sample in the YouTube video at the bottom.)

After many years, the production has now become a holiday tradition for the Met to offer children while school is out for the holidays.

And one suspects it is developing new audiences – especially with the colorful staging and costumes by Julie Taymor, who won such acclaim for her staging of “The Lion King” on both the stage and film.

Sure, a lot of purists will probably object to substituting English for the original Italian, French, German and Russian. But it is so freeing and feels so good to understand what you are hearing without the distraction of constantly going back and forth trying to look at both the supertitles and the stage.

It also seems worth a try, given the problems that many opera companies are having competing with the “Live from the Met in HD” productions that you can see in movie theaters for far less money, and the decline of both season subscribers and single tickets.

To be honest, of course even in English you will miss some of the words. That’s the nature of singing. But excellent diction helps. And if you are lucky enough to see the production in person, supertitles in Italian, French German and Spanish and, yes, English are still provided.

It is not a completely new idea. After all, Great Britain has the English National Opera, which performs standard operas by Verdi and Puccini, Monteverdi and Handel, Mozart and Wagner, in English. So, many of the very great operas have already been translated into English and could be staged in English elsewhere.

Here are links where you can learn more about the English National Opera:

https://www.eno.org

https://en.wikipedia.org/wiki/English_National_Opera

Do you question how the text is hurt in translation?

It’s worth remembering that Mozart himself used the vernacular German instead of his usual opera house Italian so that he would reach the general public. Why not do the same today? Translation could make opera much more accessible, less pretentious and more populist.

The same is true for cutting the show down to 100 minutes from almost 3 hours. Let’s just admit that the attention span of the general public is much shorter than it used to be.

Orchestra and chamber music concerts as well as solo recitals are trimming their running times often down to 90 minutes or less, and meet with great approval from the public. Why not try the same approach with opera? Indeed, both the Madison Opera and the University Opera have limited but successful experiences with editing operas and using English.

It is also worth recalling that in translation we read greater words than an opera libretto. If we can translate Homer and Shakespeare, Dostoevsky and Proust, why can’t we translate opera librettos? One just has to be sure to find a great translator with a sensitive musical ear– such as American poet Richard Wilbur is with his award-winning, rhyming translations of Moliere’s comedies and Racine’s tragedies. Similarly, American poet J.D. McClatchy has done a fine job with The Met’s “Magic Flute.”

Here is a link to more information about the production, including a synopsis:

https://www.metopera.org/season/2018-19-season/the-magic-flute/

And here is a review of the Met’s  “Magic Flute” by Tommasini:

https://www.nytimes.com/2018/12/20/arts/music/review-mozart-magic-flute-met-opera.html

What do you think?

Should more operas be staged in English?

Should long operas be edited?

Why or why not?

The Ear wants to hear.


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