The Well-Tempered Ear

Classical music: Russian pianist Ilya Yakushev returns to Madison to give a master class and to perform a solo recital of Haydn, Tchaikovsky, Mussorgsky and Gershwin at Farley’s House of Pianos this Sunday afternoon

November 8, 2017
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By Jacob Stockinger

If you recall the name of Ilya Yakushev (below), it is no doubt from the two impressive concerto appearances by the Russian virtuoso with the Wisconsin Chamber Orchestra and conductor Andrew Sewell.


Madison audiences will finally have a chance to hear Yakushev, who directs the International Keyboard Institute and Festival at Mannes College of Music in Manhattan, in a solo recital.

It will be held this coming Sunday afternoon, Nov. 12, at 4 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on the city’s far west side near the West Towne Mall. The concert is part of the Salon Concert Series, and a reception will follow the performance.

Tickets are $45, $10 for students. You can call (608) 271-2626 or go online (see below).

The program includes: Sonata in D Major by Franz Joseph Haydn; the Sentimental Waltz by Peter Tchaikovsky; “Pictures at an Exhibition,” in the original solo piano version, by Modest Mussorgsky; and a solo piano version of “Rhapsody in Blue” by George Gershwin.  (You can hear Yakushev play the opening part of the Mussorgsky in the YouTube video at the bottom)

On this Saturday, Nov. 11, at 4 p.m. Ilya Yakushev will also teach a master class at Farley’s House of Pianos. Yakushev will instruct three pianists, all of whom are on the piano faculty at Farley’s House of Pianos. This is a FREE event that the public is invited to observe.

The Master Class program includes: Stravinsky’s Piano Sonata (1924) – First movement, performed by Jason Kutz; Beethoven’s Sonata in E Major, Op. 109 “Andante molto cantabile ed espressivo,” performed by Kangwoo Jin; and Ravel’s “Miroirs” (Mirrors) – Third movement “Une barque sur l’ocean” (A Boat on the Ocean) performed by Jonathan Thornton.

For more information about the artist, the program, the master class. other concerts and tickets, go to:

http://salonpianoseries.org/concerts.html

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Classical music: Today is Labor Day. Opera San Jose brings classical music into the workplace – can we try that here? Plus, you can take a WQXR poll about what music is best to mark the holiday

September 4, 2017
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By Jacob Stockinger

Today is Labor Day (celebrated below by famed photographer Lewis Hine.).

The holiday probably won’t be celebrated in a big way by the blowhard billionaires and anti-union tycoons who run the government these days.

But workers can be and should be proud of what they do—despite the wealth gap, wage stagnation, unfair taxes, income inequality and a general lack of respect and support.

The Ear, however, has two offerings for the holiday.

The first is a story about how Opera San Jose is bringing classical music into the workplace of high technology companies like Adobe in Silicon Valley.

The opera company has started a program called “Arias in the Office” (below). And it sure sounds like a fine idea that other local groups – especially small chamber music groups – might try doing here in the Madison area.

Talk about taking music to the people if the people aren’t going to the music!

And let’s not forget that composing music, performing music and presenting music are all hard work too. So we should also celebrate the musicians, the administrative and box office staffs, the stagehands, the light and sound engineers,  the sets and costume people, and all the others who toil behind the scenes for our pleasure.

The story was reported by NPR (National Public Radio) and can be found on the radio station’s website and Deceptive Cadence blog:

http://www.npr.org/sections/deceptivecadence/2017/08/30/544164183/new-pop-up-series-treats-silicon-valley-workers-to-opera-at-the-office

The second is a listener poll, now three years old, done by the famed classical music radio station WQXR in New York City.

It is a survey of classical music that is appropriate for Labor Day and features three generous examples in YouTube videos — an opera by Giuseppe Verdi, a symphony by Franz Joseph Haydn and a film soundtrack by Virgil Thomson.

But it also has about two dozen other choices– including music by Handel, Schubert, Copland, Joan Tower, Robert Schumann, Gershwin, Shostakovich and others — for the public to select from, and a lot of comments from other respondents that you might want to check out.

Here is a link:

http://www.wqxr.org/story/poll-what-music-best-captures-spirit-labor-day/

Happy Labor Day!

And if you have another piece of music that you think is appropriate, let us know in the COMMENT section.

The Ear wants to hear.


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

August 8, 2017
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By Jacob Stockinger

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About the Salon Piano Series

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

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


Classical music: Listening etiquette should be the same outdoors as in concert halls

July 12, 2017
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By Jacob Stockinger

This posting is a favor to a loyal friend of The Ear.

And just maybe to many others too.

This friend, who sponsors local classical music and attends many indoor concerts, likes to go to the FREE Concerts on the Square (below) given by the Wisconsin Chamber Orchestra.

The third one of this summer is tonight at 7 p.m. on the King Street corner of the Capitol Square.

The guest artist is classically trained Robert Bonfiglio (below), the “Paganini of the harmonica,” who will perform several serious works including two by George Gershwin and one by Russian composer Alexander Tcherepnin. (You can hear Bonfiglio perform the second movement of Tcherepnin’s Concerto for Harmonica and Orchestra in the YouTube video at the bottom.)

For more information about the concert and what happens at it, including food and other activities as well as a biography of the soloist, go to:

https://wisconsinchamberorchestra.org/performances/concerts-on-the-square-3-2/

However, what disturbs The Ear’s friend, who will be there tonight, is the rudeness or thoughtlessness that often interferes with appreciating the music.

“Maybe,” the Friend said, “you can post something about it and that might help.”

True, the summer event is designed for socializing and eating and drinking and having fun. And there is plenty of time for all those things.

But when the music starts, it is only fair to pay respect to the musicians who work so hard to perform it and to other listeners who want to hear it.

That means silence.

People should stop chatting, talking or laughing during the music.

They should avoid making unnecessary noise and movements and help allow other audience members to concentrate and focus on the music.

In short, the rules or etiquette for listening to music should be the same outdoors as they are indoors in the concert hall.

And that goes not only for Concerts on the Square, but also for the Concert on the Green by the Madison Symphony Orchestra, the upcoming Opera in the Park (below) by the Madison Opera on July 22 and the outdoor Concert in the Park performance on Aug. 9 by the Wisconsin Youth Symphony Orchestras.

Anyway that is what The Ear and his Friend think.

What do you think?

And how do you generally find listening to music at Concerts on the Square and other outdoor performances?

The Ear wants to hear.


Classical music: What classical music best celebrates the solstice and the arrival of summer?

June 21, 2017
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REMINDER: Today is the fifth annual citywide Make Music Madison that celebrates the coming of summer with FREE, PUBLIC and LOCAL performances. For more information, go to: https://welltempered.wordpress.com

By Jacob Stockinger

Summer arrived late last night – at 11:24 p.m. — in the Midwest.

To mark and celebrate the welcome event, here are three pieces of well-known summer-related music:

Wolfgang Amadeus Mozart’s “Eine kleine Nachtmusik” or a “A Short Night Music” (or “A Little Night Music”:

Summer from Astor Piazzolla’s “Four Seasons in Buenos Aires”:

And Samuel Barber’s “Knoxville, Summer of 1914” with soprano Dawn Upshaw.

But there is so much more to choose from.

Here is a link to five other pieces by different composers –- Antonio Vivaldi, Felix Mendelssohn, Frank Bridge, Alexander Glazunov, Frederick Delius and George Gershwin.

http://www.classical-music.com/article/six-best-pieces-classical-music-summer

Which music would you choose to mark the summer solstice and the coming of summer?

Leave word and a YouTube link, if possible, in the COMMENT section.

The Ear wants to hear.


Classical music: Con Vivo opens its 15th season this Saturday night with chamber music and a jazz trio from Germany

October 5, 2016
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By Jacob Stockinger

The Ear has received a the following announcement to post:

Con Vivo!…music with life (below), opens its 15th season with a chamber music concert entitled “All That Jazz” on this Saturday, Oct. 8, at 7:30 p.m. in the First Congregational United Church of Christ, 1609 University Ave., across from Camp Randall.

con-vivo-2016

Tickets can be purchased at the door for $18 for adults and $15 for seniors and students.

Con Vivo!’s fall concert, “All That Jazz” features pieces from our standard repertoire as well as jazz music performed by the Edgar Knecht Jazz Trio visiting from our Sister County in Kassel, Germany.

The trio’s appearance is in conjunction with their Dane County visit as a cultural exchange reciprocating con vivo!’s Germany tour in 2015.

Here is the program: “Man Nozipo” for string quartet and percussion by Dumisani Maraire; Selected movements from “Benny’s Gig” for clarinet and double bass by Morton Gould; Rhapsody in Blue arranged for solo organ, by George Gershwin; “Overture on Hebrew Themes” by Sergei Prokofiev; Divertimento in F Major, K. 138, by Wolfgang Amadeus Mozart; and various selections of original music for jazz trio by Edgar Knecht.

Audience members are invited to join the musicians after the concert for a free reception to discuss the concert.

In remarking about the concert, artistic director Robert Taylor said: “With this Con Vivo! concert, we are hosting the Edgar Knecht Trio as well as doing some collaborative pieces with members from both of our groups. (You can hear a sample in the YouTube video at the bottom.)

“I think this a great way to begin our 15th season with exceptional music that combines the wonderful sounds of winds, strings and organ along with jazz. Our Madison audience will be able to hear our musicians up close and personal playing music of extreme delight and depth.”

For more information, visit: http://www.convivomusicwithlife.org/home.html

Con Vivo! is a professional chamber music ensemble comprised of Madison area musicians assembled from the ranks of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and various other performing groups familiar to Madison audiences.


Classical music: Madison Opera’s FREE “Opera in the Park” turns 15 and takes place this Saturday night

July 18, 2016
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By Jacob Stockinger

The Ear has received the following press release about one of the fun cultural highlights of the summer, which was started by the late Ann Stanke 15 years ago.

In The Ear’s experience, the whole event is a kind of light opera in itself, with food and amusements as well as community social interactions and of course great music that is beautifully performed.

Madison Opera’s FREE Opera in the Park will celebrate its 15th year on this Saturday, July 23, at 8 p.m. in Garner Park on Madison’s far west side.

Opera in Park 2012 crowd 2 James Gill

The annual free concert of opera and Broadway favorites closes the company’s fantastic 2015-16 season and provides an enticing preview of the upcoming 2016-17 season.

A Madison summer tradition that attracts over 15,000 people every year, Opera in the Park brings the best of opera and Broadway to the community, creating an enchanting evening of music under the stars.

Opera in the Park 2016 stars soprano Emily Birsan (below top), soprano Angela Brown (below second), tenor Scott Quinn (below third) and baritone Sidney Outlaw (below fourth).

Emily Birsan 2016

Angela Brown 2016

Scott Quinn

Sidney Outlaw

They are joined by the Madison Opera Chorus and Madison Symphony Orchestra, conducted by the returning Gary Thor Wedow (below) instead of John DeMain, who is spending the summer guest conducting at the acclaimed Glimmerglass Festival in upper New York State.

gary wedow

The evening is hosted by Madison Opera’s General Director Kathryn Smith and WKOW TV’s 27 News Wake-Up Wisconsin anchor Brandon Taylor.

Opera in the Park is without question my favorite night of the year,” says Smith (below, in a photo by James Gill). “When you combine a live performance of beautiful music with thousands of people from across our community, all under a gorgeous night sky, you get the most important performance Madison Opera gives.

“I often brag to my colleagues around the country about our Opera in the Park, as it is so distinctly important in our community – not to mention having the highest per capita attendance of any such concert in the U.S.

“I am so proud that we are celebrating our 15th summer of this incredible event, and grateful to all who make it possible.”

Kathryn Smith Fly Rail Vertical Madison Opera

Opera in the Park 2016 features arias and ensembles from Charles Gounod’s Romeo and Juliet, which opens the 2016-17 season in November; Daniel Schnyder’s jazz-inspired Charlie Parker’s Yardbird, which will be performed in February; and Wolfgang Amadeus Mozart’s The Magic Flute, which will be performed in April.

In celebration of the 400th anniversary of William Shakespeare’s death, the concert will also offer selections from Shakespeare-based operas and musicals such as Hamlet, The Boys from Syracuse and Kiss Me, Kate.

shakespeare BW

Classic selections from Aida and Rigoletto by Giuseppe Verdi, The Pearl Fishers by Georges Bizet; Porgy and Bess by George Gershwin and more round out this spectacular evening, which always includes one number conducted by the audience with light sticks (below).

Opera in the Park 2014 light sticks

Garner Park is located at 333 South Rosa Road in Madison’s far west side. Parking is available in the CUNA Mutual Group and University Research Park lots.

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 24, at 8 p.m.

Madison Opera is grateful to the major sustaining donors who support Opera in the Park not only this year, but have done so for many years, enabling the concert to reach this 15th anniversary: CUNA Mutual, the Berbeewalsh Foundation, the John and Carolyn Peterson Charitable Foundation, Full Compass Systems, University Research Park, Colony Brands, the MGE Foundation, and an Anonymous Friend.  

Opera in the Park 2016 is also generously sponsored by the Richard B. Anderson Family Foundation, BMO Harris Bank, Starion Financial, Wisconsin Bank & Trust, National Endowment for the Arts Wisconsin Arts Board, Dane Arts, the Evjue Foundation, and the Madison Arts Commission. WKOW, Isthmus, Madison Magazine, Wisconsin Public Radio, Triple M, Mix 105.1, and WOLX are media sponsors for this community event.

RELATED EVENT: PRELUDE DINNER AND FUNDRAISER

The Prelude Dinner (below) at Opera in the Park 2016 is at 6 p.m.

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 $135 per person or $1,000 for a table of eight. More information is available at www.madisonopera.org

Opera in Park donor dinner

 


Classical music: Madison Opera announces its 2016-17 season. It’s both reassuringly classical and adventurously jazzy

June 2, 2016
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By Jacob Stockinger

Even as it prepares for the annual Opera in the Park gala on July 23, the Madison Opera has announced its 2016-17 season, which is a combination of both the classic and the adventurous, even the intriguingly experimental.

http://www.madisonopera.org/performances-2016-2017/

Here is a list of productions with links to more details about the productions, cast, tickets and related events:

Nov. 4 and 6 in Overture Hall: “Romeo and Juliet” by Charles Gounod (below) with conductor John DeMain and members of the Madison Symphony Orchestra:

http://www.madisonopera.org/performances-2016-2017/romeo-and-juliet/

Charles Gounod

Feb. 10 and 12 in the Capitol Theater: “Charlie Parker’s Yardbird” by Swiss composer Daniel Schnyder (below) with John DeMain and members of the MSO:

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

Daniel Schnyder

April 21 and 23 in Overture Hall: “The Magic Flute” by Wolfgang Amadeus Mozart (below) with guest conductor Gary Thor Wedow:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/

Mozart old 1782

The operas by Gounod and Mozart are well-known staples of the repertoire.

But “Charlie Parker’s Yardbird” is new and will be a local, perhaps even regional, premiere and one of the earliest repeat performances of the new work.

The Ear thinks early Bravos are in order for such contemporary crossover programming that also focuses on race, diversity and African American culture. It also seems like a natural choice for John DeMain, who won a Grammy for the first all-black production of George Gershwin’s opera “Porgy and Bess.”

The new opera opened recently to fine reviews at the Apollo Theater in Harlem in New York City. (Below, in a photo by Dominic Mercier for Opera Philadelphia, is tenor Lawrence Brownlee in the title role of alto saxophonist and jazz great Charlie Parker.)

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

Here is a link to a background story about the work that appeared on the Deceptive Cadence blog of National Public Radio, or NPR, which first broadcast it on All Things Considered:

http://www.npr.org/sections/deceptivecadence/2016/03/31/472431884/opera-and-jazz-mingle-in-charlie-parkers-yardbird

Here are members of the world premiere production talking about the work:

And here is a trailer with samples of the music and singing:


Classical music: It’s easy but wrong to underestimate Offenbach’s “Tales of Hoffmann.” It is literally fantastic but NOT light. It will be performed by Madison Opera on Friday night and Sunday afternoon. Part 2 of 2.

April 13, 2016
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ALERT: This week’s FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. in the historic Landmark Auditorium of the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison, 900 University Bay Drive, will feature music for baroque and modern flute and strings  with Iva Ugrcic, Thalia Combs, Biffa Kwok, Joshua Dierigner, Mikko Rankin Utevsky, Andrew Briggs and Satoko Hayami. They will play music by Georg Philipp Telemann, Wolfgang Amadeus Mozart, Carl Philipp Emmanuel Bach, Salvatore Sciarrino and Andre Jolivet.

By Jacob Stockinger

As The Ear posted yesterday, the Madison Opera will present Jacques Offenbach’s “The Tales of Hoffmann” this weekend.

The production will be performed twice in Overture Hall of the Overture Center: on Friday at 8 p.m.; and on 
Sunday at 2:30 p.m. It will be sung in French with projected English translations

Tickets are $18-$129. Student and group discounts are available. Tickets can be purchased at the Overture Box Office, 201 State St., Madison, and by calling (608) 258-4141 or visiting www.madisonopera.org

For more information, here is a link to yesterday’s post with a plot synopsis and information about the cast:

https://welltempered.wordpress.com/2016/04/12/classical-music-jacques-offenbachs-fantastical-masterpiece-the-tales-of-hoffmann-will-be-performed-by-madison-opera-performs-friday-night-and-sunday-afternoon-here-is-part/

Today, The Ear asked the same questions to the two main figures in the production: Artistic and music director John DeMain and guest stage director Kristine McIntyre.

Here are their answers:

JOHN DeMAIN (below)

DeMainOpera

“Tales of Hoffmann” has the reputation of being a “lighter” opera. How justified and accurate is that opinion in your view, and what do you think explains it?

Hoffmann is Offenbach’s grand opus. I’ve never thought of this work as a light opera. To me, light opera has spoken dialogue and the music is distinctly lighter in nature, like operetta.

Where the confusion lies here is, for me, no different than with George Gershwin’s Porgy and Bess. Both composers use popular resources, at times, to tell the story.

Hoffmann is a serious themed piece. Two people are literally murdered, and the mechanical doll is also destroyed. Hoffmann’s soul is condemned to hell, as his pursuit of love is rebuffed at every term. The devil is present throughout as well.

What Hoffmann is, however, is highly theatrical. Magic is present, as well as the supernatural. It is at times ghoulish and macabre, but always entertaining. The Olympia scene with party guests and a mechanical doll — at bottom in a YouTube video — is the lightest scene in nature, as Hoffmann is being duped at a social gathering.

Move into Antonia, and from the beginning the music is serious and profound with two thrilling trios. Giulietta, which has always been the sketchiest act, because of missing music and an incomplete libretto, nevertheless is thrillingly operatic in scope.

Hoffmann is very much like Giuseppe Verdi’s La Traviata in design, particularly in the progression of Hoffmann’s loves, as embodied in the sopranos who sings all four roles. Olympia is coloratura, just like Violetta in the first act singing “Sempre libera.” Antonia is lyric, corresponding to Violetta in the second act, and Giulietta is the most dramatic, just as in the third act of the Verdi.

The beautiful final ensemble at the end of the Epilogue is also not the stuff of light opera. Offenbach, as a composer, is true to his musical style, but achieves the greatest depth of his writing in this wonderful grand opera.

Madison Opera Hoffmann set 1

What would you like the public to know about the opera and about the musical aspects of the Madison Opera production including the singers, the orchestra and the score?

The orchestra highlights the drama at every given turn, literally changing tempos on a dime. Leitmotifs are used throughout the piece.

The music is wonderfully melodic, with the entire cast having beautiful arias, duets and trios. It has long been a favorite opera of mine because it so accurately portrays the story in vivid and unmistakable musical terms.

John DeMain and MSO from the stage Greg Anderson

KRISTINE MCINTYRE (below)

Kristine McIntyre 2016

Jacques Offenbach’s “Tales of Hoffmann” has the reputation of being a “lighter” opera? How justified and accurate is that opinion in your view, and what do you think explains it?

Well, “lighter” compared to what? Than Jake Heggie’s Dead Man Walking or Leos Janacek’s Jenufa, certainly. But it’s not a comedy either, and certainly any of the classic operatic comedies, such as Gioacchino Rossini‘s The Barber of Seville, feels perfectly frothy in comparison.

I think this is an easy opera to underestimate because the piece is so theatrical in its storytelling. But Offenbach (below) is actually exploring some very dark themes, as was E.T.A. Hoffmann before him.

E.T.A. Hoffmann’s original tales are fantastical and highly imaginative, but they are also vivid and insightful examinations of human psychology. He exposes our darkest fears and how that darkness intrudes into our everyday lives and our attempts to find love and happiness. I think E.T.A. Hoffmann is particularly insightful at revealing the fragility of his male protagonists and their insecurities where women and love are concerned.

The Olympia act, for instance, is really about a young man’s fear that he has been deceived, that he’s been made a fool of — that he can’t trust the girl he loves and doesn’t know what’s real or what’s not.

The story on which it is based, “The Sandman,” is even more horrifying than Offenbach’s setting: the young man simply can’t get over having fallen in love with the automaton, believes his very human fiancée is actually a machine, tries to kill her and eventually commits suicide by throwing himself from a balcony.

Jacques Offenbach seated

So one should not confuse creativity in storytelling with a lack of seriousness. There is a great tradition, stretching back to the early 19th century, of writers of fantastical literature and science fiction asking some of the hardest questions about human nature and providing some of the most compelling insights.

That tradition now extends to film and we’ve spent some time in rehearsal talking about how movies like Blade Runner and Ex Machina explore some of the same issues.

Offenbach is a man of the theater and gives us music that is just as compelling and theatrical as the tales themselves. This music is fun to stage and listen to, but while Offenbach is entertaining us with his delightful French melodies, his main character, Hoffmann, has his heart broken three times, causes the death of his fiancée, becomes an alcoholic, murders a rival and loses his soul. So the opera definitely has its tragic side.

And we shouldn’t forget that Offenbach balances the fantasy of the tales with the framework of the Prologue and Epilogue and the completely recognizable, human story of Hoffmann’s doomed relationship with his girlfriend Stella. They’ve had a fight and he’s terrified of losing her. In the tales, he is actually telling us Stella’s story over and over again as he tries to make sense of what has happened.

The opera could easily end in tragedy and despair, but instead Offenbach offers us a glass of champagne and a balm for the human condition. (Below is the Roaring 20s set.)

Madison Opera Hoffmann set 3

What would you like the public to know about the opera and about the theatrical aspects of the Madison Opera production including acting, costumes, sets, etc.?

Almost everyone in our cast is doing their roles for the first time, so we’re having a great time in rehearsal exploring every moment of the piece.

This will be a very high-energy, inventive and creative telling of the opera. The production is updated to the 1920s, which is great fun – beautiful costumes and lots of wonderful inspiration from art and cinema of the period.

For instance, we’ve been looking at the paintings of Otto Dix, which capture the élan and decadence of the 1920s, and classic horror films like The Cabinet of Dr. Caligari and Nosferatu to find the darker side of things for the Antonia act. It’s a very rich period visually and offers us a great deal of style as well as the chance to make something that feels very alive and fresh.

I think it will be very entertaining and also very moving.

Madison Opera Hoffmann set 2


Classical music: The Madison Symphony Chorus performs a medley of choral music this Sunday at 2 and 4 p.m. Plus, a FREE harpsichord recital of music by Bach, Handel and Scarlatti is at noon this Friday.

February 25, 2016
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ALERT: This week’s FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. at the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison, 900 University Bay Drive, Trevor Stephenson — the founder and director of the Madison Bach Musicians — will play harpsichord music by Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti.

He will perform on his own four-octave, crow-quilled 17th-century-style Flemish instrument and will talk about the well-tempered tuning of this instrument, the composers’ lives and the concert repertoire. Selections are from Bach’s “Well-Tempered Clavier,” Scarlatti’s Sonatas and Handel’s “Keyboard Suites.”

By Jacob Stockinger

Some groups perform more in tandem or as adjuncts to other groups than by themselves. This seems especially true of choruses.

But this weekend, the Madison Symphony Chorus, which normally performs with the Madison Symphony Orchestra, will have the spotlight to itself. (You can hear the chorus sing as part of the MSO’s Christmas concert in the YouTube video at the bottom.)

Twice on the same day.

Here are the details:

On this Sunday, Feb. 28, at 2 p.m. and 4 p.m., director Beverly Taylor and the Madison Symphony Chorus  (below, in a photo by Greg Anderson) will present a “Memories” concert in Promenade Hall at the Overture Center for the Arts.

MSO Chorus CR Greg Anderson

Taylor (below) is the longtime assistant conductor of the Madison Symphony Orchestra and the director of choral activities at the University of Wisconsin-Madison School of Music.

Beverly Taylor MSO portrait COLOR USE

The concerts will feature an array of musical styles, including classical music selections from Johannes Brahms and contemporary American composer John Corigliano, a collection of Swedish, Norwegian, Scottish and Mexican ethnic tunes, traditional spirituals and gospel music, and nostalgic songs from the Tin Pan Alley era by Cole Porter, George Gershwin and Ira Gershwin, and Fats Waller.

Madison Symphony Orchestra (MSO) Principal Pianist Daniel Lyons will accompany much of the music.

Dan Lyons

Tickets are $20, and are available: at madisonsymphony.org/chorusconcert; at the Overture Box Office (201 State Street); or by calling (608) 258-4141.

Formed in 1927, the Madison Symphony Chorus gave its first public performance in 1928 and has performed regularly with the MSO ever since.

The Chorus was featured at the popular Madison Symphony Christmas concerts in December and will join the MSO April 29 and 30, and May 1 for Carmina Burana, the colossal modern oratorio based on medieval Latin songs by 20th-century German composer Carl Orff.

The Chorus is comprised of more than 125 volunteer and amateur musicians from all walks of life who enjoy combining their artistic talent. New members are always welcome.

Visit madisonsymphony.org/chorus for more information about the chorus and the program for this concert.

 


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