URGENT CORRECTION: The time for tonight’s performance of “Privilege” by the Madison Choral Project has been moved from 7:30 p.m. to 8:30 p.m. due to noise from a nearby football game in Camp Randall Stadium. For more about the concert, go to:
THIS JUST IN: Hi Jake: We’ve got cellist Karl von Huene and bassist John Dowling at the Malt House, at 2609 East Washington Avenue on the corner of Milwaukee Street, again this Saturday, from 3-5 p.m. Karl says the pieces they’ll play are by J.S. Bach, W. A. Mozart, Arcangelo Corelli, S. Lee, F. J. Haydn, G.F. Handel, Dmitri Kabalevsky, and Francesco Durante. It should be fun! Cheers, Bill Rogers
BIG ALERT: This is a reminder that, in this busy week of music, one stand-out concert is by the Grammy Award-winning Los Angeles Guitar Quartet. It will perform the annual Fan Taylor Memorial Concert this Saturday night at 8 p.m. in Shannon Hall of the Wisconsin Union Theater. (You can hear a sample of the Brandenburg Concerto No. 6 they will play in the YouTube video at the bottom.)
The acclaimed quartet will perform music by Bach, Bizet, Debussy, and Villa-Lobos as well as 17th-century Spanish music from the age of the novelist Cervantes For more information about the group, the program and tickets ($10-$48), go to: https://union.wisc.edu/events-and-activities/event-calendar/event/los-angeles-guitar-quartet/
By Jacob Stockinger
The Wisconsin Baroque Ensemble will give a concert of baroque chamber music on Saturday night, April 22, at 7:30 p.m.
It will take place in Saint Andrew’s Episcopal Church, 1833 Regent Street.
Members of the WBE are: Mimmi Fulmer, soprano; Nathan Giglierano, baroque violin; Brett Lipshutz, traverse flute; Eric Miller, viola da gamba; Sigrun Paust, recorder; Monica Steger, traverse flute and harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.
The program includes:
Georg Philipp Telemann – Quartet for two traversi, recorder and basso continuo, TWV 43:d1
Mr. De Machy – Pièces de Violle, Suite No. 3 (Pieces for Viol)
Francesca Caccini – “Lasciatemi qui solo” (Leave me here alone)
Quentin – Trio Sonata for two traversi and basso continuo, Op. 13, No. 3
Johannes Hieronymus Kapsberger – “Interrotte Speranze” (Vain Hope)
Johann Christoph Pepusch – Trio Sonata for recorder, violin and basso continuo
Georg Philipp Telemann (below) – Nouveaux Quatuors (Paris Quartets), No. 6 in E minor
Giulio Caccini – “Odi, Euterpe” (Hear, Euterpe)
Tickets at the door are $20, $10 for students.
A post-concert reception will be held after the concert at 2422 Kendall Ave, second floor.
For more information, go to: www.wisconsinbaroque.org
By Jacob Stockinger
Here is the official announcement of the 2017-18 season by the Madison Symphony Orchestra:
The 2017-18 season of the Madison Symphony Orchestra (MSO, below, in a photo by Greg Anderson) presents nine programs that invite audiences to “listen with all your heart” and “feel the emotion, power and majesty” of great classical music.
Subscriptions are available now, and single tickets for all concerts go on sale to the public Saturday, Aug. 12, 2017.
For more information about tickets and ticket prices plus discounts for new subscribers and renewing subscribers, go to:
MSO music director John DeMain, who will be marking his 24th season with the MSO, has created an exciting season that features favorites combined with firsts.
Says DeMain (below, in a photo by Prasad): “I must point out two monumental firsts: the MSO debut of the great violinist Gil Shaham, renowned and sought after the world over, whose appearance Madison has waited for for many years; and the Madison premiere of the Glagolitic Mass by Czech composer Leos Janacek, a gargantuan work for chorus and orchestra with a prominent role for our “Colossal Klais,” the Overture Concert Organ.”
Performances are in Overture Hall of the Overture Center at 7:30 p.m. on Fridays; 8 p.m. on Saturdays; and 2:30 p.m. on Sundays.
The 2017-2018 subscription series concerts begin on Sept. 15, 16 and 17 with “Orchestral Brilliance”—proudly presenting the Madison Symphony Orchestra performing the Johann Sebastian Bach/Leopold Stokowski version of the organ Toccata and Fugue in D minor; Felix Mendelssohn’s Reformation Symphony and Hector Berlioz’s “Harold in Italy” with MSO principal viola Christopher Dozoryst (below, in a photo by Katrin Talbot) as soloist. (You can hear Leopold Stokowski conduct his own transcription of the work by Bach, which was used in Walt Disney’s film “Fantasia,” in the YouTube video at the bottom.)
“From the New World” on Oct. 20, 21 and 22 features the return of beloved pianist Olga Kern (below), a gold medalist in the Van Cliburn competition, performing Samuel Barber’s Piano Concerto, and the MSO performing Antonin Dvorak’s Symphony No. 9 “From the New World” and Maurice Ravel’s Mother Goose Suite.
On Nov. 17, 18, and 19 “Troubadour: Two Faces of the Classical Guitar” features sensational guitar virtuoso Sharon Isbin (below) playing two works, one by American composer Chris Brubeck, and the other by the Spaniard Joaquin Rodrigo, with the MSO performing two Suites—Manuel DeFalla’s The Three-Cornered Hat and Aaron Copland’s Billy the Kid.
The cherished kickoff to the holiday season, “A Madison Symphony Christmas,” returns on the first weekend in December — the 1, 2, and 3. Guest artists Emily Pogorelc, soprano, and Eric Barry, tenor, join John DeMain, the MSO, the Madison Symphony Chorus (below), Madison Youth Choirs and Mount Zion Gospel Choir on stage for the family-friendly celebration.
The MSO season subscription continues in 2018 with the long awaited appearance of violinist Gil Shaham (below) with the MSO—“Gil Shaham Plays Tchaikovsky” on Jan. 19, 20 and 21. This program features works by three of the most popular Russian composers of all time— Sergei Prokofiev’s The Love for Three Oranges Suite, Sergei Rachmaninoff’s Symphony No. 3 and Peter Tchaikovsky’s Violin Concerto.
“Richly Romantic” concerts take place on Feb. 16, 17 and 18 when one of MSO’s favorite cellists, Alban Gerhardt (below), returns performing the lyrical William Walton’s Cello Concerto, and the MSO presents Johannes Brahms’ Symphony No. 1 and Gioachino Rossini’s Overture to Semiramide.
Spring arrives April 13, 14, and 15 with “String Fever” featuring Robert Schumann’s Symphony No. 1, Spring, Benjamin Britten’s Sinfonia da Requiem and Grammy Award-winning violinist Augustin Hadelich (below) performing the Antonin Dvorak’s Violin Concerto.
The season finale, “Mass Appeal,” takes place on May 4, 5 and 6. Star of NPR’s From the Top, pianist Christopher O’Riley (below), will open the program with Mozart’s Piano Concerto No. 22. The MSO premiere of the monumental Glagolitic Mass by Czech composer Leos Janacek features the Overture Concert Organ and the Madison Symphony Chorus, along with soloists Rebecca Wilson, soprano, Julie Miller, mezzo-Soprano, Roger Honeywell, tenor, and Benjamin Sieverding, bass.
The MSO’s 17-18 season includes the popular multimedia production of Beyond the Score®, “Edward Elgar: Enigma Variations,” featuring live actors and visuals in the first half, with the entire work performed in the second half. Joining the orchestra are American Players Theatre actors James Ridge (below), Colleen Madden and Brian Mani, along with Wisconsin Public Radio’s Norman Gilliland of Wisconsin Public Radio as the Narrator. This single performance takes place on Sunday, March 18, 2018*.
NOTE: *Advance tickets for Beyond the Score® are available only to MSO 17-18 season subscribers prior to single tickets going on sale to the general public on Saturday, Aug. 12, 2017. Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Beyond the Score®
ABOUT THE MADISON SYMPHONY ORCHESTRA
The Madison Symphony Orchestra celebrates its 92nd season in 2017-2018 and its 24th season under the leadership of music director John DeMain.
The MSO has grown to be one of America’s leading regional orchestras, providing Madison and south central Wisconsin with cultural and educational opportunities to interact with great masterworks and top-tier guest artists from around the world.
Find more information at madisonsymphony.org
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
The program opened with a rarely performed symphony, No. 30 in D Major, K. 202, by Wolfgang Amadeus Mozart. Mozart did not muster in this score anything like the ideas he delivered in his symphonies on either side of this one.
Still, it is an engaging piece, and maestro Sewell always shows great sympathy for the Austrian Classical-era composers of the late 18th century, so the performance was nicely molded.
The guest soloist this time was Croatian-born guitarist Ana Vidovic (below). She was originally scheduled to play the Second Guitar Concerto by Mario Castelnuovo-Tedesco, but for some reason she switched late on to the more substantial Concierto de Aranjuez by the 20th-century Spanish composer Joaquín Rodrigo.
Unfortunately, Vidovic followed other guitarists of today who feel they must fortify their performances with electronic amplification, so she brought her own rig with her. The result was a boomy, hollow sound, completely artificial, pitted in fake balance against the natural world of the orchestral writing that was rendered, by the way, with charm and delicacy.
The composer (below) was very careful about not allowing the orchestra to overwhelm the intimate guitar, and generations of guitar players have been able to perform this and parallel concertos without benefit of sonic hype.
Alas, the combination of technology with egotism! Vidovic is obviously a musician of genuine artistry, but she quite sabotaged her playing by use of this six-string howitzer. And the knobs were still on through an encore, a trivial Cavatina by one Stanley Meyer.
The evening was richly redeemed by the main work. Sewell has, in recent years, been working his way into the symphonies of the 19th century, late Romantic Austrian composer Anton Bruckner—a composer usually tackled by large orchestras. But he has brought off the first two numbered symphonies with aplomb, and now was the turn of the Third.
This is a work with a complex history of versions and revisions. Sewell bravely chose to use the 1874 revision of the original 1873 version, rather than the ill-fated revision of 1877 or the once-standard bowdlerization of 1889.
Sewell could command only 20 string players, but they proved quite sufficient, even with the occasional divisions of the violins. The reduced lushness resulting allowed inner parts to come through, and the rest of the orchestra played magnificently. Sewell understands Bruckner’s individual rhetoric, with its stop-and-start pacings and dramatic shifts between tremendous power and great delicacy.
Sewell (below) is indeed a born Bruckner conductor. The second movement in particular I have never heard played so eloquently. (You can hear the second movement of the 1874 edition in the YouTube video at the bottom.) I don’t know if Sewell plans to probe still further into Bruckner’s symphonies, but I am ready to follow him eagerly if he does.
Far from being put off by the often-maligned music of Bruckner, the very large audience gave the performance a justly deserved standing ovation. This was, I think, a genuine landmark in the WCO’s history.
By Jacob Stockinger
This Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center, the Wisconsin Chamber Orchestra (below) opens the second half of its season with a promising concert that has both sunny lyricism and dark drama.
Tickets run $10 to $80. Here is a link to the Wisconsin Chamber Orchestra’s website with information about the concert, the soloist and how to get tickets:
As usual, WCO music director Andrew Sewell (below) has created a program that mixes music of different moods from different eras.
The guest artist is classical guitarist Ana Vidovic (below top), who performed with the WCO two years ago to critical and audience acclaim.
This time Vidovic will perform the popular “Concierto de Aranjuez” by the 20th-century Spanish composer Joaquin Rodrigo (below bottom), who took inspiration from Baroque music for this work. (You can hear the gorgeously tuneful slow movement in the YouTube video at the bottom.)
Jazz great trumpeter Miles Davis also used to play the slow movement from the Rodrigo concerto.
The concert will open with the Symphony No. 30 in D Major by Wolfgang Amadeus Mozart and will close with the Symphony No. 3 in D minor by the Austrian late Romantic composer Anton Bruckner (below), who is often coupled with Gustav Mahler.
For many listeners, the big draw is the Bruckner symphony since Bruckner does not get heard often here.
So The Ear thought it might be useful to read comments about Bruckner by the world-famous maestro Daniel Barenboim, who was the music director of the Chicago Symphony Orchestra for many years.
This week, Barenboim (below top conducting and below bottom in an informal portrait photo by Andrea Gjestvang for The New York Times) is leading the Staatskapelle Berlin in a complete cycle of Bruckner symphonies — coupled with Mozart piano concertos played and conducted by Barenboim himself from the keyboard — in Carnegie Hall in New York City. He also recently recorded all the Bruckner symphonies with the same orchestra. And just yesterday he got rave review from The New York Times for the first two Bruckner-Mozart concerts.
Here is a link to the interview and story in The New York Times:
ALERT: Edgewood College will present its 89th Annual Christmas Concerts tonight at 7 p.m. and Saturday afternoon at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive.
Now expanded to two performances, the holiday concert features the Edgewood College choirs and Concert Band, along with audience sing-alongs, prelude music by the Guitar Ensemble, and a post-concert reception featuring the Jazz Ensemble.
By Jacob Stockinger
Classical music meets old media and new media this weekend through opera and chamber music.
This Saturday marks the beginning of the LIVE RADIO broadcasts of operas from the Metropolitan Opera (below) in New York City. This will be the 86th season for the radio broadcasts, which educated and entertained generations of opera lovers before there were DVDs, streaming and the “Live in HD From the Met” broadcasts to movie theaters.
The performances will be carried locally on Wisconsin Public Radio, WERN-FM 88.7. This Saturday, the starting time for Puccini’s “Manon Lescaut” with Russian superstar soprano Anna Netrebko (below, in a photo by Richard Termine for The New York Times), is 11:30 CST. Other operas will have different starting times, depending their length.
This season runs from Dec. 3-May 15.
Radio has certain strengths, The Ear thinks. For one, it allows the listeners to focus on the music, to be less distracted or less enriched – depending on your point of view – by sets, costumes, lighting, the physicality of the acting and other stagecraft that is left to the imagination.
This season, there will be lots of standard fare including: Verdi’s “La Traviata” and “Aida”; Puccini’s “La Boheme”; Bizet’s “Carmen”; Beethoven’s “Fidelio”; Wagner’s “Tristan und Isolde” and “The Flying Dutchman”; Richard Strauss’ “Der Rosenkavalier” and “Salome”; and Mozart’s “Idomeneo.”
But you can also hear the new music and less frequently staged operas. They include the 2000 opera “L’amour de loin” (Love From Afar) by Finnish composer Kaija Saariaho, which will receive its Metropolitan Opera premiere next week, on Dec. 10.
Here is a link to the complete season along with links to information about the various productions. Starting times are Eastern Standard Time, so deduct an hour for Central Standard Time or a different amount for your time zone:
On this Sunday afternoon, the Pro Arte Quartet (below, in a photo by Rick Langer), longtime artists-in-residence at the University of Wisconsin-Madison School of Music, will wrap up the first semester of “Sunday Afternoon Live From the Chazen,” which used to air weekly on Wisconsin Public Radio but now is presented once a month, on the first Sunday of the month, directly by the museum.
The program this Sunday features the “Italian Serenade” by Hugo Wolf; the String Quartet No. 3 in F Major by Dmitri Shostakovich; and the String Quartet in A-Flat Major, Op. 105, by Antonin Dvorak.
The FREE concert takes place from 12:30 to 2 p.m. in Brittingham Gallery No. 3 of the Chazen Museum of Art and the University of Wisconsin-Madison.
Donors to the museum can reserve seats. Concerts by the Pro Arte Quartet, kind of the house quartet of the museum, are usually “sold out.”
But the concert can also be streamed live via computer or smart phone by clicking on the arrow in the photo and using the portal on the following website:
You might also want to arrive early or stay late to see the historic and rare First Folio edition (below) of the plays by William Shakespeare that is on display at the Chazen Museum through Dec. 11 to mark the 400th anniversary of the death of the Bard.
ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Shannon Farley, viola, with Chris Allen, guitar; Leah King and Jason Kutz, piano; Elspeth Stalter Clouse and Ela Mowinski, violin; Leslie Damaso, mezzo-soprano; and Morgan Walsh, cello. They will perform the Piano Quintet in A Major, Op. 81, by Antonin Dvorak; Three Songs for Mezzo-soprano, viola and piano by Frank Bridge; “Beau Soir” (Beautiful Evening) for guitar and viola by Claude Debussy; and a Romance for violin by Amy Beach as arranged for viola and piano. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
Can the past help us understand and weather the present time with its conflicts and chaos?
In fact her latest album, for the Erato-Warner label, of arias from Baroque operas from the 17th and 18th centuries is dedicated to that proposition. The album’s title is “In War and Peace: Harmony Through Music” (below).
It includes arias from opera by George Frideric Handel (one of which you can hear in the YouTube video at the bottom), Henry Purcell, Niccolo Jommelli, Leonardo Leo and Claudio Monteverdi, and it features two world premiere recordings as well as familiar works.
She boils much of her viewpoint down to one question: In the widest of chaos, how can you find peace?
Sure seems timely, given foreign wars and domestic political strife.
Here is a link with the interview and some fetching music:
Listen to it.
See what you think.
Then let the rest of us know what you think, and whether you agree or disagree, and whether you have other works that come to mind.
The Ear wants to hear.
ALERT: This week’s FREE Friday Noon Musicale in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, features acoustic guitarists Helen Avakian and Dave Irwin in music by Ralph Towner, Giberto Gil and Helen Avakian. The concert takes place from 12:15 to 1 p.m.
By Jacob Stockinger
Here is a link with many more details about the performances, the play, the cast and tickets:
Stage director Doug Scholz-Carlson (below), the artistic director of the Great River Shakespeare Festival who has directed “Romeo and Juliet” as both an opera and a play, agreed to an email interview with The Ear about the differences:
You have directed “Romeo and Juliet” as both a play and an opera. How do the two experiences differ, and what are your most favorite and least favorite parts of doing each?
The opera is based closely on the play, so much of what is essential remains true for both versions.
The biggest difference for me is that the opera focuses on the emotional heart of the love story. Thanks to the music by Gounod (below), the audience experiences what it feels like to be young, impulsive and in love.
The music can reach our emotions directly, so that the opera becomes a truly personal experience for the audience. I don’t think you can see the opera and not find yourself transported to that time in your life when you first fell in love. Romeo and Juliet sing a moving duet in the YouTube video at the bottom.)
Because of the important role of the chorus, the opera also gives the audience the sense of the entire community that surrounds the young people. We see the tragedy through the eyes of the adults in the families who are unable, or unwilling, to help their children grow up.
The play by Shakespeare offers more subtlety in the journey of Romeo and Juliet’s relationship and more context for the adults in their lives. While the opera offers a huge emotional experience through the two main characters, the play creates more nuances in the relationships between many individuals in the story.
In our production, I hope audiences will discover that we have added back many of these relationships through visual storytelling.
What should audiences know about how Gounod’s opera differs from Shakespeare’s play? Do you have a personal preference between the two and why?
I don’t have a preference. I truly love them both for different reasons.
I love the wordplay in the tragedy by Shakespeare (below). Each character is sketched clearly and specifically through the way they use language. We see in the language why Romeo and Juliet find the perfect match in each other. Even smaller characters like the servant Peter have a full life in the play.
The play has a relentless energy. There are so many times in the story that things could turn out well — and so many ways in which the two lovers might never have met. You come away from the play with a profound sense that the combination of events that make up our lives is, in a way, a miracle.
Through Gounod’s music, the opera delivers an emotional experience that can’t be duplicated in any other way in the theater.
I’d be tempted to draw the distinction that the play appeals to the head while the opera appeals to the heart — but that would be unfair to both. Both the play and the opera are a complete experience. They are both profound ways to experience a timeless story.
What else would you like to say about this production in specific or about “Romeo and Juliet” in general?
We keep telling and retelling the story of Romeo and Juliet because it plays out our worst fears. What happens when what we hate becomes more important than what we love? I imagine we’ve all been asking ourselves that question given the current political environment.
Neither the opera nor the play ever explains why the Capulets hate the Montagues.
It doesn’t matter. Both families allow their hatred of each other to become more important than their love for their children. The Capulets and Montagues pay a terrible price to learn that lesson, but it is a lesson we all need to learn over and over again.
By Jacob Stockinger
This Friday, the weekly Friday Noon Musicales will start a new season at the First Unitarian Society of Madison (below), 900 University Bay Drive, in the near west side.
The FREE concerts take place in the historic Landmark Auditorium (below) of the Frank Lloyd Wright-designed Meeting House.
The concert runs from 12:15 p.m. to 1 p.m.
This week features guitarist Christopher Allen, violinist Shannon Farley and lutenist Doug Towne.
Sorry, but The Ear has no word about specific program or pieces.
By Jacob Stockinger
Whether it is conductors or orchestras, singers or instrumentalists, Americans have often been viewed as inferior to Europeans.
And that goes for modern instruments, not just those that are centuries old.
The violins are modern but some go back to the 19th century.
Now the American government – specifically, the Library of Congress – will raise $1.5 million to purchase the collection.
NPR, or National Public Radio, recently featured a terrific story about the phenomenon, which should help overcome any sense of cultural inferiority.
Here is a link:
Read it and see what you think.
Then let us know in the COMMENT section.
Does anyone else wonder about the quality of violins and string instruments made in Asia, in China and especially in Japan, which is the home of the Suzuki method that has trained so many string players?
The Ear wants to hear.
By Jacob Stockinger
This coming Wednesday night at 7 p.m., on the downtown Capitol Square, marks the opening of what has been billed as “The Biggest Picnic of Summer” — the six annual outdoor summer Concerts on the Square (below) by the Wisconsin Chamber Orchestra and guest soloists.
They are big because each concert, under the baton of WCO artistic director Andrew Sewell, last year averaged a weekly crowd of more than 42,000 people, up from 35,000 the previous year, according to the Capitol Police. (The highest was 50,000; the lowest 28,000.)
You should also know that this year the Concerts on The Square will include a generous — maybe, The Ear suspects, even an unprecedented — amount of classical music on June 29, July 6, July 17, July 27 and Aug. 3.
On the programs you will find music by Felix Mendelssohn, Joaquin Turina, Aaron Copland and Ottorino Resphighi (this Wednesday); by Leo Delibes, Peter Tchaikovsky (including the annual and traditional Fourth of July or Independence Day performance of his “1812 Overture”) and Jules Massenet (with famed local Metropolitan Opera singer, mezzo-soprano Kitt Reuter-Foss on July 6); by Paul Dukas, Jean Sibelius, Niels Gade and Antonin Dvorak (on July 13); Ludwig van Beethoven (July 27); Arthur Honegger and Peter Tchaikovsky (Aug. 3).
Here is a link with more information including links to tickets, rules about behavior and seating, and food options:
Even as it prepares for this summer’s six Concerts on the Square, which start Wednesday night, June 26, and run through August 3, the Wisconsin Chamber Orchestra has announced its 2016-27 indoor Masterworks season of five classical concerts. It is an impressive lineup that features a local violist who has made it big, Vicki Powell, and the very young violin sensation Julian Rhee, who won the Madison Symphony Orchestra’s Final Forte with a jaw-dropping reading of the Violin Concerto by Johannes Brahms, as well as a guitarist and duo-pianists.
Here is a link to more information: