The Well-Tempered Ear
Did Beethoven and his Fifth Symphony foster racism, exclusion and elitism in the concert hall? The Ear thinks that is PC nonsense. What do you think?
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By Jacob Stockinger
Controversy has struck big among classical music critics and fans — just in time for the Beethoven Year that will celebrate the 250th anniversary of the composer’s birth this December. Plans call for celebrations by the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the UW-Madison’s Mead Witter School of Music, and others.
At question is what seems yet another fallout and dust-up from the Black Lives Matter movement and the current struggle to foster social justice and racial equality.
In some ways, it all seems inevitable.
Now the history-denying advocates of cancel culture are suggesting that Beethoven (below) and his music – especially the popular Fifth Symphony (you can hear the famous opening in the YouTube schematic video at the bottom) – fostered white privilege and the rise of racism, sexism and homophobia in the concert hall.
That seems like quite an accusation for a single composer and a single piece of music that was premiered in 1808.
The assertion is food for thought. But not much.
In the end The Ear finds it a stretch and a totally bogus argument. He thinks that Beethoven attracted far more performers and audiences than he repelled. Others, including famed critic Norman Lebrecht in his blog Slipped Disc and a critic for the right-wing newspaper The New York Post, agree:
https://slippedisc.com/2020/09/beethovens-5th-is-a-symbol-of-exclusion-and-elitism/
The Ear also thinks it is political correctness run amok, even for someone who, like himself, advocates strongly for diversity of composers, performers and audiences – but always with quality in mind — in the concert hall.
Just because Beethoven was such a great creative artist is hardly cause to blame him for the inability of other artists to succeed and for non-white audiences taking to classical music. Other forces — social, economic and political — explain that much better.
Yes, Beethoven is a towering and intimidating figure. And yes, his works often dominate programming. But both musicians and audiences return to him again and again because of the originality, power and first-rate quality of his many works.
Beethoven himself was deaf. That would certainly seem to qualify him as inclusive and a member of an important category of diversity.
No matter. The writers are happy to blame Ludwig and his work for exclusion and elitism. They argue that people of color, women and LGBTQ people have all felt alienated from classical music because of Beethoven’s legacy.
Of course, there is elitism in the arts. People may be equal, but creative talent is not.
And clearly, Beethoven was a towering and intimidating figure – more for the quality of his music than for the simple fact that it exists. Such exclusion and elitism have to do with other factors than the composition of the Fifth Symphony.
If The Ear recalls correctly, when he died Beethoven was given the largest state funeral up to that time for a non-royal, non-politician or non-military person.
And how do you explain that Beethoven’s music, so representative of Western culture, appeals deeply to and attracts so many Asians and Asian-Americans, and became both banned and symbolically central to those opposed to Chairman Mao’s Cultural Revolution in China?
But these days being provocative can become its own reward.
You can read the analysis and decide about its merits for yourself, then let us know what you think in the Comment section.
Here is a link to the opinion piece in Vox Magazine, a free online journal: https://www.vox.com/switched-on-pop/21437085/beethoven-5th-symphony-elitist-classism-switched-on-pop
What do you think about the idea that Beethoven played a large and seminal role in fostering an elitist and exclusive culture in classical music?
Did you ever feel alienated from classical music because of Beethoven or know others who have?
What is your favorite Beethoven composition?
The Ear wants to hear.
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Classical music: The timing and political climate could not be more relevant for seeing the Madison Opera’s production of “Fellow Travelers” this Friday night and Sunday afternoon
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By Jacob Stockinger
You might recall from a previous blog posting that this weekend, the Madison Opera will present its production of the 2016 opera “Fellow Travelers.”
(A preview from the Minnesota Opera’s production, which featured the same sets and many of the same singers at the Madison Opera’s production, can be seen in the YouTube video at the bottom.)
Performances are this Friday night, Feb. 7, at 8 p.m. and Sunday afternoon, Feb. 9, at 2:30 p.m. in the Capitol Theater of the Overture Center.
Here is a link to more background and details about American history, the production, the cast and tickets.
Today, all The Ear wants to do is to point out how timely this story about the “Lavender Scare” of purging and punishing gays during the Red Scare, anti-Communist witch hunt of McCarthyism in the late 1940s and 1950s.
The opera’s story is about a young man (below) who supports Republican Sen. Joseph McCarthy of Wisconsin and then finds himself romantically and sexually attracted to another man who works in the State Department, one of McCarthy’s favorite targets.
He then has to deal with hypocrisy, with the contradictions between his personal life and his political beliefs as he goes from being victimizer to victim.
The political climate for such a work exploring fear and prejudice couldn’t be more relevant .
A lot of the credit for that can go directly to President Donald Trump (below), the master of “Fake News.”
Trump is a right-wing fear-monger and name-smearer, constantly raging against “radical left-wing Democrats.” He has even called Sen. Bernie Sanders — a Democratic candidate for president — a “Communist,” even though Sanders describes himself as a democratic Socialist along the lines of Western European socialists.
It is also no secret that in addition to such unfair and insulting name-calling, Trump and his homophobic supporters – including Vice President Mike Pence and Christian Fundamentalists – are looking to roll back the civil rights and human rights of people who are lesbian, gay, bisexual, transgender and queer.
And they want to do so even at a time when an openly gay man who is married, Pete Buttigieg, is running for president and seems to have just won the Iowa caucuses.
Moreover, there is a direct link between McCarthyism and the homophobia of the Liar-in-Chief.
Remember that McCarthy’ lawyer was a closeted and self-hating gay man named Roy Cohn (below right, with McCarthy). There is some evidence that McCarthy himself was secretly homosexual too.
After the humiliating end of the Army-McCarthy hearings and the premature death of McCarthy, Cohn went into private practice in New York City.
And that is where Cohn became the lawyer – and a role model of thuggish public behavior — for a young real estate developer named Donald Trump (below left, with Roy Cohn).
Such partisan times as the present seem to call for and inspire didactic art – better called “message art.” The Ear hasn’t seen the opera yet, so he can’t say how well it fits the bill.
But at first glance, the opera sure seems to fit the times we live in and the personalities of many of those who determine such a disturbing political and social climate. As The Nation magazine put it, “Trumpism is the New McCarthyism.”
In short, the opera’s plot seems both pertinent and realistic, one that could take place in today’s Washington, D.C.
The Ear is anxious to find out more and to make up his own mind, including about the music to be sung by the cast and played by the Madison Symphony Orchestra under conductor John DeMain.
He also hopes many of you will see the opera, and then leave your reactions and comments here, be they positive or negative.
The Ear wants to hear.
Tags: #Anti-Communist, #Army-McCarthy, #BernieSanders, #BlogPost, #BlogPosting, #CapitolTheater, #ChristianFundamentalist, #ChristianReligion, #CivilRights, #FacebookPost, #FacebookPosting, #FakeNews, #FellowTravelers, #Fridaynight, #HomeWebsite, #HumanRights, #IowaCaucauses, #JacobStockinger, #JohnDeMain, #LavenderScare, #LGBTQrights, #LivingComposer, #MadisonOpera, #MadisonSymphonyOrchestra, #McCarthyEra, #MessageArt, #MIkePence, #MinnesotaOpera, #NewMusic, #NewYorkCity, #OperaPlot, #OvertureCenter, #PersonalLife, #PeteButtigieg, #PoliticalBeliefs, #PresidentDonaldTrump, #PresidentTrump, #RedScare, #RoleModel, #RoyCohn, #SociallyRelevant, #StateDepartment, #Sundayafternoon, #The1950s, #TheEar, #TheNation, #USArmy, #VicePresident, #VocalMusic, #WesternEurope, #WitchHunt, #YouTubevideo, 1940s, 1950s, American, anti-Communism, Army, Art, Arts, attract, audience, background, behavior, belief, Bernie Sanders, bisexual, blog, candidate, Capitol Theater, cast, choral music, Christian, Christian Fundamentalist, civil, civil rights, Classical music, climate, closeted, colleagues, comment, Communism, composer, Concert, conductor, contradiction, D.C., death, Democratic, describe, details, determine, didactic, didacticism, disturbing, do, Donald Trump, evidence, Facebook, fake news, fear, Fellow Travelers, forward, Friday night, fundamentalist, gay, heartings, homophobia, homosexual, Homosexuality, human, human rights, humiliation, hypocrisy, hypocritical, Iowa, Iowa caucuses, Jacob Stockinger, John DeMain, Lavender Scare, lawyer, left-wing, lesbian, LGBT rights, LGBTQ, liar, life, like, link, Living composer, Madison, Madison Opera, Madison Symphony Orchestra, magazine, man, married, McCarthyism, message, message art, Mike Pence, mind, Minnesota Opera, Music, name, name-calling, negative, new, New Music, New York City, online, open, opera, Orchestra, Overture Center, Overture Center for the Arts, partisan, People, performer, personal, personal life, personalities, personality, pertinent, Pete Buttigieg, plot, political beliefs, Politics, positive, possible, post, posting, practice, premature, President, President Donald Trump, President of the United States, President Trump, preview, private, production, public, punish, punishment, purge, queer, radical, reaction, realistic, recall, recognize, Red Scare, relevant, Republican, Republican Party, right, rights, role model, Romantic, Roy Cohn, see, self-hating, senator, sets, sex, share, singer, smear, social, socialist, State Department, story, sung, supporter, tag, The Ear, The Nation, thug, tickets, time, timely, today, transgender, Trump, Trumpism, U.S. Senator, unfair, United States, vice president, victim, victimizer, vocal music, want, Washington, Website, weekend, Western Europe, Western European, win, Wisconsin, witch hunt, works, young, YouTube
Classical music: Background discussions, lectures and documentaries lead up to Madison Opera’s production of the LGBTQ-themed, McCarthy-era opera “Fellow Travelers” on Feb. 7 and 9
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By Jacob Stockinger
The Madison Opera continues its foray into 21st-century operas with Gregory Spears’ Fellow Travelers on Friday night, Feb. 7, at 8 p.m. and Sunday afternoon, Feb. 9, at 2:30 p.m. in the Capitol Theater at the Overture Center.
(Production photos below are by Dan Norman of the Minnesota Opera production, which is being encored in Madison. You can see and hear a preview of the Minnesota Opera production in the YouTube video at the bottom.)
The acclaimed 2016 opera is set in 1950s Washington, D.C. The “Lavender Scare,” in which suspected homosexuals saw their livelihoods and lives destroyed, has enveloped the U.S. government. (Below are Andres Acosta as Timothy Laughlin and Sidney Outlaw as Tommy McIntyre.)
Against this backdrop, Timothy Laughlin, a recent college graduate and an ardent supporter of Wisconsin’s anti-Communist Republican Senator Joseph McCarthy, meets Hawkins Fuller, a State Department official.
The two men (below, Acosta on the right) embark on a relationship, tangled in a web of fear and necessary deceit. Their friends and colleagues fill out a story of individuals grappling with their beliefs and emotions.
With a libretto by Greg Pierce that is based on Thomas Mallon’s 2007 novel, Fellow Travelers was praised as “a near-perfect example of fast-flowing musical drama” by The New York Times and tells of the very human consequences of prejudice and fear, with compassion, nuance and incredible beauty.
The opera will be sung in English with projected text.
The performance will last approximately 2 hours 25 minutes, including one intermission.
For more information, go to: www.madisonopera.org/FellowTravelers
Tickets are $26 to $118 with discounts available for students and groups. Go to the Overture Center box office at 201 State Street or call it at (608) 258-4141 or go online to www.MadisonOpera.org/Tickets
“When I saw Fellow Travelers, I knew before it was over that I would be producing it in Madison,” says Madison’s Opera’s General Director Kathryn Smith (below in a photo by James Gill). “I fell in love with the haunting music and the well-drawn characters, and the emotional impact at the end was even more powerful than I had anticipated. I am truly looking forward to sharing this modern masterpiece with our community.”
Peter Rothstein (below) directs this production in his Madison Opera debut. Rothstein, who received his MFA from the UW-Madison, directed Fellow Travelers for Minnesota Opera in 2018.
The Twin City Arts Reader called his production “equal parts sweeping love affair and tragic circumstance. To some, the events will feel comfortably distant for this doomed period romance. For others, they will seem all too real and possible in this day and age. It’s a powerful combination.”
Making his Madison Opera debut as Timothy Laughlin is Andres Acosta (below), who performed this role to acclaim at the Minnesota Opera.
Ben Edquist (below), who debuted at Opera in the Park this past summer, sings Hawkins Fuller.
Adriana Zabala (below, of Florencia en el Amazonas) returns as Mary Johnson, who works with Hawkins and is a friend and voice of conscience for him and Timothy.
Returning to Madison Opera are Sidney Outlaw (below top, of Gounod’s Romeo and Juliet) as Tommy McIntyre, a political insider, and Alan Dunbar (below bottom, in a photo by Roy Hellman, of Mozart’s The Magic Flute) in multiple roles, including Senator Joseph McCarthy and a government interrogator who puts Hawkins through a lie detector test.
Andrew Wilkowske (below) debuts in several roles, including Senator Potter and General Arlie.
Filling out the cast is Madison Opera Studio Artist Emily Secor (below top) as Miss Lightfoot, who works in Hawkins’ office; soprano Cassandra Vasta (below bottom) as Lucy, whomHawkins marries; and Madison Opera Studio Artist Stephen Hobe in five different roles.
John DeMain (below, in a photo by Greg Anderson) conducts, with the Madison Symphony Orchestra in the pit.
Madison Opera’s production of “Fellow Travelers” is sponsored by: Fran Klos; Sally and Mike Miley; David Flanders and Susan Ecroyd; John Lemke and Pamela Oliver; Sharyn and Carl Stumpf; and Dane Arts. Community events are sponsored by The Capital Times.
RELATED EVENTS
In addition to the two performances, Madison Opera offers several events to allow deeper exploration of the opera and its historical background.
They include a free discussion of the “Wisconsin Dimension” of this period in history at the Madison Central Library and a free showing of The Lavender Scare documentary at PBS Wisconsin (formerly Wisconsin Public Television).
OPERA NOVICE: WELCOME TO THE 21st CENTURY
This Friday, Jan. 17, 6-7 p.m. FREE and open to the public at the Madison Opera Center (below), 335 West Mifflin Street
New to opera? Not sure how you feel about modern opera? Come to the Madison Opera Center for a short, fun and informative evening, led by General Director Kathryn Smith.
Learn about some of the new American operas that are shaping the operatic landscape in the 21st century, including Fellow Travelers. Studio Artist Stephen Hobe (below) will sing an aria from Fellow Travelers, and there will be plenty of time for questions. It’s the perfect jump-start for the opera-curious.
FELLOW TRAVELERS: THE WISCONSIN DIMENSION
This Sunday, Jan. 19, 3–4:30 p.m.; FREE and open to the public at the Madison Central Library, 201 West Mifflin Street
Join us for a discussion of how the Lavender Scare and its fallout was felt in Wisconsin, led by R. Richard Wagner (below top), activist and author of We’ve Been Here All Along: Wisconsin’s Early Gay History (below middle), and Susan Zaeske (below bottom), a UW-Madison campus leader in the arts and humanities who has taught an experiential-learning course on LGBTQ history.
THE LAVENDER SCARE– Documentary Screening
Friday, Jan. 24, 7 p.m.; FREE and open to the public at PBS Wisconsin, 821 University Avenue
PBS Wisconsin (formerly Wisconsin Public Television) presents a screening of The Lavender Scare, the first documentary film to tell the little-known story of an unrelenting campaign by the federal government to identify and fire all employees suspected of being homosexual.
Narrated by Glenn Close, the film was praised as “a gripping, nimbly assembled documentary… vivid, disturbing and rousing” by the Los Angeles Times. The screening will be followed by a discussion.
OPERA UP CLOSE: FELLOW TRAVELERS
Sunday, Feb. 2, 1-3 p.m.; FREE for full-season subscribers; $10 for two-show subscribers; and $20 for non-subscribers; at the Madison Opera Center, 335 West Mifflin Street
Join the Madison Opera for a multimedia behind-the-scenes preview of Fellow Travelers. General Director Kathryn Smith will discuss many aspects of the opera, including the historical events that provide the story’s backdrop, the novel on which it is based, and how this 2016 opera swiftly spread across the country.
Principal artists, stage director Peter Rothstein, and conductor John DeMain will participate in a roundtable discussion about Madison’s production and their own takes on this acclaimed 2016 work.
PRE-OPERA TALKS
Friday, February 7, 2020, 7 p.m. and Sunday, February 9, 2020, 1:30 p.m. FREE to ticket holders at the Wisconsin Studio in the Overture Center
Join General Director Kathryn Smith one hour prior to performances for an entertaining and informative talk about Fellow Travelers.
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Classical music: What music would you play to honor and mourn the dead, wounded and traumatized victims of the gay night club shooting in Orlando, Florida?
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By Jacob Stockinger
It has been a week now.
A very long, hard and emotional week.
The Ear has heard some classical music dedicated to the victims — 49 killed, some 50 wounded and countless traumatized — of the mass shooting at Pulse, a gay night club in Orlando, Florida, that took place one week ago. (Below is a vigil in support of the LGBT community.)
Others might choose a standard like the famous “Adagio for Strings” by Samuel Barber. It is undeniably moving and perfectly appropriate.
But so far the piece that most moved The Ear, unexpectedly, was a familiar one that aired on Wisconsin Public Radio: the “Nimrod” variation from the “Enigma Variations” by Sir Edward Elgar.
The Ear hears tenderness, gentleness and even love in the music. But in it he also hears strength, resilience and pride as well as sorrow, acceptance and resignation.
Plus, he likes the idea of enigma that is attached to it, given all the issues and questions — terrorism, Islamic radicalization and extremism, homophobia, self-hatred, hate crimes, gun control, protests, mass grieving — that still surround the incident and remain to be solved.
You can listen to the piece of music in the YouTube video at the bottom that features conductor Daniel Barenboim conducting the Chicago Symphony Orchestra. It has more than 3 million hits.
But The Ear is also sure that there is a great deal of other music that would suit the purpose. They include:
The passions, oratorios and cantatas by Johann Sebastian Bach.
The Requiems of Wolfgang Amadeus Mozart, Johannes Brahms, Giuseppe Verdi and Gabriel Faure.
The symphonies of Ludwig van Beethoven, Robert Schumann, Johannes Brahms, Peter Tchaikovsky and Antonin Dvorak.
The string quartets, piano trios, duo sonatas and other chamber music by Joseph Haydn and Franz Schubert as well as the solo piano music of Chopin, Schumann and so many others.
The masses of Haydn, Mozart, Beethoven and Schubert.
The songs of Schubert and arias and choruses from all kinds of operas, but especially those of Giacomo Puccini.
And on and on.
Leave your personal choice, with a YouTube link if possible, and your reason for choosing it in the COMMENT section.
The Ear wants to hear.
Tags: Adagio for Strings, arias, Arts, Bach, Barber, Baroque, Beethoven, Brahms, cantatas, Cello, Chamber music, Chicago Symphony Orchestra, Chopin, choral music, choruses, Classical music, conductor, Daniel Barenboim, Early music, Elgar, enigma, Enigma Variations, Faure, Florida, Franz Schubert, gay, Giacomo Puccini, grieving, gun, gun control, hate crime, homophobia, Islam, Islamist, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, lesbian, LGBT, Ludwig van Beethoven, mass, masses, Mozart, Music, Nimrod, opera, oratorio, Orlando, Passion, Piano, Piano Trio, protest, Quartet, radicalization, Requiem, Robert Schumann, self-hatred, shooting, Sonata, song, String quartet, Tchaikovsky, terrorism, trio, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Verdi, Viola, Violin, vocal music, wisconsin public radio, Wolfgang Amadeus Mozart, YouTube
Classical music: Meet Marin Alsop, the pioneering American maestra who will conduct the closing concert of the BBC British Proms concerts this Saturday night.
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By Jacob Stockinger
If you listen regularly to NPR, or National Public Radio, you will often hear stories featuring the American conductor Marin Alsop (below) and the Baltimore Symphony Orchestra she leads on Saturday mornings. That is when Scott Simon interviews her about her latest projects for Weekend Edition.
And you may know Alsop’s name as a student and protégée of the legendary Leonard Bernstein and as the music director and conductor of the Sao Paulo Symphony Orchestra in Brazil.
You might also know that Alsop thinks classical music has become elitist and so she works hard for educational programs and community outreach.
But you may not know that in 2013 Alsop was the first woman chosen to conduct the mammoth closing night of the popular Proms concerts (below) in London’s Royal Albert Hall for the BBC in England. (You can hear the rousing and popular speech she gave then in a YouTube video at the bottom. And be sure to read some of the sexist and homophobic reader comments.)
This Saturday night she returns to the United Kingdom to conduct the closing concert of this summer’s Proms, which will have a huge audience of over 40 million listeners worldwide via TV, radio and the Internet.
Here is a link to the portal for listening to the concert:
Thanks to a story and a Q&A interview in The Economist, here is a chance to meet Marin Alsop and learn more about this impressive musician:
http://www.economist.com/blogs/prospero/2015/08/bbc-proms
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Classical music: Court victories favoring same-sex marriage equality and an extended Valentine’s Day weekend add up to a magical and loving mix for musical partners, including opera star Patricia Racette, who comes out as a lesbian.
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ALERT: If you are undecided about going to this afternoon’s concert at 2:30 p.m. in Overture Hall by the Madison Symphony Orchestra with Norwegian trumpet soloist Tine Thing Helseth (below), here are links to positive reviews by John W. Barker for Isthmus and by Greg Hettmansberger for Madison Magazine’s blog “Classically Speaking”:
http://www.thedailypage.com/daily/article.php?article=42078&sid=4d977189e5be9d039af0d641c547219f
By Jacob Stockinger
Well, when a holiday falls on a Friday – like Valentine’s Day this year — one can be forgiven for prolonging it over the weekend, don’t you think?
But it seems a good chance to blend two recent stories and trend lines that are increasingly coming together.
And coming out.
One is the recent various court victories for marriage equality, or same-sex marriage, or gay marriage. Whatever you want to call it, it seems to becoming more and more a legal and social reality with every week that passes.
And those legal victories lead to more and more gays and lesbians coming out, including the star football player and top NFL draft possibility star Michael Sam (below top) and “Juno” actress Ellen Page (below bottom).
Here is a link to a New York Times story about Michael Sam:
And here is a link to a Washington Post story about Ellen Page:
http://www.washingtonpost.com/national/juno-actress-ellen-page-comes-out-as-gay/2014/02/15/f3327800-9627-11e3-ae45-458927ccedb6_story.html
As for Valentine’s Day, imagine what how rewarding it could be to work cooperatively in the performing arts with your life partner and love.
That is exactly what was documented in a recent story on NPR’s great blog “Deceptive Cadence.”
NPR highlighted various musical couples in classical music who met in a musical setting and fell in love while working, and who now get to work together.
And for good measure, they included the Metropolitan Opera star soprano Patricia Racette (below top, out of costume, and below bottom in the title role of Puccini’s “Tosca”), who openly talks about what a great marriage she has with her female partner. (You can hear Patricia Racette as the title character Cio-Cio-San sing the finale of Puccini’s “Madama Butterfly” at the Metropolitan Opera in a popular YouTube video at the bottom.)
Of course, most of the couples are heterosexual in the story just as they are in real life. And we have seen some of them – tenor Stephen Costello (below top) at the Madison Opera‘s Opera in the Park as well as cellist David Finckel and pianist Wu Han (below bottom) at the Wisconsin Union Theater, in Madison.
But it is both sensitive and brave of NPR, which is always under the gun and budget knife of the self-righteous and nutty right-wing extremists and homophobes, to do the story.
Here is a link:
One can only hope and imagine the chain reaction that is to happen as each coming out brings several more, as bravery and tolerance build, and as the visible becomes visible.
Saint Valentine -– at least my Saint Valentine — would be very pleased.
Tags: Arts, Chamber music, Classical music, David Finckel, Ellen Page, football draft, Friday, gay, Gay Lesbian and Bisexual, gay marriage, Giacomo Puccini, homophobia, Jacob Stockinger, lesbian, Madama Butterfly, Madison Opera, Madison Symphony Orchestra, marriage equality, Metropolitan Opera, National Football League, New York Times, NFL, NFL draft, NPR, opera, Patricia Racette, Puccini, right-wing, Saint Valentine, Same-sex marriage, Stephen Costello, Tine Thing Helseth, Tosca, Valentine's Day, Washington Post, Wisconsin Union Theater, Wu Han, YouTube
Classical music: Is it payback time for Russian musicians at the Winter Olympics in Sochi? Conductor Valery Gergiev is the official maestro of Vladimir Putin’s big show that opens tonight with grand ceremony.
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By Jacob Stockinger
If you have been waiting for the start of the 2014 Winter Olympics (below is the official logo), tonight is the night it all begins for real –- at least officially because some preliminary rounds of sporting events like figure skating and snowboarding have already been held — even amid the terrorist threats, corruption, unfinished construction, dog roundups, authoritarianism and homophobia.
Many of us here in the U.S. will be tuning in at 8 p.m. EST to NBC-TV and streaming the games on-line. Here is a link to a schedule, to background stories and to other links.
For a complete schedule of events, check out:
And tonight is the opening ceremonies, the March of Nations, where all the athletes will march into the main stadium.
Could it also be payback time for Russian superstar musicians?
The maestro of music for the Olympics is the ever busy, often unshaven and always critically acclaimed conductor Valery Gergiev (below), who guest conducts around the world and holds his own podium at the Mariinsky Theatre in St.Petersburg.
But ironically, the maestro is a very close friend and political supporter – as is superstar soprano Anna Netrebko (below), who may or may not show up at Sochi — of the heavy-handed and thuggish Russian President, and former KGB agent, Vladimir Putin. (Below is a photo of Vladimir Putin pinning a state decoration on Valery Gergiev.)
The combination of the two V-Men — Vladimir and Valery — creates certain ironies and some wariness or even dissatisfaction.
Here is a link to a fine story about Gergiev, Putin and the Olympics that aired in NPR. It also has links to some music.
And The New York Times has also published a story about Gergiev that focuses on his role as an ambassador and defender of Russian culture’s rebirth under Putin, whom Gergiev endorsed in the last presidential election (both are below), despite the foreign political fallout.
So, will Anna Netrebko (seen below in the Metropolitan Opera’s production of Tchaikovsky’s opera “Eugene Onegin”), who also endorsed Putin, show up to sing?
Will some of the famous ballet dancers from the famed but beleaguered Bolshoi company in Moscow also perform?
Tune in and see.
But while we wait for the Winter Olympics to reveal themselves and for their many cultural contradictions to surface — and to help warm you up in this cold, cold Midwest winter -– here is some of the best music ever composed for the Olympics or sports events: A YouTube video of Milwaukee-born composer Michel Torke’s “Javelin” written for the 1996 Summer Olympics Games in Atlanta, Georgia:
Tags: 2014 Winter Olympics, Anna Netrebko, Arts, Atlanta, ballet, Bolshoi, Classical music, conductor, corruption, dog, figure skating, gay, Georgia, homophobia, Jacob Stockinger, Javelin, Madison Opera, Mariinsky Theatre, Metropolitan Opera, Michael Torke, Moscow, NBC, NBC-TV, New York Times, Olympics, Russia, Russian culture, Saint Petersburg, snowboarding, Sochi, Sports, Summer Olympics, terrorism, The New York Times, Valery Gergiev, Vladimir Putin, Winter Olympics, YouTube
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The Well-Tempered Ear 
To celebrate Pride month, here are lists of LGBTQ+ composers, performers and musical ensembles
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
June is Pride month.
And this weekend will see Pride marches and celebrations in some major cities including New York City, Chicago, Paris and Rome.
As time passes, scholars are finding out more about the LGBTQ+ composers, performers and musical groups that have been hidden by history.
And some ironies emerge. One can only imagine the response of conservative, right-wing Evangelical Christians who find out that the composer of “Messiah” – George Frideric Handel (below) — was queer, at least according to some researchers.
For most listeners, surprises abound.
Here is a good place to start. It is the very large Wikipedia entry of LGBTQ+ composers and performers, both contemporary and historical. The Ear finds it very informative. It is organized by the kind of musicians they are and the category of their sexual identity. https://en.wikipedia.org/wiki/Category:LGBT_musicians
If you want to be more selective, try these: https://www.classicfm.com/discover-music/greatest-lgbtq-conductors-you-should-know/. They include Marin Alsop (below top) and her teacher and mentor Leonard Bernstein (below bottom).
Here is longer essay that focuses on lesbian conductors as well as gay men and reaches back to the Middle Ages: http://www.glbtqarchive.com/arts/conductors_A.pdf
And here is one with some great photos or pictures of the individuals: https://www.classicfm.com/discover-music/great-classical-composers-who-were-gay/
Finally, here are some of the international music ensembles – with audio samples of their performances — made up of LGBTQ+ singers and instrumentalists, including the Rainbow Symphony of Paris (in the YouTube video at the bottom, performing the beautiful Gloria by the gay French composer Francis Poulenc in a benefit Concert Against Homophobia for UNESCO): https://www.classicfm.com/discover-music/best-lgbtq-classical-music-ensembles/
Inevitably, some readers will react by asking: What difference does the sexual identity of composer or performer make? All that matters, they argue, is the music.
Here is a reply to that specious argument that focuses on Yannick Nézet-Séguin (below), the music director of the Metropolitan Opera, the Philadelphia Orchestra and the City Symphony of Montreal. It appeared in The New York Times: https://www.nytimes.com/2019/01/15/arts/music/yannick-nezet-seguin-met-opera-gay.html
Happy Pride – this month and every day of the year!
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