The Well-Tempered Ear
Classical music: This Friday night, the Wisconsin Chamber Orchestra closes its season with a dark and unorthodox symphony by Shostakovich as well as lighter suites by Bizet and Debussy
Leave a Comment
IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
By Jacob Stockinger
The Wisconsin Chamber Orchestra (below top) ends its winter Masterworks season this coming Friday night, May 10, at 7:30 p.m. in the Capitol Theater of the Overture Center.
And it is going out in a big, eclectic way.
The WCO will perform under the baton of music director Andrew Sewell (below).
Sewell and the WCO will be joined by two guest singers: soprano Mary Mackenzie, a former Madison resident and member of the Wisconsin Youth Symphony Orchestras (WYSO); (below top); and the Grammy-nominated bass Timothy Jones (below bottom).
Both critically acclaimed singers are familiar to Madison audiences from past appearances with the Bach Dancing and Dynamite Society, the Madison Opera, the Token Creek Chamber Music Festival, the Madison Symphony Orchestra and previous appearances with the Wisconsin Chamber Orchestra.
They will all join in the major work that opens the concert, the Symphony No. 14, Op. 135, by Dmitri Shostakovich (below), his penultimate symphony that runs about 50 minutes and is highly unorthodox in its form.
Shostakovich wrote his symphony in 1969, and dedicated it to the British composer Benjamin Britten.
Perhaps to avoid more confrontations with the government of the USSR and perhaps to critique global events such as war, the composer gave it a very international flavor.
Written for strings and percussion with vocal soloists, the symphony is composed in 11 movements. It is also set to poetry by the French poet Guillaume Apollinaire (below top), the Spanish poet Federico Garcia Lorca (below middle) and the German poet Rainer Maria Rilke (below bottom). In the YouTube video at the bottom, you can hear a live recording of the first movement from the work’s world premiere in Moscow in 1969.
In the late work, Shostakovich (below, in 1950) – always suspect by the Soviet state and in danger during the Stalinist Terror — seeks to portray the idea of unjust and premature death that aroused deep feelings of protest in him. Shostakovich emphasized, however, that it was not out of pessimism that he turned to the problem of mortality but in the name of life on this earth.
The concert concludes on a lighter, more upbeat note by celebrating the innocence and joy of youth in two charming suites: “Jeux d’enfants” (Children’s Games), Op. 22, by Georges Bizet and the “Petite Suite” (Little Suite) by Claude Debussy.
Tickets are $12-$80. To buy tickets and to see more information about the program and detailed biographies of the performers, go to:
https://wisconsinchamberorchestra.org/performances/masterworks-v-4/
Tags: #AndrewSewell, #BachDancingandDynamiteSociety, #BassVoice, #BenjaminBritten, #BlogPost, #BlogPosting, #BritishComposer, #CapitolTheater, #ChamberMusic, #ChamberSymphony, #Children'sGames, #ClaudeDebussy, #CriticalAcclaim, #CriticallyAcclaimed, #DmitriShostakovich, #FacebookPost, #FacebookPosting, #FedericoGarciaLorca, #FrenchPoetry, #Fridaynight, #GeorgesBizet, #GermanPoetry, #GrammyAward, #GuillaumeApollinaire, #InstrumentalMusic, #Jeuxd'enfants, #JohannSebastianBach, #JosefStalin, #LittleSuite, #LiveRecording, #MadisonOpera, #MadisonSymphonyOrchestra, #MadisonWisconsin, #MaryMackenzie, #MasterworksSeason, #MeadWitterSchoolofMusic, #MoscowRussia, #MusicDirector, #OvertureCenter, #PercussionSection, #PetiteSuite, #RainerMariaRilke, #SopranoSinger, #Sovietcomposer, #SovietUnion, #SpanishPoetry, #StalinistTerror, #StringSection, #TimothyJones, #TokenCreekChamberMusicFestival, #UniversityofWisconsin-Madison, #VocalMusic, #WisconsinChamberOrchestra, #WisconsinYouthSymphonyOrchestras, #WorldPremiere, #WorldWarI, #WorldWarII, #YouTubevideo, acclaim, Andrew Sewell, appearance, Arts, audience, Bach, Bach Dancing and Dynamite Society, bass, baton, Benjamin Britten, big, biographies, blog, British, Capitol Theater, celebrate, Cello, Chamber music, Chamber Symphony, charm, charming, children, Children's Games, Classical music, Claude Debussy, composer, Concert, conductor, critical, critically acclaimed, danger, dark, death, dedication, deep, Dmitri Shostakovich, Earth, eclectic, Facebook, Federico Garcia Lorca, feelings, form, forward, French, French poetry, Friday, game, Georges Bizet, German, German poetry, global, government, Grammy, Guillaume Apollinaire, hour, innocence, instrumental music, international, Jacob Stockinger, Jeux d'enfants, Johann Sebastian Bach, Joseph Stalin, Joy, life, light, lighter, like, link, little, live, Madison, Madison Opera, Madison Symphony Orchestra, Mary Mackenzie, masterwork, Mead Witter School of Music, member, mortality, Moscow, Music, Music director, name, New York City, night, nominated, note, opera, Orchestra, Overture Center, penultimate, percussion, performer, pessimism, poem, poet, Poetry, premature, problem, protest, Rainer Maria Rilke, recording, share, sing, singer, soprano, Soviet, Soviet Union, Spanish, Spanish poetry, Stalin, Stalinist Terror, strings, Suite, symphony, tag, terror, text, ticket, Timothy Jones, Token Creek Chamber Music Festival, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, unjust, unorthodox, upbeat, USSR, Viola, Violin, vocal music, war, WCO, winter, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin Youth Symhony Orchestras, word, world premiere, World War I, World War II, WYSO, Youth, YouTube
Classical music: “Into the Woods” proved a complete, first-rate theatrical experience
Leave a Comment
IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
By Jacob Stockinger
Larry Wells – the very experienced Opera Guy for The Well-Tempered Ear blog – attended two performances of “Into the Woods” at the Wisconsin Union Theater, and filed this review. (Photos are by Beau Meyer for the UW-Madison Department of Theatre and Drama.)
By Larry Wells
The University Theatre and University Opera’s recent joint production of “Into the Woods” was a feast for fans of Stephen Sondheim (below). It was a complete theatrical experience with excellent singing, a nuanced orchestral accompaniment, skilled acting and enchanting staging.
The nearly three-hour work is an amalgamation of several well-known fairy tales exploring themes such as parent-child relationships, loss of innocence, self-discovery, the consequences of wishes being fulfilled, and death – but all in an amusing, literate, fast-paced kaleidoscope of witty dialogue, catchy music and sophisticated lyrics.
The production employed an attractive, ever-changing set, designed by John Drescher, that was vaguely reminiscent of Maurice Sendak.
Stage director David Ronis (below, in a photo by Luke DeLalio) utilized the large cast and what had to be an equally large number of backstage crew members in a captivating succession of ensemble pieces and solo numbers. I was never aware of the passing of time. Not looking at my watch is my acid test of a production’s success.
Among the many standout performances, Bryanna Plaisir (below) as the Witch was comical in her delivery and quite amazing in the physicality of her performance. There were a number of times when she flew, and each time I was taken by surprise at her effortlessness. Her initial song, accompanied mostly by percussion, was mesmerizing.
There were two roles that were double cast: Elisheva Pront and Miranda Kettlewell (below) as the Cinderellas; and Meghan Stecker and Zoe Bockhorst as the two Little Red Riding Hoods.
Both Pront and Kettlewell possess excellent voices.
Stecker was the more girlish of the two Red Riding Hoods, whereas Bockhorst (below left) portrayed a slightly more canny character. Both were very funny in their encounter with Cobi Tappa’s Wolf (below right).
Tappa is a physical actor whose tall lankiness conveyed the Wolf’s lupine nature flawlessly. He also portrayed the Steward, and I was completely captivated by his performance, as was the appreciative audience.
Joshua Kelly (below) was the narrator and also played the baker’s father. His was a professional quality performance from beginning to end – enunciating so clearly that he was completely understandable throughout.
Jack was played by Christian Michael Brenny. His portrayal of a simple-minded boy was touching, and his singing was outstanding.
Emily Vandenberg (below left) as the wife of the baker (played by Michael Kelley, below right) was another outstanding performer – an excellent comic actress and an accomplished vocalist.
Mention must also be made of Rapunzel and Cinderella’s princes, Tanner Zocher and Jacob Eliot Elfner. Their two duets, “Agony” and “Agony Reprise,” were enthusiastically received by the audience not only for their delivery but also for such lyrics as “…you know nothing of madness ‘til you’re climbing her hair…”.
Sondheim’s way with words continues to amaze me. In describing a decrepit cow, Jack’s mother gets to sing “…while her withers wither with her…”. The Wolf gets to sing the line “…there’s no possible way to describe what you feel when you’re talking to your meal…”
Chad Hutchinson (below) conducted the orchestra in a finely shaded performance – never overpowering and always supportive.
There were many other excellent performances and memorable moments. Suffice it to say that altogether cast, crew, artistic and production staff created a show that I enjoyed on two consecutive evenings. In fact I was completely entranced both times.
Postscript: The first evening I sat in front of a person who coughed more or less continually the entire first act. Mercifully she left at the intermission. Next to me was a woman who alternated between audibly clearing her throat and blowing her nose — when she wasn’t applying moisturizer to her hands — throughout the entire show. Stay home if you’re sick. And remember that you are not at home watching your television. You are in a theater.
Tags: #AcidTest, #BlogPost, #BlogPosting, #BlogReview, #BroadwayMusical, #BrothersGrimm, #ChadHutchinson, #CharlesPerrault, #ConcertEtiquette, #DavidRonis, #DepartmentofTheatreandDrama, #DuetMusic, #FacebookPost, #FacebookPosting, #FairyTales, #Fast-Paced, #husband-and-wife, #IntotheWoods, #JackandtheBeanStalk, #LarryWells, #LIttleRedRidingHood, #LossofInnocence, #MauriceSendak, #MeadWitterSchoolofMusic, #MusicReview, #OperaCast, #OperaGuy, #OperaReview, #OrchestralAccompaniment, #Parent-Child, #PrinceCharming, #Self-Discovery, #StageDirector, #StephenSondheim, #TheWell-TemperedEar, #UniversityofWisconsin-Madison, #UniversityOpera, #UniversityTheatre, #WisconsinUnionTheater, #WishFulfillment, acid test, acting, actress, agony, amaze, amusing, appreciative, Arts, audience, backstage, baker, blog, blowing, boy, Broadway musical, Brothers Grimm, canny, captivated, cast, catchy, Chad Hutchinson, character, Charles Perrault, Child, CINDERELLA, clearing, comical, complete, composer, conductor, cough, cow, crew, David Ronis, death, delivery, Department of Theatre and Drama, dialogue, drama, duet, enchanting, encounter, ensemble, enunciation, etiquette, excellent, experience, explore, Facebook, fairy tales, fan, father, feast, first-rate, forward, funny, girl, girlish, hands, Home, initial, innocence, Into the Woods, Jack, Jack and the Bean Stalk, Jack and the Beanstalk, Jacob Stockinger, kaleidoscope, Larry Wells, link, literate, Little Red Riding Hood, looking, loss of innocence, lupine, lyrics, Madison, madness, Maurice Sendak, Mead Witter School of Music, meal, mesmerizing, moisturizer, Mother, Music, narrator, nature, nose, number, opera, Opera Guy, Orchestra, orchestral accompaniment, outstanding, Parent, percussion, performer, photo, physicality, piece, postscript, ppassing, prince, Prince Charming, production, professional, quality, Rapunzel, relationship, reminiscent, reprise, review, role, set, share, sick, simple-minded, sing, Singing, skilled, solo, song, sophisticated, staff\, stage director, staging, standout, Stephen Sondheim, steward, success, support, supportive, surprise, tag, talk, tall, Television, The Opera Guy, The Well-Tempered Ear, theater, theatre, theatrical, theme, throat, time, TV, understandable, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, University Opera, University Theatre, vocalist, watch, wife, Wisconsin Union Theater, wish, wish fulfillment, witch, witty, Wolf, woman, words
Classical music: Former UW pianist Catherine Kautsky will talk, play music and sign copies of her book “Debussy’s Paris: Piano Portraits of the Belle Epoque” this Thursday night at the Mystery to Me bookstore in Madison
1 Comment
By Jacob Stockinger
Some of you may recall the pianist Catherine Kautsky (below). She came from the Lawrence University Conservatory of Music in Appleton, Wis., to the UW-Madison where she performed many memorable concerts.
Then, after about five years, she returned to Lawrence as the head of the piano department.
Kautsky always showed an affinity for French music — she has recorded both books of Debussy‘s Preludes for piano — and now she has transformed her francophilia into a book: “Debussy’s Paris: Piano Portraits of the Belle Epoque” ($38, below).
Kautsky will be in Madison this Thursday night from 7 to 9 p.m. at the Mystery to Me bookstore, 1863 Monroe Street, next to Neuhauser Pharmacy and across from Trader Joe’s.
A terrific explainer, Kautsky will talk about her book and sign copies. A keyboard will also be available for Kautsky to play some of the music she talks and writes about. (You can hear Kautsky playing and discussing the great last Sonata in B-Flat Major, D. 960, by Franz Schubert in the YouTube video at the bottom.)
Here is a description of the book with biographical information:
“Debussy’s Paris: Piano Portraits of the Belle Époque takes readers on a tour of Paris through detailed descriptions of the city’s diversions and the music Debussy wrote reflecting them.
“Catherine Kautsky explores how key works reveal not only the most appealing aspects of Paris, but also the more disquieting attitudes of the time. In contrast to the childlike innocence of fairy tales, minstrel shows had racist overtones, colonization entailed domination, and the brooding nationalism of the era was rife with hostility.
“Debussy (below) left no avenue unexplored, and his piano works present a sweeping overview of the passions, vices, and obsessions of the era’s Parisians.
“When played today, Debussy’s music breathes the story of one the world’s most fascinating cities. Kautsky reveals little known elements of Parisian life during the Belle Époque and weaves the music, the man, the city, and the era into an indissoluble whole.
“Her portrait will delight anyone who has ever been entranced by Debussy’s music or the city (below) that inspired it.”
Catherine Kautsky is chair of keyboard at Lawrence University and has been lauded by the New York Times as “a pianist who can play Mozart and Schubert as though their sentiments and habits of speech coincided exactly with hers…” She has concertized widely, performing in major halls in New York, Chicago, Washington, and Boston, soloing with the St. Louis Symphony and other orchestras and appearing frequently on public radio.
Here is a link with more information, including praise from pianist Richard Goode who will perform in Madison at the Wisconsin Union Theater at 7:30 p.m. on Saturday, Nov. 4.
Tags: Appleton, Arts, Belle Epoque, biographical, biography, Book, bookstore, Boston, Catherine Kautsky, chair, Chamber music, Chicago, Child, children, city, Classical music, colonization, composer, Debussy, department, diversion, domination, ent, fairy tale, France, francophilia, Franz Schubert, hstilityp, information, innocence, Jacob Stockinger, Keyboard, Lawrence University, Lawrence University Conservatory of Music, Madison, man, minstrel, minstrel shows, Mozart, Music, Mystery to Me, nationalism, New York, New York City, New York Times, obsession, Orchestra, Paris, Passion, Piano, portrait, Prelude, public radio, race, racism, Radio, reflections, Richard Goode, senti, Sonata, speech, St. Louis, St. Louis Symphony, tour, Trader Joe's, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vice, Washington, Wisconsin, Wisconsin Union Theater, Wolfgang Amadeus Mozart, work, write, Writer, YouTube
Recent Comments
The Well-Tempered Ear 
Critics for The New York Times name their Top 10 online classical concerts for May
Leave a Comment
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
Even as we wait to see whether concerts in the next season will be mostly streamed or live, the critics for The New York Times have named their Top 10 classical concerts to stream and hear online in May.
The Times critics have been doing this during the pandemic year. So perhaps if and when they stop, it will be a sign of returning to concert life before the pandemic.
Then again, maybe not, since The Ear suspects that many listeners have liked the online format, at least for some of the times and for certain events. So maybe there will be a hybrid format with both live and online attendance.
As the same critics have done before, they mix an attention to contemporary composers, world premieres and up-and-coming performers, including the Finnish conductor Susanna Maliki (below top) in a photo by Hiroyuki Ito for The New York Times).
In a welcome development, the recommendations for this month also seem to mention more Black composers, performers and pieces than usual, including the rising star bass-baritone Davon Tines (below, in a photo by Vincent Tullo for The New York Times).
But you will also find many of the “usual suspects,” including Haydn, Mozart, Schubert, Bartok, Benjamin Britten, Olivier Messiaen and Shostakovich. (On the play list is Schubert’s last song, “The Shepherd on the Rock,” which you can hear in the YouTube video at the bottom.)
You will also find dates and times (all are Eastern), links to the event and some short commentaries about what makes the concerts, programs and the performers noteworthy.
Here is a link to the story: https://www.nytimes.com/2021/04/29/arts/music/classical-music-streaming.html
Do you know of local, regional, national or international online concerts that you recommend? Leave word with relevant information in the Comment section.
Happy Listening!
Share this:
Like this:
Tags: "Amadeus", #AixFestival, #AlbertHerring, #AlvinLucier, #AmadeusFilm, #AnthonyDavis, #AnthonyMcGill, #AnthonyTommasini, #AntonFerdinandTitz, #ArpeggioneSonata, #BeethovenSonataCompetition, #BelaBartok, #BenjaminBritten, #BerlinPhilharmonic, #BlackComposer, #Blackperformer, #BlogPost, #BlogPosting, #Bluebeard'sCastle, #BreonnaTaylor, #CelloMusic, #ChamberMusic, #ChamberOpera, #ChoralMusic, #ConcertgebouwOrchestra, #ConcertProgram, #ContemporaryComposer, #CoronavirusPandemic, #COVID-19, #DavidPortillo, #DavonTines, #DiderotStringQuartet, #DifficultGrace, #DmitriShostakovich, #DougSchulz-Carlson, #EasternTime, #EcstaticMusic, #ErnestBloch, #EvgenyKissin, #ExperimentalMusic, #FacebookPost, #FacebookPosting, #FranzJosephHaydn, #FranzSchubert, #GreatMigration, #HanKim, #HelsinkiFinland, #HelsinkiPhilharmonicOrchestra, #HiroyukiIto, #HistoricallyInformedPerformancePractices, #IAmSIttingInaRoom, #JacobStockinger, #JaneGlover, #JohnAdams, #JoshuaBell, #KaijaSaariaho, #KlausMakela, #LincolnCenter, #LiveMusic, #LiveStreaming, #MalcolmX, #MetropolitanOpera, #MichiganOperaTheater, #MinnesotaOpera, #MusicBefore1800, #MusicCritic, #MyraHuang, #NathaieJoachim, #NewMusic, #NewYorkCity, #OlivierMessiaen, #OnlineConcert, #OrchestralMusic, #PeriodInstruments, #PhiladelphiaOrchestra, #PianoTrio, #PierreAlexandreTremblay, #PittsburghPost-Gazette, #RecordedMusic, #RisingStar, #ScottWollschleger, #SethParkerWoods, #StevenIsserlis, #StringQuartet, #SusannaMalkki, #SusannaPhillips, #TenorSinger, #TheEar, #TheHolocaust, #TheJoke, #TheMet, #TheNewYorkTImes, #TheShepherdontheRock, #Up-and-Coming, #ValentinesDay, #VirtualConcert, #WilliamGrantStilll, #WolfgangAmadeusMozart, #WorldPremiere, #YannickNezet-Seguin, #YouTubevideo, 90, Adans, Aix Festival, Albert Herring, alternation, Alvin Lucier, Anthony Davis, Anthony McGill, Anthony Tommasini, Anton Ferdinand Titz, Arpeggione sonata, Arts, attack, attendance, attention, audience, Bartok, bass-baritone, Béla Bartók, Bell, Benjamin Britten, Berlin, Berlin Philharmonic, birthday, black composer, Black performer, Bloch, blog, Bluebeard's Castle, boy, Breonna Taylor, Britten, celebration, cellist, Cello, Chamber music, chamber opera, chilling, choral music, clarinet, clarinetist, Classical music, comic, comment, commentary, composer, Concert, Concertgebouw Orchestra, conductor, contemporary, coronavirus, critic, date, David Portillo, Davis, Davon Tines, Diderot String Quartet, difficult, Difficult Grace, Dmitri Shostakovich, Doug Scholz-Carlson, dynamics, Eastern time, Ecstatic Music, England, Ernest Bloch, Europe, Evgeny Kissin, experimental, Facebook, Facebook post, Facebook posting, fan, fans, Finland, Finnish, flood, format, forward, France, Franz Joseph Haydn, Franz Schubert, German, Germany, Glover, grace, Great Migration, Ham Kim, Haydn, Helsinki, Helsinki Philharmonic Orchestra, highlight, Hiroyuki Ito, historically informed performance practices, Holocaust, Huang, hybrid, I Am Sitting in a Room, Im, innocence, innocent, international, Jacob Stockinger, Jane Glover, Jewish, John Adams, Joshua Bell, Kaija Saariaho, Karl Larson, KarlLarson, Kim, Kissin, Klaus Makela, last, life, like, LIncoln Center, link, list, listener, live music, local, Madison, Malcolm X, May, meditative, Messiaen, Metropolitan Opera, Michigan, Michigan Opera Theater, Minnesota, Minnesota Opera, mix, mood, Mozart, Music, Music Before 1800, music critic, Myra Huang, Nathalie Joachim, national, New Music, New York City, New York Coty, noteworthy, Olivier Messiaen, one-act, online, opera, Orchestra, orchestral music, pandemic, Paris, performer, period instruments, Philadelphia Orchestra, photo, Pianist, Piano, Piano Trio, piece, Pierre Alexandre Tremblay, play list, playlist, post, production, program, rarity, recital, recommend, recorded music, recording, regional, relevant, rising star, Roulette, Schubert, score, Scott Wollschleger, section, sentence, series, Seth Parker Woods, share, short, Shostakovich, shy, singer, Singing, soft, Sonata, song, Steven Isserlis, story, stream, String quartet, Susanna Malkki, Susanna Philips, Susanna Phillips, suspect, symphony, tag, tenor, texture, The Ear, The Joke, the Met, The New York Times, The Shepherd on the Rock, time, Tommasini, trio, twist, United States, usual, vigil, Viola, violinist, violist, virtual, Vista, vkkolin, vocal music, William Grant Still, Wisconsin, wistful, woderfuo, Wolfgang Amadeus Mozart, words, world premiere, X, Yannick Nézet-Séguin, Youn, YouTube