The Well-Tempered Ear

Classical music: Mozart masterfully melds the emotional and the intellectual, says maestro Gary Thor Wedow, who will conduct two performances of “The Magic Flute” this weekend for the Madison Opera. Here is Part 1 of his two-part interview with The Ear

April 18, 2017
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By Jacob Stockinger

The Madison Opera will stage Wolfgang Amadeus Mozart’s The Magic Flute this Friday night, April 21 at 8 p.m. and Sunday afternoon, April 23, at 2:30 p.m. in Overture Hall. (Production photos are courtesy of the Arizona Opera, from which the Madison Opera got its sets and costumes.)

Here are an introduction and some details, courtesy of the Madison Opera:

Written in the last year of his life, Mozart’s opera is part fairy tale, part adventure story, and is filled with enchantment.

Set in a fairy-tale world of day and night, the opera follows Prince Tamino and the bird-catcher Papageno as they embark on a mission to rescue Pamina, the daughter of the Queen of the Night. Pamina had been kidnapped by Sarastro, the leader of a religious order. But it turns out that exactly who is “good” and who is “evil” is not always what it appears.

Along the way to happily-ever-after, Pamina, Tamino and Papageno face many challenges, but are assisted by a magic flute, magic bells, a trio of guiding spirits and their own clear-eyed sense of right and wrong.

“The Magic Flute has been beloved around the world since its 1791 premiere,” says Kathryn Smith (below in a photo by James Gill), Madison Opera’s general director. “It has been called a fairy tale for both adults and children, with a story that works on many levels, all set to Mozart’s glorious music. I’m so delighted to be sharing it again with Madison, with an incredible cast, director and conductor.”

The opera runs about 2 hours and 45 minutes with one intermission.

Tickets are $18 to $130.

“The Magic Flute” will be sung in German with English supertitles.

For more about the production and cast, go to:

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

And also go to:

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

Dan Rigazzi, who has been on the directing staff at the Metropolitan Opera for 10 years, makes his Madison Opera debut with this beautiful production that incorporates some steampunk elements into its fairy-tale setting.

Gary Thor Wedow, a renowned Mozart conductor, makes his mainstage debut with this opera, after having conducted Opera in the Park in 2016 and 2012.

Conductor Wedow (below) recently agreed to do an email Q&A with The Ear:

Could you briefly introduce yourself to readers?

Hello! I’m an American conductor, born in LaPorte, Indiana. A faculty member at The Juilliard School, I spend a lot of time with music of the 18th century — Handel and Mozart and often earlier, like Monteverdi, Purcell and Cavalli. But I conduct everything and grew up in love with the Romantics. I’ve also always done a lot of contemporary music. I love it all.

Mozart’s music sounds so clear and easy or simple, but the reality is quite different, musicians say. What do you strive for and what qualities do you think make for great Mozart playing?

Mozart engages both the brain and the heart. He challenges your intellect with amazing feats of counterpoint, orchestration and structure while tugging at your heart, all the time pulling you along in a deep drama.

Mozart was an Italian melodist with a German contrapuntal, harmonic engine – like an incredible automobile with an Italian slick body and a German motor.

Do you share the view that opera is central to Mozart’s music, even to his solo, chamber and ensemble instrumental music? How so? What is special or unique to Mozart’s operas, and to this opera in particular?

From all accounts, Mozart (below, in his final year) was a huge personality who was full of life and a keen observer of the human condition; his letters are full of astute, often merciless and sometimes loving evaluations of family, colleagues and patrons.

Mozart’s music speaks of the human condition: its passions, loves and hopes— no matter what genre. His music is innately dramatic and primal, going immediately to the most basic and universal human emotions with breathtaking nuance, variety and depth. (You can hear the Overture to “The Magic Flute,” performed by the Metropolitan Opera orchestra under James Levine, in the YouTube video at the bottom.)

Tomorrow: Tricks to conducting Mozart and what to pay special attention to in this production of The Magic Flute.

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Classical music: How well did Western classical music fare in China during the Cultural Revolution compared to today?

July 10, 2016
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By Jacob Stockinger

Western classical music seems to be thriving in the new China.

The Ear sees Lang Lang — the world’s highest paid classical pianist — and Yundi Li and all the Chinese winners of major competitions, and he reads that there are more piano students in China than in all of Western Europe, North America and South America combined.

But the path to such success wasn’t easy.

In fact it was downright tragic during the Cultural Revolution waged by Chairman Mao Zedong – with dramatic stories and figures that may be worthy of an opera or two. (Below is a poster from the Cultural Revolution.)

Cultural Revolution poster

Anyway, weekends are a good time for reading longer pieces.

So here is a fine and eye-opening story The Ear liked. It comes from The Guardian newspaper in the UK. It even ponders the question of whether the more cerebral and intellectual Johann Sebastian Bach will soon replace the more dramatic and emotional Ludwig van Beethoven as China’s favorite classical composer.

https://www.theguardian.com/music/2016/jul/08/after-the-cultural-revolution-what-western-classical-music-means-in-china


Classical music: This is your brain on music! New scientific research shows that the human brain evolved special channels for hearing music. Read all about it!

February 13, 2016
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By Jacob Stockinger

What is your brain like on music? (The illustration below is by Marcos Chin.)

music and brain CR Marcos Chin

One of the most fascinating stories The Ear has ever read about music and science came last Tuesday in this week’s Science Times section of The New York Times.

The “Music Channel” story was reported by the acclaimed science writer  and journalist Natalie Angier (below), who won a Pulitzer Prize and has been nominated for a National Book Award She also included a sidebar story about her own experience undergoing the kind of MRI scan that helped researchers.

natalie angier

The upshot is this: No matter what kind of music you like – classical, jazz, folk, country, rock, pop – the human brain has developed special neural pathways to perceive the music.

In short, the human brain seems to have its own music room.

The story says this may help to explain why music seems a universal, cross-cultural phenomenon and why the first music instruments, such as the vulture bone flute found in Germany (below, in a photo by Jensen of the University of Tubingen) date back 42,000 years — some 24,000 years before the first cave painting appear in Lascaux, France.

Vulture bone flute CR Jensen:University of Tubingen

Plus, the story points out that the scientists and researchers at the Massachusetts Institute of Technology (MIT) do not get the same result with non-musical noises. The special nerve pathways or circuits seem to have evolved specifically to receive musical information.

There is a lot more fascinating information in the story.

For The Ear, the bottom line is that we are closer to knowing why music has such deep appeal in so many different ways. And the researchers say that this study is just the beginning. (You can hear more about the effects of music on the human brain and body in a YouTube video at the bottom.)

The Ear looks forward to seeing more research about why music is special to the human brain: Is it the structure of music? The logic and intellectual content? Primarily the melody or harmony or rhythm? The emotional content?

Here is a link to the must-read story:

http://www.nytimes.com/2016/02/09/science/new-ways-into-the-brains-music-room.html?_r=0

And here is the sidebar story, “Lending Her Ears to MIT Experiment,” about Natalie Angier’s own experience with the MIT research study about music and the human brain. It explains the research methods in details from a subjective point of view:

http://www.nytimes.com/2016/02/09/science/lending-her-ears-to-an-mit-experiment.html


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