The Well-Tempered Ear

Classical music: What should — and shouldn’t — the #MeToo movement mean for women in the opera world?

June 16, 2018
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By Jacob Stockinger

It is clear now that just about all aspects of life and culture in the United States are being affected more and more by the #MeToo movement that seeks to expose, punish, correct and prevent sexual harassment, sexual misconduct, sexual assault, sexual abuse and gender inequality in general.

But what does that mean specifically for the notoriously patriarchal and misogynistic opera world – meaning for the operas themselves and their themes, plots, characters and composers as well as for the people who put them on?

How, for example, should one now think of “Don Giovanni” by Wolfgang Amadeus Mozart? (The womanizing Don Juan is seen below in a production of “Don Giovanni” by the Metropolitan Opera.)

A recent discussion on National Public Radio (NPR) covered many dimensions of the problem, and The Ear found what was said fascinating although he didn’t agree with everything.

One Italian production went so far as to change the ending of a famous and popular opera – Bizet’s “Carmen” — in order to redeem the doomed heroine.

That seems excessive to The Ear, something that recalls the 17th-century writer Nahum Tate who rewrote the tragedy “King Lear” by Shakespeare to give it a happy ending. (You can hear the original ending of “Carmen” in the YouTube video at the bottom. The 2009 production by the Metropolitan Opera features Roberto Alagna and Elina Garanca.)

It brings up the question: How far should one go in imposing contemporary values on the past? And does rejecting an artist also mean rejecting that artist’s work?

Read the edited transcript or listen to the entire 8-minute discussion for yourself. Besides the female host (Lulu Garcia-Navarro), three women – two singers (Aleks Romano and Leah Hawkins) and one administrator (Kim Witman) – ask questions and give their opinions and thoughts.

Here is a link to the story that was posted on the NPR blog “Deceptive Cadence”:

https://www.npr.org/sections/deceptivecadence/2018/05/27/614470629/my-voice-should-be-heard-metoo-and-the-women-of-opera

Then decide what you think you would like to see done to address the concerns of the #MeToo movement in the opera world, and what is allowed and not allowed to you.

And let us know in the COMMENT section.

The Ear wants to hear.

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Classical music: The Festival Choir of Madison will perform Slavic music – including several U.S. and world premieres — under a guest Spanish conductor this Saturday night

May 15, 2018
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By Jacob Stockinger

The Festival Choir of Madison (below) will perform the program “The Slavic Soul” this coming Saturday night, May 19, at 7:30 p.m. in the Atrium Auditorium at the First Unitarian Society of Madison, 900 University Bay Drive.

The Festival Choir will have guest conductor Nikoleta Popova for the event, who is coming from Spain to conduct a program comprised of songs either by Slavic composers or inspired by Slavic music. More about the conductor is below.

Several U.S. premieres are marked with an asterisk and there is one world premiere.

Tickets are $20, $15 for seniors 65 and over; and $10 for students. For information and tickets, go to: https://festivalchoirmadison.squarespace.com/concerts/2018/5/theslavicsoul

Here is the complete program:

THE SLAVIC SOUL

Bela Bartok (1881-1945) – Four Slovak Folk Songs (heard in the YouTube video at the bottom)

Dmitri Shostakovich (1908-1975) – Two Russian Folk Songs. With Anya Gubenkova, alto

Alexander Davidenko (1899–1934) – “At Ten Versts From the Capital”* with Ted Reinke, piano, and Dan Broner, organ

Vera Nasha (Our Faith)* Serbian Folk Song, arr. Yónatan Sánchez Santianes with James McKenzie, percussion

Szymon Godziemba-Trytek (1988) Agnus Dei (World Premiere) with Ted Reinke, organ

Georgy Sviridov (1915–1998) – “A Wondrous Birth”; “Balalaika”; and “Reveille.” With Anya Gubenkova, alto

Dobri Hristov (1875–1941) – “Rachenitsa”

Todor Popov (1921–2000) – “Stara Sa Maika” (The Old Mother)*

“Kalinka,” a Russian Folk Song arranged by Vadim Prokhorov

The guest conductor is Nikoleta Popova (below) of Bulgaria and Spain. She is a renowned specialist in Eastern European and Bulgarian music and has offered seminars and master classes all over the world.

Currently, Popova is Professor in Conducting at the Conservatorio Superior de Música de Canarias in Las Palmas, Spain, where she is also music director of the conservatory orchestra and choirs. She has appeared as guest conductor in Austria, Italy, Spain, Poland, and the U.S., as well as her native Bulgaria.

Born in Dobrich, Bulgaria, Nikoleta Popova received her education as a conductor from the National Academy of Music in Sofia, Bulgaria, and from Universität für Musik und darstellende Kunst in Graz. Among her teachers are Eric Whitacre, Fernando Malvar-Ruiz, Alex Schillings, Klaas Stok, Marco Antonio Da Silva Ramos, and others.

In 2011 Nikoleta Popova received her Ph.D. from the University of Las Palmas de Gran Canaria with a dissertation on the performance of the black spiritual. Since 2012, she has published three books in Spanish with in-depth analysis of the problems that singers and conductors face in the interpretation of African-American spirituals.


Classical music: UW Choral Union and soloists succeed impressively in Bach’s massive “St. Matthew Passion.” Plus, a FREE concert of Leonard Bernstein songs is at noon on Friday

April 25, 2018
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ALERT: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features two husband-and-wife teams. Singers bass-baritone Paul Rowe and soprano Cheryl Bensman-Rowe and pianists Bill Lutes and Martha Fischer will perform an all-Leonard Bernstein program in honor of his centennial. The program includes selections from Arias and Barcarolles,” “Mass,” “Peter Pan,” “On the Town,” “Wonderful Town” and “Songfest.” The concert runs from 12:15 to 1 p.m.

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. He also took the performance photographs.

By John W. Barker

It comes a bit late for this year’s Holy Week, but the UW Choral Union’s impressive mounting of Johann Sebastian Bach’s St. Matthew Passion last Sunday was still a major contribution to our music this spring.

Running at almost three hours, this is Bach’s longest single work, and is regarded by now as one of the musical monuments of Western Civilization. But its length and its demands make it something performed only on special occasions.

No antiquarian, conductor Beverly Taylor, who directs choral activities at the UW-Madison, tried to follow carefully Bach’s elaborate specifications, which call for both a double chorus and a double orchestra, along with soloists.

A traditionally ample agency, the Choral Union this time fielded a total of 100 singers, plus a 12-member children’s choir, as against a pair of student orchestras numbering 14 and 12 respectively, all playing modern instruments.

This was hardly a balanced combination and Bach himself could never have assembled, much less managed, so huge a chorus as this. It certainly overwhelmed the orchestras, and quite drowned out the children’s group in their appearance at the beginning and ending of Part I.

Still, there is no denying the magnificence of such a large choral force. It was just a bit challenged by the turbae or crowd passages. Nevertheless, to hear such a powerful choir sing so many of the intermittent chorales in Bach’s harmonizations is to feel the glory of the entire Lutheran legacy in religious expression.

A total of 16 soloists were employed, in functions of varying consequence.

At the head of the list stand two. Tenor Wesley Dunnagan (below left) has a voice of more Italian than German character, to my taste. But he not only carried off the heavy duties of the narrating Evangelist, he also sang the tenor arias as well, with unfailing eloquence.  And faculty baritone Paul Rowe (below right) was truly authoritative as Jesus in the parts reserved for the Savior.

The arias were otherwise addressed by a double cast of singers, two each on the other voice parts. Of the two sopranos, Sara Guttenberg (if I have the identity correctly from the confusing program) was strong and splendidly artistic.

Talia Engstrom was more a mezzo-soprano than a true contralto, and not an equally powerful singer, but I did like her very engaging singing. (You can hear the lovely contralto and violin aria “Erbarme dich, mein Gott” in the YouTube video at the bottom.)

The sharing of the alto arias with a countertenor was, however, not a good idea. Of the two bass-baritones, Matthew Chastain (if I have his identity aright) sang with strong and rich tone.  The other singers, mostly singing the character parts in the Gospel text, were generally students, ranging widely in maturity and appeal.

Taken as a whole, though, this performance was an admirable achievement for Beverly Taylor (below). Her tempos were on the moderate side, accommodating especially the large chorus. Above all, her enterprise was obvious in tackling this massive work, while the choral singers obviously found a special thrill in participating in it.

Compliments should be given the program, which contained the full German text interlarded with the English translation. With full house lighting, this wisely allowed the audience to follow along closely.

But the performance was divided into two sittings, one for Part I at 4 p.m., the second for Part II at 7:30 p.m., with a break in between of over two hours — really too long, I found.


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Classical music: The New Yorker critic Alex Ross profiles and praises violinist Augustin Hadelich, who performs Dvorak with the Madison Symphony Orchestra this weekend

April 11, 2018
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By Jacob Stockinger

The timing could not be more perfect.

Alex Ross, the National Book Critics Circle Award-winning writer who writes for The New Yorker and is considered by many to be the best classical music critic today, recently went to Detroit to report about the dramatic the rebirth of the Detroit Symphony.

He ended up devoting half the story to a great profile of the Italian-German violinist Augustin Hadelich (below), who was there as a guest soloist to play the rarely programmed Violin Concerto by the British composer Benjamin Britten.

Now it just so happens that the Grammy Award-winning Hadelich returns to Madison for the third time this weekend to perform another rarely heard violin concerto – the Violin Concerto by Antonin Dvorak – with the Madison Symphony Orchestra under MSO music director and conductor John DeMain (below in a photo by Peter Rodgers).

The “String Fever” program includes the rarely performed Sinfonia da Requiem by Benjamin Britten and the “Spring” Symphony by Robert Schumann, which is surprisingly the MSO’s first performance of this well-known work.

Performances are in Overture Hall of the Overture Center, 201 State St., on Friday night at 7:30 p.m.; Saturday night at 8 p.m.; and Sunday afternoon at 2:30 p.m.

Tickets are $10-$90.

For more information about the artists and the program as well as how to obtain tickets, go to:

https://www.madisonsymphony.org/hadelich

For program notes by MSO trombonist and UW-Whitewater professor Michael Allsen, go to:

http://www.allsenmusic.com/NOTES/1718/7.Apr18.html

And as usual there will be a Prelude Discussion – this time by John DeMain — one hour before each performance.

In addition, the MSO encourages audiences to arrive early because of security check-ins at the Overture Center.

But let’s go back to the profile by Alex Ross (below) of Augustin Hadelich.

In it you will read that:

Hadelich is focusing more on unusual repertoire by Britten, Henry Dutilleux, Gygorgy Ligeti and Thomas Adès than on the well-known violin concertos by Bach, Mozart, Beethoven, Mendelssohn, Brahms, Tchaikovsky, Sibelius and Bartok.

(An impressive virtuoso, whom Ross praises for both technical brilliance and musicality, Hadelich can be heard performing the famously difficult and familiar Caprice No. 24 by Paganini in the YouTube video at the bottom.)

Hadelich has high praise for regional symphony orchestras that gave his career a boost, including the Madison Symphony Orchestra, which he mentions by name along with the Milwaukee Symphony Orchestra. He also points out how underappreciated many such regional orchestras are.

Hadelich is a methodical performing artist. The interview has fascinating background about how he works, including taking notes about each performance, and how he prepares for performances, including what kind of food he eats and when he eats it.

And there is more about Hadlelich’s compelling personal story as a recovered burn victim, about his outstanding playing, and about the life of an up-and-coming concert artist on the road.

The Ear found it fascinating on its own and excellent preparation for hearing Hadelich live. He hopes you do too. Here is a link:

https://www.newyorker.com/magazine/2018/04/09/augustin-hadelichs-bold-violin-explorations


Classical music: This weekend, soloist Alban Gerhardt will give the Madison Symphony Orchestra’s first performances of the Cello Concerto by William Walton. Also on the program are an overture by Rossini and the Symphony No. 1 by Brahms

February 12, 2018
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By Jacob Stockinger

This weekend, cellist Alban Gerhardt (below) returns to the Madison Symphony Orchestra to play the lyrically bittersweet Cello Concerto by William Walton for the first time in the history of the MSO.

Filling out the program are the lush and sweeping Symphony No. 1 by Johannes Brahms and the rousing Overture to the opera Semiramide” by Gioachino Rossini.

The concerts are in Overture Hall of the Overture Center, 201 State Street, on Friday, Feb. 16, at 7:30 p.m.; Saturday, Feb. 17, at 8 p.m.; and Sunday, Feb. 18, at 2:30 p.m.

Tickets cost $18-$90, and discounts are available. See below for details.

MSO music director John DeMain (below, in a photo by Peter Rodgers), who will conduct the performance, previewed the “Richly Romantic” program:

“Opening the concert is a favorite overture of mine by the prolific Rossini, from the opera Semiramide.

“Next, we welcome back Alban Gerhardt. This charismatic cellist has a huge repertoire and impeccable technique, as well as consummate musicianship. (NOTE: Gerhardt will also give a FREE and PUBLIC master class at the UW-Madison Mead Witter School of Music on Friday afternoon from 2:30 to 5 p.m. in Morphy Recital Hall.)

“In my search to program important works that have not been previously performed by the MSO, I realized that we have never performed the cello concerto by William Walton. It is a very beautiful and lyrical work, and I look forward to collaborating again with Alban on this project.

“I never like to let too much time pass without programming the Brahms symphonies. The first symphony was a huge success at its premiere, and has been proclaimed a masterpiece. It overtly pays tribute to the great master who gave us nine great symphonies. Indeed, many people have referred to the Brahms first as Beethoven’s 10th.”

Here is more background about the three works:

The Overture to Semiramide marks a departure from other operatic overtures of the early 1800s, in that the themes are drawn directly from the opera’s score.

Written by Rossini (below), one of the greatest opera composers in history, the piece also represents some of his best orchestral writing, starting from the rhythmic opening, to the entrance of the horn choir taken directly from the score of the opera, to the joyously frenetic ending.

Written in 1956 in Ischia, a volcanic island in the Tyrrhenian Sea, the Cello Concerto by William Walton (below) reflects the composer’s love of Italy and has been described as subdued, brittle, bittersweet, and introspective.

The composition is suffused with Italianate warmth and a lyrical, singing quality reflecting both bel canto opera as well as Italian popular song. (In the YouTube video at the bottom, you can hear the first movement played by Gregor Piatigorsky, for whom the concerto was written.)

Praised for the “warm songfulness of his playing” (The Telegraph) at the 2016 BBC Proms, Alban Gerhardt (below) has, for 25 years, made a unique impact on audiences worldwide with his intense musicality, compelling stage presence, and insatiable artistic curiosity.

His gift for shedding fresh light on familiar scores, along with his appetite for investigating new repertoire from centuries past and present, truly sets him apart from his peers.

Though he began writing sketches of the piece as early as 1854, the Symphony No. 1 by Brahms (below) was not completed for 21 years, premiering in Germany in 1876. The final movement contains melodies reminiscent of Beethoven’s Symphony No. 9, which has led some critics to dub the work “Beethoven’s Tenth Symphony” much to Brahms’ dismay.

One hour before each performance, Randal Swiggum (below), artistic director of the Elgin Youth Symphony Orchestra and interim artistic director of the Wisconsin Youth Symphony Orchestras (WYSO), will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please view the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) at: http://www.allsenmusic.com/NOTES/1718/6.Feb18.html

The Symphony recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk that is free for all ticket-holders.

Single Tickets are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets. More information is at: https://www.madisonsymphony.org/studentrush

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.

Major funding for the February concerts is provided by: The Madison Concourse Hotel & Governor’s Club, University Research Park, and National Guardian Life Insurance Company.

Additional funding was provided by Boardman & Clark LLP, Scott and Janet Cabot, Martha and Charles Casey, Gary and Lynn Mecklenburg, Rodney Schreiner and Mark Blank, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: More cold and snow are on the way today. Has any composer captured arctic austerity better than Debussy?

January 14, 2018
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By Jacob Stockinger

Looks like more severe cold is on the way later tonight and tomorrow, this time accompanied by one to three inches of snow.

The Ear is sure a lot of readers know of and can suggest music that expresses such a wintry mood.

So far, the best and most haunting interpretation he has heard is “Footprints in the Snow” (Des pas dans la neige) by the French musical Impressionist Claude Debussy (below). It is the sixth of 12 in Debussy’s Preludes, Book 1.

A lot of versions by very famous pianists exist and can be found on YouTube.

But the moodiest ones that really attract the Ear are the slowest ones that imitate the motionlessness of severe cold and the austerity of snow – amounting to a kind of stasis or suspended animation. It can almost seem like Minimalism ahead of its time.

The best reading is done by the great Italian master Arturo Benedetti Michelangeli (below), who follows the composer’s tempo instructions of “slow and sad” very literally. It reminds him of the title of the first novel by the American writer Ann Beattie: “Chilly Scenes of Winter.” You can feel the sense of absence and frozen mystery.

Take a listen and tell us what you think or if you have other suggestions.

The Ear wants to hear.


Classical music: The Oakwood Chamber Players perform rarely heard repertoire this Saturday night and Sunday afternoon

January 10, 2018
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By Jacob Stockinger

The Oakwood Chamber Players (below) continue their 2017-2018 season series “Journey” with a concert titled Horizon on this Saturday, Jan. 13, at 7 p.m. and Sunday, Jan. 14, at 2 p.m.

As the group often does, it will present a program of old and new works by composers who are rarely heard or performed.

Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on the city’s far west side near West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors and $5 for students. Visit www.oakwoodchamberplayers.com for more information.

Sunset 1892 by Michael Mikulka is a musical interpretation of a painting by influential American landscape artist George Inness. (Below is another sunset painting, “Sunset Montclair – 1892,” by George Inness, whose work can be found in the Metropolitan Museum of Art in New York City.)

The pastoral colors are represented musically in an evocative manner by the warm timbres of the clarinet and the viola interwoven with pianistic light and shadow. An emerging American composer, Mikulka (below) saw his piece win the grand prize in a 2008 competition. (You can hear it, and see the original inspiration, in the YouTube video at the bottom.)

Serenade for Five Instruments by Italian composer Alfredo Casella (below) was written for a music composition contest in 1927. It nimbly combines the contrasting sounds of the clarinet, bassoon, trumpet, violin, and cello. His musical style is attributed in part to the influence of his avid appreciation for visual art.

This piece was one of the composer’s favorites and is a delightful work with five short contrasting movements that range from lilting to witty to sweetly melodic. Casella studied with Gabriel Faure and was film composer Nino Rota’s composition teacher. (Rota is famous and most familiar for his soundtracks for movies by Federico Fellini, but he also composed a lot of outstanding chamber music.)

Quintet for Winds and Piano by Swiss composer Hans Huber (below) was premiered in 1918 and written for piano, flute, clarinet, horn and bassoon.

Listeners will perceive the influence of Brahms and Schumann in his Romantic style. However, Huber definitely shows individual flair in his approach. The four-movement work is spirited and captivating, and features each of the instruments over the course of the composition with an obvious talent for virtuosic piano writing throughout its entirety.

Guest instrumentalists are Jason Kutz, piano (below); Ariel Garcia, viola; and Halie Brown, trumpet.

The members of the Oakwood Chamber Players (above) are Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szczys, bassoon; Anne Aley, horn; Leyla Sanyer, violin; and Maggie Darby Townsend, cello.

This is the third of five concerts in the Oakwood Chamber Players’ 2017-2018 season series entitled Journey. Remaining concerts will take place on March 10 and 11; and May 19 and 20.

The Oakwood Chamber Players are a group of Madison-area professional musicians who have played with other ensembles such as the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, and who have rehearsed and performed at Oakwood Village for over 30 years.


Classical music: Here are lists of the Best Classical Recordings of 2017 as named by The New York Times, The Chicago Tribune, Forbes magazine and Gramophone magazine

December 16, 2017
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By Jacob Stockinger

Just in time for last-minute holiday shopping and streaming – whether by others or yourself – some major publications and critics have published their lists of the top classical recording of 2017.

Personal preferences and taste matter, to be sure. So opinions inevitably differ.

But in some cases, the verdicts seem close to unanimous.

Take the case of some pianists.

You can, for example, find overlapping agreement on the merits of the 24-year-old Italian pianist and Cliburn Competition silver medal laureate Beatrice Rana playing the famed Goldberg Variations by Johann Sebastian Bach.

Same for the 33-year-old Icelandic pianist Vikingur Olaffson who gives revelatory readings of works by contemporary American Minimalist composer Philip Glass.

And many critics give raves to acclaimed Norwegian pianist Leif Ove Andsnes playing neglected piano miniatures by Finnish symphonic titan Jean Sibelius. (See Andsnes discussing Sibelius in the YouTube video at the bottom.)

The various lists cover all genres from solo piano music to songs, chamber music to symphonies, oratorios to operas.

You can find lots of neglected repertoire — both early and new — unknown artists and small labels.

But there are also major stars, tried-and-true repertoire and large vintage or heritage labels.

In short, both beginners and experienced classical listeners and players can find plenty to please them.

In addition, some of the lists for the past year include links to lists from previous years. And those lists too still have some excellent choices that hold up.

Here is a link to the 2017 list in The New York Times, which was compiled by several critics:

https://www.nytimes.com/2017/12/13/arts/music/best-classical-music-recordings-2017.html

Here is a list by a critic and columnist for Forbes magazine:

https://www.forbes.com/sites/jenslaurson/2017/12/13/the-10-best-classical-recordings-of-2017/#60b8fd87ebca

Here is the list from John von Rhein for the Chicago Tribune:

http://www.chicagotribune.com/entertainment/music/vonrhein/sc-ent-best-classical-recordings-2017-1206-story.html

And here is a list from the British Gramophone magazine, which often favors artists and groups located in the United Kingdom:

https://www.gramophone.co.uk/feature/the-best-new-classical-albums-december-2017

And in case you missed it before, here are lists from other sources that this blog has posted and linked to:

From famed WQXR-FM radio in New York City:

https://welltempered.wordpress.com/2017/12/14/classical-music-here-are-the-top-20-classical-recordings-of-2017-as-chosen-by-famed-radio-station-wqxr/

And here are the classical nominations for the 2018 Grammy awards:

https://welltempered.wordpress.com/2017/12/02/classical-music-here-are-the-classical-music-nominations-for-the-2018-grammy-awards-they-make-a-great-holiday-gift-list-of-gives-and-gets/


Classical music: Here are the classical music nominations for the 2018 Grammy Awards. They make a great holiday gift list of gives and gets

December 2, 2017
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By Jacob Stockinger

This posting is both a news story and a holiday gift guide of recordings you might like to give or get.

It features the classical music nominations for the Grammy Awards that were just announced this past week.

The winners will be announced on a live broadcast on Sunday night, Jan. 28, on CBS.

Read them and then in the COMMENT section tell us which title you think will win in a specific category and what you think of the recordings you know firsthand.

HISTORICAL ALBUMS:

  • “The Goldberg Variations — the Complete Unreleased Recording Sessions June 1955” — Robert Russ, compilation producer; Matthias Erb, Martin Kistner & Andreas K. Meyer, mastering engineers (Glenn Gould)
  • Leonard Bernstein — the Composer” — Robert Russ, compilation producer; Martin Kistner & Andreas K. Meyer, mastering engineers (Leonard Bernstein)

ENGINEERED ALBUM, CLASSICAL

  • “Danielpour: Songs of Solitude & War Songs” — Gary Call, engineer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
  • “Kleiberg: Mass for Modern Man” — Morten Lindberg, engineer (Eivind Gullberg Jensen, Trondheim Vokalensemble & Trondheim Symphony Orchestra)
  • “Schoenberg, Adam: American Symphony; Finding Rothko; Picture Studies” — Keith O. Johnson & Sean Royce Martin, engineers (Michael Stern & Kansas City Symphony)
  • “Shostakovich: Symphony No. 5; Barber: Adagio” — Mark Donahue, engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
  • “Tyberg: Masses” — John Newton, engineer; Jesse Brayman, mastering engineer (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale)

PRODUCER OF THE YEAR, CLASSICAL

  • Blanton Alspaugh
  • Manfred Eicher
  • David Frost
  • Morten Lindberg
  • Judith Sherman (below)

ORCHESTRAL PERFORMANCE

  • “Concertos for Orchestra” — Louis Langrée, conductor (Cincinnati Symphony Orchestra)
  • “Copland: Symphony No. 3; Three Latin American Sketches” — Leonard Slatkin, conductor (Detroit Symphony Orchestra)
  • “Debussy: Images; Jeux & La Plus Que Lente” — Michael Tilson Thomas, conductor (San Francisco Symphony)
  • “Mahler: Symphony No. 5” — Osmo Vänskä, conductor (Minnesota Orchestra)
  • “Shostakovich: Symphony No. 5; Barber: Adagio” — Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)

OPERA RECORDING

  • “Berg: Lulu” — Lothar Koenigs, conductor; Daniel Brenna, Marlis Petersen & Johan Reuter; Jay David Saks, producer (The Metropolitan Opera Orchestra)
  • “Berg: Wozzeck” — Hans Graf, conductor; Anne Schwanewilms & Roman Trekel; Hans Graf, producer (Houston Symphony; Chorus of Students and Alumni, Shepherd School of Music, Rice University & Houston Grand Opera Children’s Chorus)
  • “Bizet: Les Pêcheurs de Perles” — Gianandrea Noseda, conductor; Diana Damrau, Mariusz Kwiecień, Matthew Polenzani & Nicolas Testé; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
  • “Handel: Ottone” — George Petrou, conductor; Max Emanuel Cencic & Lauren Snouffer; Jacob Händel, producer (Il Pomo D’Oro)
  • “Rimsky-Korsakov: The Golden Cockerel” — Valery Gergiev, conductor; Vladimir Feliauer, Aida Garifullina & Kira Loginova; Ilya Petrov, producer (Mariinsky Orchestra; Mariinsky Chorus)

CHORAL PERFORMANCE

  • “Bryars: The Fifth Century” — Donald Nally, conductor (PRISM Quartet; The Crossing)
  • “Handel: Messiah” — Andrew Davis, conductor; Noel Edison, chorus master (Elizabeth DeShong, John Relyea, Andrew Staples & Erin Wall; Toronto Symphony Orchestra; Toronto Mendelssohn Choir)
  • “Mansurian: Requiem” — Alexander Liebreich, conductor; Florian Helgath, chorus master (Anja Petersen & Andrew Redmond; Münchener Kammerorchester; RIAS Kammerchor)
  • “Music of the Spheres” — Nigel Short, conductor (Tenebrae)
  • “Tyberg: Masses” — Brian A. Schmidt, conductor (Christopher Jacobson; South Dakota Chorale)

CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

  • “Buxtehude: Trio Sonatas, Op. 1” — Arcangelo
  • “Death & the Maiden” — Patricia Kopatchinskaja & the Saint Paul Chamber Orchestra
  • “Divine Theatre — Sacred Motets by Giaches De Wert” — Stile Antico
  • “Franck, Kurtág, Previn & Schumann” — Joyce Yang & Augustin Hadelich
  • “Martha Argerich & Friends — Live From Lugano 2016” — Martha Argerich & Various Artists

CLASSICAL INSTRUMENTAL SOLO

  • “Bach: The French Suites” — Murray Perahia
  • “Haydn: Cello Concertos” — Steven Isserlis; Florian Donderer, conductor (The Deutsch Kammerphilharmonie Bremen)
  • “Levina: The Piano Concertos” — Maria Lettberg; Ariane Matiakh, conductor (Rundfunk-Sinfonieorchester Berlin)
  • “Shostakovich: Violin Concertos Nos. 1 & 2” — Frank Peter Zimmermann; Alan Gilbert, conductor (NDR Elbphilharmonie Orchester)
  • “Transcendental” – Daniil Trifonov

CLASSICAL SOLO VOCAL ALBUM

  • “Bach & Telemann: Sacred Cantatas” — Philippe Jaroussky; Petra Müllejans, conductor (Ann-Kathrin Brüggemann & Juan de la Rubia; Freiburger Barockorchester)
  • “Crazy Girl Crazy — Music by Gershwin, Berg & Berio” — Barbara Hannigan (Orchestra Ludwig)
  • “Gods & Monsters” — Nicholas Phan; Myra Huang, accompanist
  • “In War & Peace — Harmony Through Music” — Joyce DiDonato; Maxim Emelyanychev, conductor (Il Pomo D’Oro)
  • “Sviridov: Russia Cast Adrift” — Dmitri Hvorostovsky; Constantine Orbelian, conductor (St. Petersburg State Symphony Orchestra & Style of Five Ensemble)

CLASSICAL COMPENDIUM

  • “Barbara” — Alexandre Tharaud; Cécile Lenoir, producer
  • “Higdon: All Things Majestic, Viola Concerto & Oboe Concerto” — Giancarlo Guerrero, conductor; Tim Handley, producer
  • “Kurtág: Complete Works for Ensemble & Choir” — Reinbert de Leeuw, conductor; Guido Tichelman, producer
  • “Les Routes de l’Esclavage” — Jordi Savall, conductor; Benjamin Bleton, producer
  • “Mademoiselle: Première Audience — Unknown Music of Nadia Boulanger” — Lucy Mauro; Lucy Mauro, producer

CONTEMPORARY CLASSICAL COMPOSITION

  • “Danielpour: Songs of Solitude” — Richard Danielpour, composer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
  • “Higdon: Viola Concerto” — Jennifer Higdon, composer (Roberto Díaz, Giancarlo Guerrero & Nashville Symphony)
  • “Mansurian: Requiem” — Tigran Mansurian, composer (Alexander Liebreich, Florian Helgath, RIAS Kammerchor & Münchener Kammerorchester)
  • “Schoenberg, Adam: Picture Studies” — Adam Schoenberg, composer (Michael Stern & Kansas City Symphony)
  • “Zhou Tian: Concerto for Orchestra” — Zhou Tian, composer (Louis Langrée & Cincinnati Symphony Orchestra)


Posted in Classical music
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Classical music: Live radio broadcasts from the Metropolitan Opera start their 87th season with the Verdi Requiem at NOON this Saturday on Wisconsin Public Radio.

December 1, 2017
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By Jacob Stockinger

What is the longest-running classical music broadcast on American radio?

If you said the live Saturday matinee broadcasts from the Metropolitan Opera (below) in New York City, you got it right.

So, does that qualify the Met, and opera in general, as pop culture?

Does it do anything to reassure those who worry about the future of opera and classical music?

Anyway, the 87th broadcast season starts again on Wisconsin Public Radio this Saturday morning and runs through May 5.

Of course, not there are also the popular and more cinematic broadcasts of “Live From the Met in HD.” But many listeners still prefer the radio — which is FREE — to help them focus on the music, not the visual and theatrical aspects, and to use their imagination more.

On Saturday at the usual time of NOON — not 11:05 a.m. as was mistakenly first published here — the Met features a performance of the dramatic Requiem by opera great Giuseppe Verdi (below). (You can hear the operatic Dies Irae, or Day of Wrath, section in the YouTube video at the bottom.)

The Requiem will be conducted by James Levine (below), the now retired longtime artistic director of the Met.

The 90-minute performance will dedicated to the famed Russian baritone Dmitri Hvorostovsky (below bottom), who died two weeks ago from a brain tumor at age 55. For more information about the late singer, go to:

https://welltempered.wordpress.com/2017/11/24/classical-music-charismatic-russian-baritone-dmitri-horostovsky-is-dead-at-55/

For as complete schedule of the works to be performed, which include well-known standards by Mozart, Rossini, Donizetti, Bellini, Verdi, Puccini, Wagner and Richard Strauss as well as a contemporary work by Thomas Adès, go to the WPR website:

https://www.wpr.org/metropolitan-opera-begins-its-87th-broadcast-season


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