By Jacob Stockinger
Conductor Carl St. Clair (below) returns for a third visit as guest conductor with the MSO to lead a pair of early 19th-century works with 112 musicians performing the largest of Richard Strauss’s symphonic tone poems. (MSO music director and conductor John DeMain is conducting a production of Puccini’s opera “Turandot” in Virginia.)
The program begins with the Egmont Overture by Ludwig van Beethoven, followed by the MSO’s premiere performance of the Trumpet Concerto by Johann Nepomuk Hummel, featuring Helseth. The concert ends with a nod to the awesome splendor of the Bavarian Alps, “An Alpine Symphony,” by Richard Strauss.
The concerts are this weekend on Friday at 7:30 p.m., Saturday at 8 p.m., and Sunday at 2:30 p.m. in Overture Hall, 201 State Street. See below for ticket information.
Beethoven (below top) composed his Egmont Overture in 1810. Both Beethoven himself, and playwright Johann Wolfgang von Goethe (below bottom) upheld the ideals of human dignity and freedom in their works.
Their personal relationship stemmed from Beethoven’s incidental music for a new production of Goethe’s play Egmont in 1810. This play about a nobleman’s betrayal by the Spanish monarchy, is beautifully paired with Beethoven’s music. As Goethe called it, Egmont Overture is a “Symphony of Victory.” (You can hear the dramatic “Egmont” Overture, performed by the Vienna Philharmonic under Leonard Bernstein, in the YouTube video at the bottom.)
Another friend of Beethoven’s, was Johann Nepomuk Hummel (below). Even though they were rivals, their respect for each other’s talent kept the relationship afloat.
Hummel’s Trumpet Concerto is a frisky fanfare with “playful dancelike” episodes laced throughout. This is the first time Hummel’s Trumpet Concerto will be performed by the Madison Symphony Orchestra.
Richard Strauss (below top) composed his Eine Alpensinfonie (“An Alpine Symphony”) from 1911-15. The final score used materials from some of his unfinished works, including an Artist’s Tragedy and The Alps.
Though there are many influences for this piece, the main is Strauss’s love for the Bavarian Alps. In his diary he wrote: “I shall call my alpine symphony: Der Antichrist, since it represents: moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.” Antichrist is a reference to an essay by philosopher Friedrich Nietzsche (below bottom), and though the title was dropped for its publication, the work still carries many of Nietzsche’s ideals.
One hour before each performance, Michael Allsen (below, in a photo by Katrin Talbot), the author of MSO program notes and an MSO trombonist as well as a UW-Whitewater Professor of Music, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, please visit the Program Notes at: http://www.allsenmusic.com/NOTES/1617/6.Mar17.html.
Single Tickets are $16 to $87 each, available at madisonsymphony.org/helseth and through the Overture Center Box Office at 201 State Street or call 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 madisonsymphony.org/groups.
Club 201, MSO’s organization for young professionals, has continued to fulfill its mission for the past 11 years as the premiere organization promoting classical music and networking opportunities to the young professionals’ community in Madison. Tickets are $35 each and include world-class seating in Overture Hall, an exclusive after-party to be held in the Promenade Lounge, one drink ticket and a cash bar.
The conductor as well as musicians from the symphony may also be in attendance to mingle with Madison’s young professionals during the after-party.
The deadline to purchase tickets is Thursday, March 9, pending availability. Tickets can be purchased for this event, as well as the other events throughout the 2016-17 season by visiting the Club 201 page on the MSO’s website at http://www.madisonsymphony.org/club201.
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 $15 tickets. More information is at: madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.
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 March concerts is provided by: The Madison Concourse Hotel & Governor’s Club, An Anonymous Friend, and Madison Gas & Electric Foundation, Inc. Additional funding is provided by: Audrey Dybdahl, Family and Friends, in loving memory of Philip G. Dybdahl, John A. Johnson Foundation, a component fund of the Madison Community Foundation, Madison Veterinary Specialists, Gary and Lynn Mecklenburg, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
By Jacob Stockinger
Loyal readers of this blog know very well the name of Mikko Rankin Utevsky. The young violist, baritone and conductor is a senior at the University of Wisconsin-Madison School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and conductor James Smith, plays in the UW Symphony Orchestra, and sings with the University Opera.
Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra (MAYCO – www.MAYCO.org), which will perform its sixth season this summer. He also directs a local community orchestra, The Studio Orchestra (www.disso.org).
You can check out his many honors and projects by typing his name into the search engine on this blog site.
I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.
Also, his latest venture was the successful recent launch of the Impresario Student Opera at the UW-Madison.
Here is the review by Mikko Utevsky (below) with production photos by James Gill for the Madison Opera:
By Mikko Rankin Utevsky
A great opera can be memorable in many ways. You might remember how you felt at the climaxes of the music, or walk out humming the Big Tune from the showstopper aria, or leave with an image fixed in your mind’s eye of the most dramatic moment in the first-act finale.
In an opera by Wolfgang Amadeus Mozart or Giuseppe Verdi or Giacomo Puccini, you might remember all of these. But in American composer Mark Adamo’s debut opera, “Little Women,” there’s nothing to remember — no great moving moments, no thrilling stage pictures, no hummable tunes.
There are motifs, certainly, and recurring lines. But “Things change, Jo” (song by acclaimed mezzo-soprano Joyce DiDonato in the YouTube video at the bottom) can hardly hold a candle to “O soave fanciulla” in Puccini’s “La Bohème,” the first-act Trio in Mozart’s “Figaro,” the parents’ sextet in Jake Heggie‘s “Dead Man Walking,” or the quartet from Verdi’s “Rigoletto.”
It’s all technically correct, but it’s not great opera — neither great storytelling nor great music.
I left the Sunday performance by Madison Opera with the unshakeable feeling that Adamo’s score had been performed far better than it deserved.
Part of the problem is that Mark Adamo (below) is too clever for his own good. The libretto, from the classic 19th-century American novel by Louisa May Alcott, is stronger than the music — never quite moving, but full of evocative and witty phrases.
The music displays a clear command of naturalistic settings of the text, rising to peaks when it should and creating compelling atmosphere. But it always seems to pull back just when a lyrical melody might break forth, or when an emotional climax draws near.
Several times he uses the gambit of two conversations on stage at the same time, talking about the same things. But the pacing is never quite right, and the unison lines are predictable and trite rather than powerful. He lacks the confidence to let people talk over one another unless we’ve already heard half of the lines. (Whether the lack of trust is in the audience or stems from his own compositional skill is a matter of conjecture.)
The dramatic and musical tricks are all “correct” — Adamo knows his business — but none of them make an emotional impact, a point driven home by their success in last season’s “Dead Man Walking,” which employs all the same devices to far greater effect. When the opening scene came back at the end of the show, I was ready to walk out. Enough already!
It is a sad fact that the most moving part of the whole affair was only half Adamo’s — a setting of Goethe’s “Kennst du das Land” (Do You Know the Land) thrown into the second act that almost approached melody, and tugged at the heartstrings in a way no other scene of the opera managed to do.
Beth’s death scene – below top with Chelsea Morris Shephard as Beth (left) and Heather Johnson as Jo — was a close second, admittedly.
And the lovely wedding vow — below bottom with, from left, Alexander Elliott as John Brooke; Courtney Miller as Meg; Rick Henslin as Gideon March; Elizabeth Hagedorn as Alma March — was marred only by Rick Henslin’s intonation.
The minimal set cheated the opera out of the lush visual setting it deserved. If the realism of the story had been played up, with painted walls and structures, the human elements of the story might have been more believable in a setting that doesn’t feel as though a strong wind might knock it all down.
Instead, a few flown-in flats with cheap-looking projections stood in for the occasional wall, and some rather cool shifting images on the scrim in front of the orchestra highlighted the apparent supernatural elements of the story — not that I thought there were supposed to be any in “Little Women.”
This is not to say the visuals were all misses — costumes, wigs, and makeup (Karen Brown-Larimore and Jan Ross) were excellent, particularly in establishing distinctive characterizations for the four sisters, who could easily have been hard to tell apart in a less careful production.
The ghostly vocal quartet that opens the opera — and haunts various scenes in the middle, although I’m told they were intended to be offstage — felt like nothing so much as discount Eric Whitacre: cascading clusters and whole-tone scales with no particular narrative purpose, illuminating nothing about the plot. I did find myself wondering if we were supposed to think Jo had gone insane, between that and the drifting projections on the set, but I’m sure that wasn’t the intended effect.
Despite all this, the voices themselves were superb, and married to strong acting skills to boot. Time and again Madison Opera has shown a knack for finding up-and-coming young singers with tremendous talent, and this cast was no exception.
The four Little Women themselves (below, from left, with Eric Neuville as Laurie; Courtney Miller as Meg, Heather Johnson as Jo; Chelsea Morris Shephard as Beth; Jeni Houser as Amy), aided by sure-handed direction from Candace Evans, mustered warm, credible camaraderie and sisterly love.
They, and their paramours, baritone Alexander Elliot and tenor Eric Neuville, all displayed rich and even vocalism, with clear and precise English diction rendering the supertitles mostly superfluous.
As the aloof Aunt March and the mother Alma, Brenda Harris and UW-Madison guest professor Elizabeth Hagedorn were secure and confident in their roles as well.
As the German teacher Friedrich Bhaer (below left, with Heather Johnson as Jo), Craig Verm’s accent faded in and out, but his aria, the aforementioned setting of Goethe’s famous “Kennst du das Land,” was the highlight of the show despite this.
Guest conductor Kyle Knox (below), a graduate student at the UW-Madison, led musicians of the Madison Symphony Orchestra capably through a score mired in complexity and made the result sound natural — not an easy feat.
I admire general director Katherine Smith (below) and the Madison Opera for taking a chance on contemporary American opera, and I dearly hope they do so again next season, and the season after that.
In a tremendously conservative industry, it takes guts to put on something by a living composer when everyone else is picking the safe options to sell out the house. And I’d rather see a contemporary opera and hate it than sit through a mediocre “Bohème” (though this fall’s “Bohème” by the Madison Opera was quite excellent).
Modern opera is a gamble, both for the box office and for the musicians. Sometimes you find “Dead Man Walking.” And sometimes you don’t. I hope the next contemporary piece to grace the Capitol Theater stage is one for the ages, even if this one, well, wasn’t.
NOTE: For purposes of comparison, here are links to two other reviews of the Madison Opera’s production of “Little Women”:
This is the review John W. Barker wrote for Isthmus:
And this is the review by Greg Hettmansberger, who writes for Madison Magazine and now has his own blog WhatGregSays as well as monthly appearances on WISC-TV:
And here is a link to an interview with Mark Adamo:
ALERT: The University of Wisconsin School of Music’s Guest Artist series will present flutist Sarah Frisof (below) of the University of Kansas and pianist-composer Daniel Pesca in a FREE recital on this Sunday night at 7 p.m. in Morphy Recital Hall. The program includes Ballade by Frank Martin; Sonata in E minor by Carl Philipp Emanuel Bach; “A Memory of Melisande” and “Brief Pause” by Daniel Pesca; and Sonata No. 1 in A Major for Violin by Gabriel Faure (transcribed by Stallman).
Frisof trained at the University of Michigan, the Juilliard School theEastman School of Music. She was a semi-finalist in the 2009 Kobe International Flute Competition, and 2nd Prize winner of both the National Flute Associations’ Young Artist Competition in 2008 and the Heida Hermann?s International Woodwind Competition in 2007. Dr. Frisof is the principal flute of the Dallas Wind Symphony and a frequent performer with the Dallas Symphony. She has performed with the Chicago Symphony, New York Philharmonic, Detroit Symphony and Boston Symphony. Daniel Pesca (b. 1985) is currently pursuing a DMA in Composition at the Eastman School of Music. He is the recipient of many commissions; his work for wind ensemble. Pieces by Pesca have been performed by the Rochester Philharmonic Orchestra, the Huntsville (Alabama) Symphony Orchestra, and Eastman’s Musica Nova.
By Jacob Stockinger
The 40-year-old German heart-throb tenor from Munich, Jonas Kaufmann is on a roll.
Well, truth be told, he has been for years.
But this week seems a kind of trifecta for Jonas (pronounced Yonas) Kaufmann.
On Friday, Feb. 17, Maestro Hunka-Hunka opens the Metropolitan Opera’s new production of French composer Jules Massenet’s “Werther,” the opera based on the famous and influential early 19th century Storm-and-Stress novel by Johann Wolfgang von Goethe.
Then two days later, Kaufmann makes his Carnegie Hall debut – presumably and unfortunately, if you have seen his Met production of Wagner’s “Parsifal” (below, in a photo by Sara Krulwich of The New York Times), with his shirt on — with a recital of Romantic songs by Robert Schumann, Franz Liszt and Richard Wagner. It seems rather late for his first appearance at Carnegie Hall, but I bet it is a sell-out.
The Ear hopes they have some smelling salts handy, just in case.
All that plus Sony Classical is releasing an album of Franz Schubert’s famous and season-appropriate song cycle “Winterreise” (Winter Journey, below top) on the heels of Kaufmann’s bestselling and critically acclaimed CDs for Decca Records of arias by Richard Wagner (below bottom) and Giuseppe Verdi (below bottom and in a YouTube video of “La donna e mobile” from “Rigoletto” at the bottom of the post).
Well, what can you say such success?
But you can read about how Kaufmann’s career has developed and what kind of rather modest and thoughtful person lies behind the glamorous and charismatic tenor, who may be the first really BIG vocal and operatic talent to emerge in this century.
I mean, Kaufmann has it all: strength and endurance, great tone, variety and handsome looks.
Did I mention handsome looks?
Yep. Kaufmann is thoroughly beautiful in his singing and thoroughly believable in his acting. Now that is a combination devoutly to be wished, don’t you think?
Here is a link to the comprehensive profile of Jonas Kaufmann by Zachary Woolfe that shows just how much consideration goes into Kaufmann’s personal life and professional career. All that talent, plus he seems like a nice guy:
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 every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
The University of Wisconsin-Madison Choral Union, conducted by Beverly Taylor, with the UW Symphony Orchestra, gave two performances on Saturday night and Sunday afternoon of a program that deserved even more of an audience than actually turned out.
Only two works were involved, and quite contrasting ones. The first was Felix Mendelssohn’s “Die erste Walpurgisnacht “ (“The First Witches’ Sabbath”), using a poem by Johann Wolfgang von Goethe. The second was the cantata by Ralph Vaughan Williams, “Dona nobis pacem,” using a deliberately ironic mix of texts.
UW student violist and conductor Mikko Utevsky, who sang in the tenor section, has already described these two works in his preview article recently posted on this blog, so there is no need for me to repeat what he has set out.
Here is a link to his preview:
The work by Felix Mendelssohn (below) is a sadly neglected masterpiece, one on which he worked intermittently down to his last years. It pictures Druid devotees, standing up to fierce persecution by intolerant Christians. The Druids’ weapon is traditional pagan rites, and the making of a ghostly hullabaloo in order to frighten off their enemies. (A precedent not for Halloween but rather for the spooky folk celebrations of St. John’s Eve (celebrated by Mussorgsky’s “Night on Bald Mountain” and the Brocken scene in Gounod’s opera “Faust.”)
One may debate if the text was worth the effort that Mendelssohn put into it, and whether its brief requirement of a large performing force makes it not an economic concert favorite.
Still, its extended overture is, quite simply, one of the composer’s finest piece of orchestral writing, and the vibrant choral segments are the work, after all, of one of the handful of composers who could compose truly idiomatic choral music.
There were a few rocky orchestral moments at the very beginning of the piece, especially in the strings, and occasional touches of weak co-ordination. But the orchestra pulled together some fine sound, worthy of the standards that James Smith’s training has set for it.
Of the three vocal soloists (below, with conductor Beverly Taylor of the far left) tenor Klaus Georg (middle) had a strong voice, but a not very smooth one. Mezzo-soprano Caitlin Ruby Miller (far right) had such smoothness for her one solo, but not much projecting power. Baritone Erik E. Larsen (second from left) brought a bit more character to his solos.
The real star, though, was the chorus: it can always be counted on for robust sound, and its singers really had a ball working up the Druids’ pagan, anti-Christian frenzies.
The cantata by Ralph Vaughan Williams (below) was composed in 1937, reflecting the composer’s disillusioning experience in World War I, and his just apprehensions about what would become World War II.
An admirer of the poetry of Walt Whitman (below) long before American composers began to pay attention to it, Vaughan Williams took three of Whitman’s poems of American Civil War vintage, adding a few other (mostly Scriptural) passages, which he juxtaposed against the Latin text from the Roman Catholic Mass Ordinary, the “Agnus Dei” — especially its repeated words “Dona nobis pacem” or “Give us peace.”
Such a juxtaposition of compassionate poetry against Latin liturgy was made famous by Benjamin Britten, of course, in his acclaimed “War Requiem.” But, in his more compact venture, Vaughan Williams set a bar of expressiveness so high that not even Britten, with all his cleverness and monumentality, could really match.
Indeed, I would place Vaughan Williams’s cantata as one of the supreme examples of anti-war art–matched not by Britten (if by Wilfred Owen’s poetry) but certainly by the crushing Ancient Greek play by Euripides, “The Trojan Women” and perhaps also Pablo Picasso’s painting of mass horror, “Guernica.”
Each of the movements of the cantata carries potent messages of poignancy and protest, while there is even some final (if uncertain) optimism. The score’s centerpiece is the long setting of Whitman’s “Dirge for Two Veterans,” a movement of absolutely shattering anguish amid discredited military posturing. There are few other things like it in the choral literature.
There are two soloists required for this work. Visiting faculty soprano Elizabeth Hagedorn (below right with Beverly Taylor in the center) was beautifully chilling in the reiterations of the “Dona nobis pacem” motto, while baritone Jordan Wilson (below right) captured the poignancy of Whitman’s “Reconciliation” (at bottom in a YouTube video) a more concise and heart-grabbing predecessor to the culminating Wilfred Owen poem that Britten used in his grander work.
But, again, with stout backing from the orchestra, the chorus was a tower of choral strength, equally forceful in parodistic militarism, in piercing anguish, or in hopeful joy.
Say what you will about the acoustics of Mills Hall in the UW’s Humanities Building, but it is the proper home for a powerful chorus confronting an enthusiastic audience with clarity and presence.
Praise, by the way, for the program booklet, which included all the vocal texts, as well as some excellent program notes. It proved an ideal topping for a rich, but nourishing cake of a concert!