The Well-Tempered Ear

Classical music: Madison Opera scores a big artistic and commercial success with the Midwest premiere of “Charlie Parker’s Yardbird.” How about seeing and hearing more new music and new operas?

February 15, 2017
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By Jacob Stockinger

Here is a guest review by The Opera Guy, who is himself a senior and who has followed opera for many decades and across several continents, including North America, Europe and Asia. Performance photos are by James Gill for the Madison Opera.

By Larry Wells

On Sunday afternoon I attended the second, and final, of two sold-out performances of Daniel Schnyder’s “Charlie Parker’s Yardbird,” presented by Madison Opera, which gave the Midwest premiere of the new work.

Although it is a chamber opera featuring only 16 instrumentalists and running a little over 90 minutes, it was an engaging, satisfying and often hypnotic operatic experience.

The orchestral and vocal music were readily accessible.  As a compliment to the composer, I was reminded of the later work of the great British composer Michael Tippett.

The plot features Charlie Parker’s mother, three of his wives, his friend Dizzy Gillespie and his current patroness, the fascinating Baroness Nica de Koenigswarter, as they confront Parker’s spirit after his death but before his removal from the morgue and burial.

madison-opera-charlie-parker-body-cr-james-gill

(Below, standing in front of the photo-portrait set of the Birdland jazz club, are the major cast members, many of whom were in the original world premiere productions at Opera Philadelphia and the Apollo Theater of Harlem in New York City. From the left, they are: Angela Brown as Addie Parker; Will Liverman as Dizzy Gillespie; Rachel Sterrenberg as Chan Parker; Angela Montellaro as Doris Parker; Joshua Stewart as Charlie Parker; and Krysty Swann as Rebecca Parker.)

madison-opera-angela-brown-as-addie-parker-will-liverman-as-dizzy-gillespie-rachel-sterrenberg-as-chan-parker-angela-montellaro-as-doris-parker-joshua-stewart-as-charlie-parker-krysty-swann

A pioneer and innovator of bebop in the world of jazz, saxophonist Parker died young and dissolute, destroyed by drugs and alcohol. Portrayed by Joshua Stewart (below), Parker is unsympathetic and weak, desperate to create but distracted. Stewart is a fine, convincing actor. His singing was often compelling, but his voice was too thin in the higher reaches demanded by the score.

madison-opera-joshua-stewart-as-charlie-parker-cr-james-gill

The other characters were ably portrayed and consistently strong vocally. Will Liverman’s Dizzy Gillespie was a standout – lyrical and touching.

Likewise, Krysty Swann (below center with a baby) was solid vocally and emotionally convincing as Parker’s abandoned first wife Rebecca Parker.

madison-opera-joshua-stewart-as-charlie-parker-krysty-swann-and-rebecca-parker-angela-brown-as-addie-parker-cr-james-gill

Rachel Sterrenberg was moving and gripping vocally as Parker’s final wife Chan.

Julie Miller as Baronness Nica commanded the stage whenever she appeared, perhaps because of her bright red dress in a sea of black garments but also because of her powerful portrayal and expressive singing.

Whenever Angela Brown (below right, with Joshua Stewart as Charlie Parker) was onstage as Parker’s mother, Addie, she was the focus. She owned the role, she sang beautifully, and she had some of the best material to sing.

(You can hear Angela Brown, who has appeared here before with the Madison Symphony Orchestra and the Madison Opera, in the world premiere production in the YouTube video at the bottom.)

madison-opera-joshua-stewart-as-charlie-parker-angela-brown-as-addie-parker-cr-james-gill

One of the finest moments in the opera was an orchestral interlude followed by a vocalise by another of Parker’s wives, Doris, sung by Angela Mortellaro (below). I was totally captivated, as I was by the quintet toward the end with Dizzy, the three wives and Parker’s mother.

madison-opera-angela-mortellaro-as-doris-parker-joshua-stewart-as-charlie-parker-cr-james-gill

Such are the moments for which an opera aficionado waits – several minutes of total aural delight.

Maestro John DeMain was, as always, in full command of the score as he led members of the Madison Symphony Orchestra. I was in a position to watch him conduct, and he was always totally involved in the moment. I repeat what I have said before: Maestro DeMain (below, in a photo by Prasad) is a treasure for which Madison should be constantly grateful.

John DeMain full face by Prasad

I personally like newer music and always welcome the chance to hear something other than the tired Brahms overtures, Tchaikovsky symphonies and Mozart piano concertos.

The argument in Madison seems to be that to fill seats, you have to give the audience what it wants; and the belief is that it wants music that is tried, true and safe.

The fact that this new work sold out both performances in the Capitol Theater of the Overture Center and that the audience was not entirely made up of seniors seems to suggest that the halls can be filled if the programming is more adventurous.

I say let’s hear more music of the 20th and 21st centuries, draw in a new audience and give the seniors a little thrill.

What do you think?


Classical music: Pianist Stephen Hough returns to solo with the Madison Symphony Orchestra this weekend in a program of “firsts” that includes music by Barber and Saint-Saens as well as Tchaikovsky’s famous “Pathétique” Symphony

February 13, 2017
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra (below) offers one of the best must-hear programs of the season – or so thinks The Ear.

MSO-HALL

Pianist Stephen Hough (below, in a photo by Sim Canetty-Clarke) returns for his fourth appearance with the Madison Symphony Orchestra (MSO), led by music director and conductor John DeMain.

stephen-hough-20167-formal-cr-sim-canetty-clarke

The concert will open with Samuel Barber’s Second Essay, a dramatic piece written in the midst of World War II, followed by a performance of the exotic Saint-Saëns Piano Concerto No. 5 (“Egyptian”) featuring soloist Stephen Hough, who won major awards for his recordings of the complete works for piano and orchestra by Saint-Saëns. The concert will close with a performance of Tchaikovsky’s emotional Symphony No. 6 (“Pathétique”).

The concerts are Friday, Feb. 17, at 7:30 p.m.; Saturday, Feb. 18, at 8 p.m.; and Sunday, Feb. 19, at 2:30 p.m. in Overture Hall of the Overture Center, 201 State Street. (Ticket information is below.)

Samuel Barber (below) was one of the new generation of mid-20th century American composers with contemporaries Howard Hanson, Aaron Copland, David Diamond and, later, Leonard Bernstein.

His Second Essay was written in 1942, in the middle of the Second World War. Barber once wrote: “Although it has no program, one perhaps hears that it was written in a war-time.” This will be the first time this piece is performed by the Madison Symphony Orchestra.

barber 1

The Piano Concerto No. 5 (“Egyptian”) by Camille Saint-Saëns (below) was composed while he was on a winter vacation in the Egyptian temple city of Luxor, in 1895-96. The location of this piece is important because it helped give the piece its nickname, and also influenced the sound of the score. This will be the first time this piece is performed by the Madison Symphony Orchestra.

camille saint-saens younger

Peter Ilyich Tchaikovsky (below) wrote his final piece between February and August 1893. The Symphony No. 6 (Pathétique) was then performed in Oct. 1893 and was conducted by Tchaikovsky himself. Nine days later he was dead.

Tchaikovsky’s late symphonies are autobiographical, and the sixth being “the best, and certainly the most open-hearted,” according to Tchaikovsky himself. Seeing that he was a troubled man, dealing with a dark depression, Symphony No. 6 (Pathétique) is filled with poignancy and deep sorrow, as you can hear in the finale in the YouTube video at the bottom.

Tchaikovsky 1

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

Randall Swiggum

For more background on the music, read 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/1617/5.Feb17.html

J. Michael Allsen Katrin Talbot

Single Tickets are $16 to $87 each, and are available at madisonsymphony.org/hough and 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, 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 $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.

Find more information at madisonsymphony.org

John DeMain and MSO from the stage Greg Anderson

Major funding for the February concerts is provided by: Irving and Dorothy Levy Family Foundation, Inc., Stephen Morton, and BMO Wealth Management. Additional funding is provided by: Boardman & Clark LLP, Forte Research Systems & Nimblify, James and Joan Johnston, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: Jazz and classical music are closely related and work well together, says composer Daniel Schnyder. He discusses “Charlie Parker’s Yardbird,” which the Madison Opera stages in its Midwest premiere this FRIDAY night — NOT Saturday — and Sunday afternoon

February 6, 2017
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By Jacob Stockinger

Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.

For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)

charlie-parkers-yardbird-logo-for-maidson-opera

The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)

Here is a link to more general information about the opera, tickets, the cast and the production:

https://welltempered.wordpress.com/2017/01/17/classical-music-madison-opera-will-present-the-midwest-premiere-of-charlie-parkers-yardbird-here-are-the-many-preparatory-events-for-the-public/

Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:

daniel-schnyder-2017

What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?

I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.

I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.

I do not see classical music and jazz as two completely different things. Jazz is by nature a synthesis of European music influences and African music.

The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.

lawrence-brownlee-as-charlie-parker-opera-philadelphia

How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?

In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.

The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.

The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts —  but there are a lot of R&B influences and jazz and Latin music grooves.

It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.

charlie-parker-1

In what ways do you see the characters and the story as offering lessons and being relevant to today?

I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.

If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.

We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.

The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.

In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.

He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”

The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.

charlie-parkers-yardbird-women-opera-philadelphia

Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?

There might be many different reasons for that:

1) There are very few operas using the modern jazz idiom.

2) There are very few operas in which the leading roles are African-American.

3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.

4) As mentioned above, the opera hits a nerve; it is about our time and about us.

5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.

6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.

7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.

The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.

8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.

I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.

9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.

charlie-parkers-yardbird-female-singer-opera-philadelphia

Is there something else you would like to say about yourself and the opera?

I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.


Classical music: The Madison Symphony Orchestra performs “Scheherazade” in the dramatic Beyond the Score® mixed media format this Saturday night and Sunday afternoon

January 9, 2017
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By Jacob Stockinger

Here is an announcement from the Madison Symphony Orchestra about two performances of a special concert this coming weekend:

Join the Madison Symphony Orchestra (MSO, below top) and Music Director John DeMain (below bottom, in a photo by Prasad) as they explore one of the most popular orchestral works ever written with Beyond the Score®: Scheherazade this coming weekend in Overture Hall.

The concerts are this Saturday, Jan. 14, at 8 p.m. and Sunday, Jan. 15, at 2:30 p.m. in Overture Hall, 201 State Street.

John DeMain and MSO from the stage Greg Anderson

John DeMain full face by Prasad

Beyond the Score®: Scheherazade is an opportunity for concertgoers to discover Russian composer Nikolai Rimsky-Korsakov’s colorful and exotic Scheherazade in a whole new way.

The first half experience encompasses video, photos, musical excerpts, and  actors Jim DeVita (below top) and Brenda DeVita (below bottom), of American Players Theatre in Spring Green, telling the story.

In the second half, Scheherazade will be performed from start to finish, by the Madison Symphony Orchestra with John DeMain conducting.

Jim DeVita

Brenda DeVita

The captivating music of Scheherazade evokes images and passions with a solo violin representing the intoxicating storyteller, Scheherazade. Based on an ancient Persian legend, Scheherazade staves off her death at the hands of her cruel Sultan husband, by regaling him with stories for 1001 nights until he falls in love with her.

Rimsky-Korsakov evokes the moods of her various tales with memorable and haunting melodies. (You can hear “Scheherazade,” conducted by the Russian conductor Valery Gergiev, in the YouTube video at the bottom.)

Designed for classical music aficionados and newcomers looking to delve deeper into the world of classical music, Beyond the Score explores Scheherazade’s context in history, how it relates to the work of other composers, and the events of Rimsky-Korsakov’s life that influenced its creation. The Chicago Tribune said of the Beyond the Score series, “Seldom has enlightenment proved so entertaining.”

As a young man, Rimsky-Korsakov (below) spent almost three years at sea with the Russian Navy and was exposed to other cultures. With 19th-century readers fascinated by exotic settings and fairy tales, he first conceived of creating an orchestral work based on the tales known as The Thousand and One Nights in 1887, when he was the leading teacher at the St. Petersburg Conservatory.

Rimsky-Korsakov

Single Tickets are $15 to $60 each, available at madisonsymphony.org/beyondthescore, 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 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 $15 tickets. More information is at: madisonsymphony.org/studentrush. Students receive 20% savings on advance ticket purchases for seats in select areas of the hall.

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.

Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Score®.


Classical music: Here are memorable local concerts in 2016 from critic John W. Barker and The Ear. What ones would you add?

January 4, 2017
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ALERT: The FREE Friday Noon Musicales at the First Unitarian Society of Madison, 900 University Bay Drive, resume this week after a break for Christmas, New Year’s and other holidays. This Friday, from 12:15 to 1 p.m., pianist Olivia Musat will perform music by Olivier Messiaen, Isaac Albeniz and Paul Constantinesco.

By Jacob Stockinger

It seems a tradition throughout the media to offer a roundup of the Year’s Best with a local slant.

The Ear already offered a national and international roundup. Here is a link to that, especially to the surprisingly rich roundup that he unexpectedly found on Wikipedia:

https://welltempered.wordpress.com/2017/01/02/classical-music-wikipedia-and-wfmt-in-chicago-offer-a-review-of-classical-music-of-2016-that-includes-important-performances-new-music-and-deaths/

For a more local perspective, The Ear trusts and generally agrees with critic John W. Barker (below), who writes frequently for this blog and more often for Isthmus.

John-Barker

Here is a link to Barker’s list of memorable concerts in the Madison area, Because Isthmus mixes classical with other genres like pop, folk and jazz, you have to scroll down to “Classical cornucopia”:

http://isthmus.com/music/year-in-music-2016/

Although I agree with all the concerts that Barker mentions, he left out some that The Ear really loved. One was the absolutely riveting and moving performance in November by the Madison Symphony Orchestra under John DeMain of the momentous Fifth Symphony by Dmitri Shostakovich.

For example just about everything that the Pro Arte Quartet does at the University of Wisconsin-Madison School of Music is first-rate and memorable, whether they play in Mills Hall or on “Sunday Afternoon Live From the Chazen Museum of Art.”

But this past fall, a free noontime concert by the Pro Arte with legendary pianist Leon Fleisher especially stood out. Together (below), they performed the Piano Quintet in F Minor by Johannes Brahms – an unquestionable masterpiece in an unforgettable performance.

leon-fleisher-and-pro-arte-quartet-2016

The Ear would also add two events, both violin recitals, at the Wisconsin Union Theater.

Last spring Hilary Hahn (below top, in a photo by Peter Miller) turned in a stunningly superb recital. Then this fall, superstar Joshua Bell (below bottom) did the same. Both artists displayed terrific musicality combined with terrific virtuosity in generous and first-rate, ambitious programs.

Hilary Hahn 2016 CR Peter Miller

joshua-bell-2016

He would add several summer concerts by the Bach Dancing and Dynamite Society, especially the sizzling dueling violin concert (below) where the BDDS interspersed “The Four Seasons” buy Antonio Vivaldi with “The Four Seasons in Buenos Aires” by Astor Piazzolla.

axel-strauss-bdds-2016-piazzolla

The Ear would also add an experimental concert at which UW-Madison pianist Christopher Taylor (below) unveiled his reworked two-keyboard “Hyperpiano.” While the concert, which featured the “Goldberg” Variations by Johann Sebastian Bach, wasn’t successful musically, it certainly was intriguing, unusual and highly memorable, even with imperfect digital technology.

Hyperpiano stage

And The Ear also recalls a fine concert by the Rhapsodie Quartet (below) of the Madison Symphony Orchestra at the Overture Center.

Rhapsodie Quartet MSO Greg Anderson

And let’s not forget the University Opera’s production of “Falstaff” by Giuseppe Verdi that was impressively and successfully updated to Hollywood by director David Ronis.

uw-falstaff-benjamin-schultz-left-paul-rowe-and-jiabao-zhang

The Ear is sure there are more memorable concerts that escape him right now. Madison just features so much wonderful music-making in the course of a year.

Moreover, The Ear is also sure you have your favorites – whether they are individual plays; small chamber music groups such as duos, string quartets and piano trios; larger ensembles like the Madison Symphony Orchestra and the Wisconsin Union Theater; or entire events like the UW Brass Festival.

I am sure that fans of the innovative percussion group Clocks in Motion and the acclaimed Madison Choral Project have a concert or two to nominate.

So please use the COMMENT section to tell us what were your most memorable classical concerts in Madison during 2016.

The Ear wants to hear.


Classical music: Give the gift of LIVE music. Plus, the Madison Symphony Orchestra and the Wisconsin Union Theater are offering holiday discounts.

December 13, 2016
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By Jacob Stockinger

A lot of holiday gift lists suggest recordings, videos and books related to classical music.

The Ear recently posted a link to the holiday gift guide by critics of The New York Times:

https://welltempered.wordpress.com/2016/11/27/classical-music-here-is-the-new-york-times-holiday-gift-guide-of-classical-music-for-2016/

The Ear also offered the 2017 Grammy nominations for gift suggestions:

https://welltempered.wordpress.com/2016/12/10/classical-music-here-are-the-classical-music-nominations-for-the-2017-grammy-awards-they-make-a-great-holiday-gift-list-of-gives-and-gets/

But The Ear thinks the best gift by far is LIVE music – a ticket to one or more of the many concerts that take place in the Madison area. You can’t beat live music for excitement, insight and enjoyment.

There may be more, but at least two major arts presenters in Madison are offering holiday discounts to make your gift-giving easier and more affordable.

MADISON SYMPHONY ORCHESTRA

Through Dec. 24, the Madison Symphony Orchestra is offering a special deal — two levels of tickets for $20 and $49. That includes values up to $89. Concerts in the next semester include two outstanding pianist soloists (Stephen Hough, below top, playing the Piano Concerto No. 5 “Egyptian” by Camille Saint-Saens and Philippe Bianconi playing the Piano Concerto No. 3 by Sergei Rachmaninoff, or “The Rach 3”) as well as the “German” Requiem by Johannes Brahms, the “Beyond the Score” performance about Nikolai Rimsky-Korsakov’s “Scheherazade” (with actors from American Players Theatre in Spring Green) and Norwegian trumpet virtuoso Tina Thing Helseth (below bottom).

Here are two relevant links:

http://www.madisonsymphony.org/holidaysale

http://www.overture.org/events/madison-symphony-orchestra/

Hough_Stephen_color16

Helseth (c) ColinBell EMI Classics

WISCONSIN UNION THEATER

Through Jan. 8, at the Wisconsin Union Theater will forego the $4 per ticket handling fee for any event, including the classical pianist and improviser Gabriela Montero (below top), the Los Angeles Guitar Quartet and the Milwaukee Symphony Orchestra with its famous outgoing music director Edo de Wart conducting (below bottom).

Here is  a link to shows for the second semester:

https://union.wisc.edu/visit/wisconsin-union-theater/

https://union.wisc.edu/events-and-activities/event-calendar/AdvSearchForm?Locations[329]=329

Gabriela Montero

milwaukee-symphony-orchestra-with-edo-de-waart

And of course discounts are not the only reason to choose a certain program or performer.

Whatever you are looking for — early music or new music, chamber music or orchestral music, art song recitals or choral music — you can find it in Madison, and usually at a very affordable price.

Lots of specific concerts at the UW-Madison and elsewhere are either free or low in price, as is the Middleton Community Orchestra.

Here are two links:

http://www.music.wisc.edu/events/

http://www.middletoncommunityorchestra.org

And you can find numerous other sites by Googling the organization’s name.

Combine a ticket to a live performance with a recording of a work or an artist, and maybe even include an invitation to be a companion, and you have a fine gift package that promises to be truly memorable.

Are there any other holiday deals the Ear hasn’t heard about?

Any suggestions or ideas for giving live music?

Leave word and links in the COMMENT section.

The Ear wants to hear.


Classical music: The Madison Symphony Orchestra performs its usually sold-out Christmas concerts this weekend

November 28, 2016
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By Jacob Stockinger

The Madison Symphony Orchestra (MSO) and music director John DeMain will kick off the holiday season with the much-loved tradition — A Madison Symphony Christmas — with three concerts this coming weekend in Overture Hall.

mso-christmas-concert-stage

The holidays will be celebrated with a variety of music from the Hallelujah Chorus by George Frideric Handel (at the bottom in a YouTube video) to exciting Gospel selections. Highlights will also include Panis Angelicus by Cesar Franck, selections from Magnificat by John Rutter and holiday classics including Baby, It’s Cold Outside and The First Noel.

Performing with the MSO will be soprano Sylvia McNair (below), star of Broadway and the Metropolitan Opera, along with the Madison Symphony Chorus, directed by Beverly Taylor.

sylvia-mcnair-2016

In addition, Madison Youth Choirs (below top), directed by Michael Ross and the Mt. Zion Gospel Choir (below bottom, in a photo by Bob Rashid), directed by Tamera and Leotha Stanley, will be featured during the program.

Madison Youth Choirs Con Gioia Karen Holland

Mt Zion gospel Bob Rashid

No Christmas concert would be complete without a sing-along. To conclude the concert, audience members will be invited to join with the MSO and guest artists to sing beloved holiday carols.

MSO John DeMain in Santa Hat

The concerts are in Overture Hall of the Overture Center, 201 State Street, on Friday night, Dec. 2, at 7:30 p.m.; Saturday night, Dec. 3, at 8 p.m.; and Sunday afternoon, Dec. 4 at 2:30 p.m.

Concertgoers are encouraged to arrive 45 minutes before the concert begins to join the Madison Symphony Chorus (below) as they lead a selection of Christmas carols in the festively lit lobby at Overture Hall.

MSO Chorus CR Greg Anderson

NOTE: These concerts typically sell out, so early ticket purchases are encouraged. 

Single Tickets are $16 to $87 each, available at madisonsymphony.org/christmas, 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 at Fresco, one drink ticket, and a cash bar. Conductor John DeMain, 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 Thurs., Dec. 1, 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 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.

Find more information at madisonsymphony.org

Major funding for the December concerts is provided by: American Printing, Nedrebo’s Formalwear, BMO Wealth Management, Hooper Foundation/General Heating & Air Conditioning, Maurice and Arlene Reese Family Foundation, National Guardian Life Insurance Company, and An Anonymous Friend. Additional funding is provided by: Colony Brands, Inc., J.H. Findorff & Son Inc., Reinhart Boerner Van Deuren s.c., Hans and Mary Lang Sollinger, and Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: Did anyone else hear Shostakovich’s Fifth Symphony and think of Donald Trump’s America as well as Stalin’s Russia?

November 21, 2016
13 Comments

By Jacob Stockinger

The Ear has to agree with a knowledgeable friend.

If you heard the Madison Symphony Orchestra, under music director John DeMain, perform the famous Symphony No. 5 in D minor — the same key as Beethoven’s Ninth — by Dmitri Shostakovich almost two weeks ago, you heard a performance that rivals or surpasses any other one, live or recorded, you’ve probably heard.

John DeMain and MSO from the stage Greg Anderson

The performance was nothing short of stunning. And it was especially moving, given its timing in coming right after the presidential election in which Republicans Donald Trump and Mike Pence won an upset surprise victory over Hillary Clinton and Tim Kaine.

mike-pence-and-donald-trump

So here is what The Ear wants to know:

Was The Ear the only one who found himself thinking that the symphony proved an especially fitting, perhaps perfect, choice even though it was programmed a year ago? (You can hear the moving third movement, a lament with such pathos that people cried at its premiere, in the YouTube video at the bottom.)

Was The Ear the only one who identified with Shostakovich, who felt an even deeper empathy with the oppressed composer (below), who, fearing with good reason the dictator Joseph Stalin and his reign of Terror in the USSR, always kept a small suitcase packed with pajamas and a toothbrush by the front door in case the KGB secret police came knocking at 3 a.m., the usual arrest hour?

dmitri shostakovich

The symphony is dark music for dark times. And The Ear hopes he wrong when he fears that America is headed for some dark times of its own, times when various people and members of our society will live in constant fear and dread of what they might suffer?

This is not to suggest that President-elect Donald Trump can be equated to the murderous Joseph Stalin (below), or the United States in 2016 to the Soviet Union in the 1930s.

jospeh-stalin-2

But it is to suggest that some comparisons — if not equations — might be in order.

It is to suggest there will be a constant and unsettling anxiety in the US created by a new ruling order that seems based on insults and intolerance, that excludes and condemns what it doesn’t approve of, that seeks to suppress or destroy opposition?

Like Latino and Syrian immigrants.

Like Muslims, Jews and other non-Christians.

Like African-Americans, Native Americans and other non-whites.

Like poor people.

Like liberals and progressives, dissenters and protesters .

Like LGBT people.

Like women and women’s health advocates and organizations that favor reproductive rights.

The list could go on and on.

But you get the idea.

If either as a musician or an audience member you agree – or disagree – leave a COMMENT.

The Ear wants to hear.


Classical music: Juilliard violin professor Laurie Smukler continues a great season of string playing on Saturday night with a FREE recital at the UW-Madison

November 18, 2016
1 Comment

By Jacob Stockinger

This is a post about a very appealing FREE concert by Juilliard violinist Laurie Smukler (below) on this Saturday night at 8 p.m. in Mills Hall.

laurie-smukler

But for The Ear, some context seems fitting.

Some seasons are memorable for great singing or great piano playing or great orchestral playing. And there certainly has been, and will continue to be, lots more of all three this autumn and winter.

But what has really stood out to The Ear this Fall is the string playing, especially the violin.

stradivari-solomon-ex-lambert

Actually it started in the summer with a sizzling, white-hot performance by the Bach Dancing and Dynamite Society. The BDDS interspersed Vivaldi’s “Four Seasons” with Astor Piazzolla’s “Four Seasons in Buenos Aires.”

Violinist Suzanne Beia (below top) played the Vivaldi seasons and McGill University violinist Axel Strauss from Montreal (below bottom) played the Piazzolla seasons. The dueling violins were something to behold and to hear! And the alternation kept listeners from tiring of one particular composer or style. It was a thoroughly enjoyable and thoroughly memorable concert. 

suzanne-beia-bdds-2016-vivaldi

axel-strauss-bdds-2016-piazzolla

Then came an unforgettable performance of the Violin Concerto by Tchaikovsky, played with intimacy and clarity as well as stunning virtuosity by the prize-winning Russian-born Ilya Kaler with the Wisconsin Chamber Orchestra under Andrew Sewell.

ilya-kaler

Then came wonderful performances by Norwegian violinist Henning Kraggerud of the Violin Concerto No. 1 by Max Bruch and some works by Kraggerud himself, accompanied by the Madison Symphony Orchestra under John DeMain.

Henning Kraggerud playing

Over at the Wisconsin Union Theater, superstar Joshua Bell didn’t disappoint. Appearing in a recital with pianist Alessio Bax, Bell played music by Ludwig van Beethoven, Johannes Brahms, Claude Debussy, Eugene Ysaye, Pablo de Sarrasate and Manuel Ponce. Violin recitals just don’t get better.

joshua-bell-2016

In between came several performances by the four always reliable and always outstanding string players of the UW-Madison’s Pro Arte Quartet (below top, in a photo by Rick Langer) as well as the newly reformed Ancora String Quartet (below bottom).

Pro Arte 3 Rick Langer copy

ancora-2016-group-1

And there were many other events.

But The Season of Strings isn’t over yet.

This Saturday night at 8 p.m. in Mills Hall, there is a FREE recital by Laurie Smukler, a violin professor at the Juilliard School who is also doing a guest residency here that features master classes in the violin and chamber music.

Smukler was invited by and will be joined by Soh-Hyun Park Altino (below, in a photo by Caroline Bittencourt), who teaches violin at the University of Wisconsin-Madison School of Music and whose debut recital last year still lingers in The Ear’s ear.

Soh-Hyun Park Altino CR caroline bittencourt

Both women, who are personal friends, are terrific musicians and highly accomplished violinists.

The intriguing program, with the distinguished pianist Victor Asuncion, features the popular work “The Lark Ascending” by English composer Ralph Vaughan Williams; the Sonata for Two Violins by Soviet composer Sergei Prokofiev; and the Violin Sonata No. 3 in D minor by Brahms. (You can hear the heart-rending slow movement of the Brahms, played by violinist Itzhak Perlman and pianist Daniel Barenboim, in a popular YouTube video at the bottom.)

For more information about all events related to the Smukler residency, go to:

http://www.music.wisc.edu/event/distinguished-guest-artist-residency-laurie-smukler-violin-free-event/

 


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