The Well-Tempered Ear

Classical music: The UW-Madison’s Pro Arte Quartet performs the second of its free, MUST-HEAR, six-concert Beethoven string quartet cycle this Friday night. Here is a revised schedule.

February 25, 2020
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By Jacob Stockinger

This Friday night at 8 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave., the UW-Madison’s Pro Arte Quartet (below, during the first concert of the cycle) plays the second concert in its FREE year-long, six-concert Beethoven cycle to mark the Beethoven Year that celebrates the 250th anniversary of the composer’s birth.

The Ear heard the first concert in the cycle and found it superb. He recommends the performances highly enough to call them MUST-HEARs.

But a couple of things have changed in the cycle.

Since the last listing was published, the last concert of the cycle has been pushed back one day.

Also, UW-Madison Professor of Musicology Charles Dill (below) will be giving a pre-concert lecture one hour before each of the remaining five concerts in the series. This Friday night,  Dill speaks at 7 p.m. in the Lee/Kaufman Rehearsal Hall.

Members of the Pro Arte Quartet (below, from left in a photo by Rick Langer) are David Perry and Suzanne Beia, violins; Sally Chisholm, viola; Parry Karp, cello.

Here is the revised schedule:

PROGRAM I  (completed)

Friday, Nov. 22, 2019, 8 p.m. in Collins Recital Hall

String Quartet in G Major, Op. 18, No. 2 (1798-1800)

String Quartet in F Minor, Op. 95, “Serioso” (1810)

String Quartet in B-flat Major, Op. 130 (1825-6)

PROGRAM II

This Friday, Feb. 28, 2020, at 8 p.m., in Mead Witter Foundation Concert Hall

String Quartet in F Major, Op. 18, No. 1 (1798-1800). You can hear the opening of this first quartet by the young Beethoven, played the Alban Berg Quartet, in the YouTube video at the bottom.)

String Quartet in E-Flat Major, Op. 74, “Harp” (1809).

String Quartet in C-Sharp Minor, Op. 131 (1826)

Pre-Concert lecture by Professor Charles Dill, 7 p.m. in  Lee/Kaufman Rehearsal Hall

PROGRAM III

Thursday, April 16, 2020, 7:30 p.m. in Mead Witter Foundation Concert Hall

String Quartet in D Major, Op. 18, No. 3 (1798-1800)

String Quartet in E Minor, Op. 59, No. 2 (1806)

String Quartet in E-flat Major, Op. 127 (1825)

Pre-Concert lecture by Professor Charles Dill, 6:30 p.m. in Collins Recital Hall

PROGRAM IV

Friday, Oct. 2, 2020, at 8 p.m. in Mead Witter Foundation Concert Hall

String Quartet in A Major, Op. 18, No. 5 (1798-1800)

String Quartet in C Minor, Op. 18, No. 4 (1798-1800)

String Quartet in A Minor, Op. 132 (1825)

Pre-Concert lecture by Professor Charles Dill at 7 p.m. in Collins Recital Hall

PROGRAM V

Friday, Nov. 20, 2020, at 8 p.m. in Mead Witter Foundation Concert Hall

String Quartet in B-flat Major, Op. 18, No. 6 (1798-1800)

String Quartet in F Major, Op. 135 (1826)

String Quartet in C Major, Op. 59, No. 3 (1806)

Pre-Concert lecture by Professor Charles Dill at 7 p.m. in Collins Recital Hall

PROGRAM VI

Sunday, Jan. 31, 2021, at 7:30 p.m. in Mead Witter Foundation Concert Hall

String Quartet in F Major, Op. 59, No. 1 (1806)

String Quartet in B-flat Major, Op. 130, with the Great Fugue finale (Grosse Fuge), Op. 133 (1825)

Pre-Concert lecture by Professor Charles Dill at 6:30 p.m. in Collins Recital Hall

 


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Classical music: It is Wagner Week with the Middleton Community Orchestra tonight and the Metropolitan Opera’s “Live in HD” production of “Parsifal” with German tenor Jonas Kaufmann this Saturday.

February 27, 2013
1 Comment

By Jacob Stockinger

It almost seems like Wagner Week in Madison, a good time to start this year’s bicentennial celebration of the birth of the still controversial and larger-than-life composer.

Tonight at 7:30 p.m. in the Middleton Performing Arts Center that is attached to Middleton High School, the Middleton Community Orchestra (below) will perform two well-known excerpts: “Elsa’s Procession” from “Lohengrin” and “Siegfried’s Funeral Music” from the last Ring opera, “Gotterdammering” or “The Twilight of the Gods.”

Admission is $10 adults, student are free. For information about tickets and joining or supporting the orchestra and about the program, visit:

https://welltempered.wordpress.com/2013/02/25/classical-music-the-middleton-community-orchestra-spotlights-the-young-local-violinist-alice-bartsch-plus-music-of-saint-saens-verdi-wagner-and-britten-at-its-winter-concert-next-wednesday-night-p/

http://middletoncommunityorchestra.org/concert_information

Middleton Community Orchestra by William Ballhorn

Then on this Saturday, the next production of “Live From the Met in HD” will offer Wagner’s last opera “Parsifal,” in an acclaimed updated staging by Francois Girard for the Metropolitan Opera, at the Point and Eastgate cinemas.

Much of the music by Wagner (below) is hauntingly beautiful — I love the Prelude — though at 5 hour and 40 minutes, it will be a long, long afternoon, starting at 11 a.m. and ending at almost 5 p.m.

Richard Wagner

The title role of the innocent Knight of the Round Table who quests to find The Holy Grail will be sung by the young Munich-raised, German tenor Jonas Kaufman, which is pronounced “Yonas KaufmaHn.” (Below is a preview of his Kaufmann’s performance in “Parsifal” from a video on YouTube.)

And here is a review by senior critic Anthony Tommasini who calls the new production “brilliant”:

http://www.nytimes.com/2013/02/18/arts/music/parsifal-at-the-metropolitan-opera.html?_r=1&

Here is a link with more details, including a synopsis (if you can follow it) and a cast list as well as a video:

http://www.metoperafamily.org/metopera/liveinhd/LiveinHD.aspx

Perhaps like me, you last saw Kaufman last season in the Met’s latest production of Wagner’s “The Ring.”

This young singer (below) seems to have everything. He is handsome and trim, so he is visually believable in both heroic and romantic roles on stage. He acts well. He sings superbly and beautifully. And to top it all off, he is smart and very articulate.

jonas kaufmann leather coat

Decca has just released a terrific album by Kaufmann simply called “Wagner” (below) that includes music from all the major periods, early to late, of Wagner’s amazing artistic output. The music includes excerpts from The Ring and other operas as well as the early “Wesendonck Songs.”

Now, I am not a big Wagnerite, or a Wagnerite at all, really. Small doses do me just fine. I love his orchestral overtures more than I do his entire operas, which sit with me much like a 15-course dinner. For me, Wagner suffers from opera gourmandise.

But I am enthralled with Kaufmann’s Wagner, and think his album, in which Kaufmann is partnered with Donald Runnicles conducting the German State Opera Orchestra and Chorus, is a great candidate for a Grammy next year, much like Renee Fleming’s CD of French songs, which won this year.

Kaufmann Wagner CD

Why do I like Kaufmann’s Wagner’s singing so much? Well, he always seems pitch-perfect, and I love his big sound and rich tone coupled to relative lack of vibrato. He never shows a sense of strain or exaggeration, which you cannot say of many Wagnerian Heldentenors.

Kaufmann’s talent seems so comprehensive and total. To me he is the perfect and natural blend of the Italian and German opera styles, of the lyrical and the profound. He should have a very great future. Perhaps Jonas Kaufmann is the German Pavarotti.

Jonas Kaufmann face

I am especially impressed by an interview he recently did on National Public Radio to promote his CD and the upcoming opera appearance. Kaufman recalls how he came to Wagner in his youth and in his family; but he also understands and does not shy away from the anti-Semitism of this great composer or how Hitler’s Third Reich used and abused Wagner. I like his candor, and his appeal to let the music speak for itself apart from the composer.

Here is a link to that interview:

http://www.npr.org/blogs/deceptivecadence/2013/02/16/172002771/jonas-kaufmann-on-wagner-its-like-a-drug-sometimes

I think Jonas Kaufmann’s time has come. The Ear predicts that this year or next, he will break out into The Really Big Time — and maybe even superstardom.

What do you think of Jonas Kauffman?

And of Wagner?

And, of course, of Jonas Kauffman’s new recording “Wagner”?

The Ear wants to hear.


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