The Well-Tempered Ear

Classical music: A curmudgeon vents his complaints concerning the music scene in Madison, Plus, this Sunday Afternoon the Pro Arte Quartet plays Haydn and Dvorak in a FREE concert at the Chazen Museum of Art that will be streamed live

November 4, 2017
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ALERT: The UW’s acclaimed Pro Arte Quartet will perform a FREE concert tomorrow, Sunday, Nov. 5, at 12:30 p.m., at the Chazen Museum of Art in Brittingham Gallery No. 3. The program features the String Quartet in E Major, Op. 53, No 3, by Franz Joseph Haydn and the String Quartet in A Minor, Op. 16, by Antonin Dvorak. The “Sunday Afternoon Live at the Chazen” concert will also be streamed live. Here is a link:

https://www.chazen.wisc.edu/about/news/in-the-news/sunday-afternoon-live-with-pro-arte-quartet-november-5/

By Jacob Stockinger

Here is an essay by Larry Wells, a guest reviewer and a frequent concertgoer. He writes:

“As I have aged, I have become more of a curmudgeon. (My friends and family will readily attest to this.) It is in that spirit that I address some annoyances I have been experiencing over the past few years while attending musical events in Madison.

“I will start with a recent experience, attending University Opera’s performances of “A Kurt Weill Cabaret” at Music Hall (below). The two arms of any seat in the hall have two different numbers. Unless the guest was paying attention as he entered the row, it is unclear which number belongs to which seat. After attending a few shows there, I have figured it out. But I don’t believe I have ever been to a performance there when there hasn’t been confusion about which seat is which. I have routinely heard people asking others (who are generally equally clueless), and I have routinely seen blocks of people shift over one seat. You would think that someone at a great educational institution could figure out a way to make the seating less baffling.

“An equally annoying phenomenon occurs regularly at Mills Hall, also on campus. I discovered that, for choral concerts particularly, the sound in the balcony is far better than the sound on the main floor. However, the doors of the balcony are often locked and the ushers regularly say that the balcony is not open. Upon making further insistent inquiries, I usually manage to get someone to unlock the balcony, but I wonder why it is felt that unlocking it routinely is such an onerous task.

“I will also mention that, regardless of one’s seat location in Mills Hall, it is difficult not to notice that the sound clouds over the stage are in sore need of a dusting and cleaning.

Stephen Sondheim wrote a wonderfully amusing song for “The Frogs” called “Invocation and Instructions to the Audience.” In it the audience is reminded not to talk, cough, fart and so on. (You can hear the piece in the YouTube video at the bottom.)

“At the aforementioned performances in the Music Hall (I went twice), I saw people texting and video recording the performance even though the program has, in very small print, an admonishment not to photograph or film. At a recent choral concert in Mills Hall, texting was rampant during the performance, and there was no mention about turning off cell phones in the program. The bright screens immediately draw the eye away from the stage. I find it extremely distracting.

“At performances given by the UW Dance Department, a loud and forceful announcement at the beginning of each performance instructs the audience to turn off cell phones, no texting, no photos, etc. A similar announcement takes place not only at the beginning of the concert but also at the end of intermissions for performances at Overture Center. I think it is time for the UW Music Department to address the issue in a similar way.

“Another criticism of the way that things are done by the Music Department: Why is it so hard to find out what is being performed at a recital or concert? The Music Department has a good website with a calendar that lists the performances being given on any day, but many times the program is not included in that information. I am disinclined to go to a concert when I don’t know what the program is, and I often will go to a performance just to hear one work if it’s one I am anxious to hear. Thus, I often have to go roaming around the Music Building looking for posters or sometimes even going to the person sponsoring the performance to ask what the program is. It shouldn’t be that hard.

“An issue at Overture Center is whispering. I do not understand how people have lived to the ripe old ages that most of the audience members have and not come to realize that whispering is still audible.

“Two seats away from me at Overture Hall for my symphony subscription is a woman who, at every single performance, starts to cough as soon as the music begins, noisily unzips her purse, reaches in and fumbles around until she finds her cough drop, and then noisily unwraps its cellophane cover. Every time. It is a wonderment to me that she has not discovered that she could unwrap the cough drops in advance and have them at the ready.

“When I subscribed to the San Francisco Symphony, there were bowls of wax paper wrapped cough drops at every entrance. Not a bad idea.

“And then there is the seemingly obligatory standing ovation syndrome that has become a standard feature of every performance in Madison. In the rest of the world a standing ovation is reserved for an extraordinary performance deserving special recognition. Here I think of Pavlov’s dog and sheep. The performance ends, one person leaps to his feet (that’s the Pavlov part) and everyone else stands (that’s the sheep). At the same time the sentiment has been lost, and it all seems rather provincial to me.

“I realize that these are all first-world problems of little importance. They are minor annoyances, but that is what a curmudgeon dwells on. And it feels great to vent.”

Do you agree with any of these complaints?

Do you have any major or minor complaints to add?

The Ear wants to hear.


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Classical music: University Opera stages a compelling and fully engaging cabaret of Kurt Weill songs

October 29, 2017
4 Comments

By Jacob Stockinger

The Ear’s friend and colleague, The Opera Guy, has filed the following review.

By Larry Wells

I attended a nearly full-house opening of University Opera’s “A Kurt Weill Cabaret” Friday night in Music Hall on Bascom Hill.

The 90-minute show was comprised of about 20 numbers from the body of works by Weill (below, in a photo from the German Federal Archive. The ensembles, solos and duets were arranged into three sections with a loose narrative structure linking the pieces.

Throughout the evening I was unaware of the passage of time, which is one of my acid tests for a good performance. Likewise, I felt fully engaged.

Many of the numbers will be familiar to Weill’s fans. The well-known “Whiskey Bar/Alabama Song” was the opening solo for Sarah Kendall, who performed it more as a Puccini aria than as the world-weary, boozy Jenny. It was a novel and strangely compelling interpretation.

(Kendall performing “Whiskey Bar” with the company, is below in a photo by Michael R. Anderson, who took all the performance photographs)

More convincingly conveyed was “I’m a Stranger Here Myself” performed by the sprightly and clear-voiced Emily Weaver. “My Ship” sung by Miranda Kettlewell (below right, singing the Ice Cream Sextet with Alec Brown) was perfectly enunciated and movingly sung.

Since there were no supertitles, clear enunciation was a problem in a couple of the performances.

Likewise, mention should be made of Emily Vandenberg’s haunting rendition of “Surabaya Johnny.” (You can hear the legendary Weill interpreter Lotte Lenya sing “Surabaya Johnny” in the YouTube video at the bottom.)

My favorite performances of the evening included “‘Youkali” by Talia Engstrom. My notes simply said “Perfection.” And my perennial favorite Courtney Kayser (below) did not disappoint with “J’attends un navire” and “Denn wie man sich bettet.” She is an excellent actress, possesses outstanding musicianship, and commands a clearly focused voice.

The women singers seriously overshadowed the men’s solo performances. I was wondering why that might have been. One possibility is that the men, who are trained operatically, find that they need to scale back their vocal projection for lighter vocal fare and in doing so sound constrained.

(Below, from back to front and left to right, are: Alec Brown, Jeff Larson, Jake Elfner, Sarah Kendall, Talia Engstrom, Matt Chastain in the “Benares Song.”)

Having said that, I thought Matt Chastain’s “Oh the Rio Grande” from the not well-known “Johnny Johnson” was both well sung and amusing to watch.

My companion admired the voice and acting of Alec Brown, and we both believed that Tim Emery is a dead ringer for a young Jimmy Stewart.

Some of the most compelling moments were the ensembles from Weill’s heavier works. “The Benares Song” highlighted Weill’s gravitas as a composer as did “Zu Potsdam unter den Eichen” from “Das Berliner Requiem.”

The cast members’ acting and vocal skills came to the forefront in these ensembles. (Below is “Zu Potsdam unter den Eichen” with Matt Chastain, Miranda Kettlewell, Alec Brown, Tim Emery, Emily Weaver, Eliav Goldman and Jeffrey Larson in the foreground).

Daniel Fung (below top) heroically provided the piano accompaniment without slacking for even a moment. Kudos to him. He was joined by a string bass and drum all conducted by Chad Hutchinson (below bottom) with unflaggingly appropriate tempi and dynamics.

This was the seventh production by David Ronis (below in a photo by Luke Delallio) for University Opera at the UW-Madison, and his consistently novel approach to the productions has made each one a joy. His commitment to quality and novelty is admirable.

I am eager to see what Ronis has in store for us this coming spring with “La Bohème” to be staged at the Wisconsin Union Theater.

I highly recommend attending “A Kurt Weill Cabaret,” which will be repeated this afternoon at 3 p.m. and Tuesday evening (Halloween night) at 7:30 p.m. Admission for the general public is $25; $20 for seniors; and $10 for UW students.

For more background and information about getting tickets, go to:

https://welltempered.wordpress.com/2017/10/23/classical-music-the-university-opera-performs-a-unusual-and-original-kurt-weill-cabaret-this-coming-friday-night-and-sunday-afternoon-and-next-tuesday-night/

http://www.music.wisc.edu/2017/09/27/university-opera-presents-a-kurt-weill-cabaret/


Classical music: The University Opera performs an unusual and original Kurt Weill cabaret this coming Friday night and Sunday afternoon and next Tuesday night

October 23, 2017
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By Jacob Stockinger

This fall, University Opera is taking a short break from strictly operatic offerings – in the spring it will stage Puccini’s “La Bohème” — as it turns to the music of Kurt Weill (1900-1950).

No ordinary medley, A KURT WEILL CABARET is an organized pastiche of 21 solos and ensembles from many diverse works by Kurt Weill (below, in a photo from the German Federal Archive), and will be presented at Music Hall on the UW-Madison campus at the foot of Bascom Hill.

(One of the most famous and popular Kurt Weill songs to be performed, “Alabama Song,” once covered by the rock band The Doors in the 1960s, can be heard performed by Lotte Lenya in the YouTube video at the bottom.)

Performances are this Friday, Oct. 27, at 7:30 p.m.; this coming Sunday, Oct. 29, at 3 p.m.; and next Tuesday night, Oct. 31, at 7:30 p.m.

University Opera director David Ronis (below, in a photo by Luke Delalio)  will direct the show.

Chad Hutchinson (below), adjunct professor of orchestras, will conduct.

Musical preparation will be by UW-Madison collaborative pianist and vocal coach, Daniel Fung (below bottom).

Tickets are $25 for the general public; $20 for seniors; and $10 for UW students.

Here is a link to a full-length press release from the Mead Witter School of Music at the University of Wisconsin-Madison. It has information about the performers and the program as well as historical background about Kurt Weill and how to purchase tickets.

http://www.music.wisc.edu/2017/09/27/university-opera-presents-a-kurt-weill-cabaret/

For more information in general about University Opera, got to:

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


Classical music: This Friday night and Sunday afternoon, the Wisconsin Chamber Choir performs music composed by immigrants to the U.S.

April 14, 2016
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By Jacob Stockinger

Robert Gehrenbeck (below), the talented and energetic director of the Wisconsin Chamber Choir who also directs choral activities at the University of Wisconsin-Whitewater, writes:

Robert Gehrenbeck new headshot 2013 USE

The Wisconsin Chamber Choir (below) will present “Songs In a New Land” on this Friday, April 15, at 7:30 p.m. in Bethel Lutheran Church, 312 Wisconsin Ave., in Madison and on Sunday, April 17 at 3 p.m. at Cargill United Methodist Church, 2000 Wesley Ave., in Janesville.

Admission is $15 for adults and $10 for students.

Advance tickets are available from www.wisconsinchamberchoir.org. They are also available at the door.

Wisconsin Chamber Choir 1

The WCC’s concert will celebrate composers who were immigrants from the 15th century to the present, including emigres to the United States from China, Russia, Syria, Germany, Mexico, Argentina, Venezuela and the Dominican Republic.

At a time when immigration has become a burning issue in national politics, the WCC’s program highlights composers who emigrated from the country of their birth to make new homes elsewhere. They imported traditions from their homelands and enriched the cultural life of their adopted countries in innumerable ways.

Their reasons for leaving home were varied-some moved voluntarily but many were forced to emigrate for political, economic or religious reasons or, often, a combination of all of these.

While the experience of leaving behind all that is familiar and making a new life in a foreign country was rarely easy, the interaction of old and new influences resulted in some of the most lasting and unique artistic creations in history.

Most of the featured composers were or are immigrants to the United States, but the program opens with a set of Renaissance motets—“Stabat Mater” by Josquin des Prez (below top) and “Domine, Convertere” by Orlando di Lasso (below bottom) — demonstrating that migrant composers have played a major role throughout history.

Josquin Des Prez

Orlando Gibbons

Some of the more recent composers represented are: Kurt Weill, whose Kiddush was composed for Park Avenue Synagogue in New York City; Chen Yi (below top), represented by “A Set of Chinese Folksongs”; Osvaldo Golijov (below bottom), with an excerpt from his “Pasion segun San Marcos” (Passion According to St. Mark); and 20th-century giants Arnold Schoenberg and Igor Stravinsky.

Chen Yi

Osvaldo Golijov 2

Although Schoenberg and Stravinsky were known for their dissonant, modernist works, much of the music they composed in the U.S. was tempered by an effort to communicate with audiences here. During the 1940s, both men ended up settling in Hollywood, along with countless other exiled European artists fleeing totalitarian regimes and persecution at home.

In the case of Schoenberg (below), even though he is known as “the father of atonality,” and the originator of “12-tone” music, he continued to compose tonal music throughout his life, and often wrote in a more accessible style for amateur musicians. The WCC will present two such tonal works by Schoenberg: “Verbundenheit” (Solidarity) for male chorus, and the folksong arrangement, “Mein Herz in steten treuen” (My Heart, Forever Faithful).

Arnold Schoenberg 1936

In the American works of Stravinsky (below), the Credo movement of his 1947 Mass was subtly influenced by American Jazz.

Igor Stravinsky old 2

Joining the WCC will be Madison organist Mark Brampton Smith, who will accompany several pieces at the organ as well as perform solo organ works by Paul Hindemith and Joaquin Nin-Culmell (two additional mid-century immigrants to the U.S.).

Mark Brampton Smith

The movements from Stravinsky’s Mass will be performed with Brampton Smith at organ and guest trombonist Michael Dugan (below), who will also enhance Josquin des Prez’s “Stabat Mater” by playing sackbut, the Renaissance ancestor of the trombone.

Michael Dugan

Guest percussionist Stephen Cherek will enliven several of the Latin American selections, playing a variety of instruments.

Here are some YouTube links to sample performances:

Josquin des Prez, “Stabat Mater”

https://www.youtube.com/watch?v=TsayDDRl3kI

Orlando di Lasso, “Domine Convertere”

https://www.youtube.com/watch?v=ufP3S_M4mog

Kurt Weill, “Kiddush”

https://www.youtube.com/watch?v=7RI2jTYqso0

Chen Yi, “Mo Li Hwa” (“Jasmine Flower” from A Set of Chinese Folksongs)

https://www.youtube.com/watch?v=HtlsW2ZjSHA

Osvaldo Golijov, “Demos Gracias” (from La Pasion segun San Marcos)

https://www.youtube.com/watch?v=vldVEk29s3Y

Arnold Schoenberg, “Verbundenheit” (from Six Pieces for Male Chorus)

https://www.youtube.com/watch?v=CPAeA3sIoc8

Arnold Schoenberg, “Mein Herz in steten Treuen”

https://www.youtube.com/watch?v=EPsE1LBMHrs&index=5&list=PLdXviD-nr2a7RIabEqL5XrXLi4G7V71tP

Igor Stravinsky, Credo (from Mass)

https://www.youtube.com/watch?v=nBpfSfq9v0A


Classical music: The Bach Dancing and Dynamite Society seeks amateur photos from the public for a slide show to accompany Vivaldi’s “Four Seasons” in June. Plus, Mikko Rankin Utevsky gives a FREE viola recital Sunday night

April 9, 2016
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ALERT: Blog contributor and all-round musician — violist, conductor and singer as well as critic — Mikko Rankin Utevsky sends the following word:

Dear friends: I’m giving my senior viola recital this Sunday evening, April 10, the culmination of my four years of study here at the UW-Madison. On the program are a pair of powerful and evocative works from 1919: the Viola Sonata of Rebecca Clarke, and the Suite for Viola and Piano by Ernest Bloch. Pianist Thomas Kasdorf joins me for the program, which is at 7 p.m. at Capitol Lakes, off the Capitol Square, at 333 West Main Street. I hope to see you there!

P.S.: Thomas and I are giving another recital – with me singing this time – on Tuesday, May 10, at 7 p.m., also at Capitol Lakes. On the program are assorted songs by Samuel Barber, Kurt Weill, Charles Ives, Robert Schumann, and Claude Debussy, and the “Songs of Travel” by Ralph Vaughan Williams. If you can’t make this one, see you in a month!

By Jacob Stockinger

Multi-media concerts seem to be catching on, perhaps in an attempt to attract new and younger audiences.

Next season the Madison Symphony Orchestra will do two of them: Gustav Holst’s “The Planets” with a hi-definition film made by NASA for the Houston Symphony Orchestra; and a Beyond the Score with “Scheherazade” by Nikolai Rimsky-Korsakov, accompanied by photographs plus actors Jim DeVita and Brenda DeVita from American Players Theatre in Spring Green.

Doing mutli-media is nothing new for the Bach Dancing and Dynamite Society, which is always experimenting and looking for novel approaches to classical music. But the group is expanding how it is done in an impressively populist way.

Here is an announcement from The Ear’s friends at the Madison-based Bach Dancing and Dynamite Society, which turns 25 this summer:

BDDS silver jubilee logo

SEASONAL PHOTOGRAPHS WANTED FOR A SPECIAL CONCERT AT THE OVERTURE CENTER THIS SUMMER.

Have you taken photos of your favorite time of year?

Visual artist Lisa A. Frank will be creating photographic scenery for this year’s “Bach Dancing and Dynamite Society” concerts at the Overture Center for the Arts.

The program on June 25 will include the “Four Seasons” by Antonio Vivaldi. For this concert, a photo collage of the four seasons – like Frank’s spring image of bird eggs and feathers in a nest and the fall image of gourds – will be projected on a large screen behind the musicians.

(You can get a sense of it from the popular YouTube video at the bottom, which features the “Spring” section of the four string concertos that make up “The Four Seasons.)

Lisa Frank Spring Birds eggs

KONICA MINOLTA DIGITAL CAMERA

KONICA MINOLTA DIGITAL CAMERA

Lisa Frank (below) invites amateur photographers of all ages to participate in this concert by sending up to 5 of your best shots depicting any aspect of any season.

Lisa Frank

The images can be in jpeg, tiff or Photoshop format. If your photograph is included, you may be asked to resend a higher resolution image. (Below is a summer photo of a flower and butterfly.)

Lisa Frank Summer Butterfly

All featured photographers will receive a video of the final result.

Up to 100 photos will be selected.

Send your photographs by Sunday, April 18 to:

lisafrank@lisafrankphotography.com

And here is a link – with information about programs, performers, venues and tickets — to the new summer season of the Bach Dancing and Dynamite Society, which celebrates the group’s 25th anniversary or Silver Jubilee:

http://www.bachdancinganddynamite.org


Classical music: Is it piano neglect? The University of Wisconsin-Madison School of Music should take better care of the piano used for student concerts. Plus, Madison Symphony Orchestra maestro John DeMain gets raves for conducting an opera in Washington, D.C.

February 21, 2016
7 Comments

ALERT: Did you wonder what Madison Symphony Orchestra maestro John DeMain was up to since the MSO concerts last weekend used a guest conductor?

Well, the hometown maestro was guest conducting a week-long production of Kurt Weill‘s opera “Lost in the Stars” for the Washington National Opera at the Kennedy Center for the Performing Arts in Washington, D.C.

A number of  critics didn’t particularly like the opera itself, which is based on the famous anti-apartheid novel “Cry, the Beloved County” by Alan Paton, and some criticized the theatrical aspects of the production.

But music director and conductor DeMain received praise for his part.

Here are links to various reviews:

http://dcmetrotheaterarts.com/2016/02/15/review-lost-in-the-stars-at-wno-2/

http://dctheatrescene.com/2016/02/15/lost-in-the-stars-from-washington-national-opera-review/

There is more praise in a mention on Page 2:

http://www.broadwayworld.com/bwwopera/article/BWW-Review-Washington-National-Opera-Takes-On-A-Bit-of-Broadway-With-LOST-IN-THE-STARS-20160215

https://www.washingtonpost.com/entertainment/music/lost-stars-on-stage-for-washington-national-opera/2016/02/13/308dea84-d219-11e5-88cd-753e80cd29ad_story.html?tid=a_inl

By Jacob Stockinger

Calling it piano abuse it would be a stretch. That sounds too accusatory and too sensational.

But calling it piano neglect certainly seems justified and fair.

When The Ear attended some recent student recitals, he noticed the unfortunate treatment of a concert grand piano in Morphy Recital Hall, on which many students perform their degree recitals.

From a distance, and under the glare of stage lighting, the piano (below) seemed more or less OK.

Morphy piano 1

But when he went up close, The Ear saw just how chewed up the wood was in so many places.

Morphy piano 4

Now some wear-and-tear seems normal, especially for a piano that gets so much use for solo recitals and chamber music. And truth be told, it probably plays pretty well and is maintained in good shape internally.

But the outer condition of this piano nonetheless seemed as if it had indeed been neglected over the years — though maybe there are other reasons.

There were eye-catching scrapes and gouges that just look junky.

Now The Ear knows that the talented piano technician at the University of Wisconsin-Madison School of Music is very busy. After all, there are a lot of pianos to tune and regulate.

And The Ear also knows that budget cuts are presenting challenges to the School of Music and its staff.

But that seems all the more reason to take care of the pianos the school has. The likelihood of replacing it with a new one seems little to none.

After all, these days a Steinway concert grand Model D sells for pretty close to $125,000.

If you had a car worth that much, you would surely not neglect its maintenance and upkeep. So why would you do it to a piano, especially one that gets so much use and is in the public eye so frequently?

So on the eve of more student degree recitals, which will only increase as the end of the spring semester draws closer, here is The Ear’s plea:

Please use the padded covering that can protect the piano when it gets moved, and try to be careful about bumping or scraping into things that can cause permanent damage.

Also, if there are times that the piano’s finish gets marred, please use that specially made piano dye to restore the ebony finish and please repair any chipped keys, which are plastic not ivory, by the way.

The Ear doubts other instruments — strings, brass, woodwinds — would be allowed by their owners to fall into such a state.

If you doubt all this or think it is overstating the case, here are some close-up photos that The Ear took.

It hurts The Ear to see such a fine instrument neglected and deteriorate. He assumes that the students who use it feel the same way – and he hopes the public does too. Owning such a fine musical instrument imposes a certain responsibility on the owner, and it should be repaired.

Morphy Piano 2

Morphy piano 3

Morphy piano 5

Morphy piano 6

Morphy piano 7

Is The Ear being too hard or fussy?

He would like to know what students who play the piano and what other audience members think.

Use the COMMENT section to let him know.

The Ear wants to hear.


Classical music: The Madison Symphony Orchestra celebrates Valentine’s Day this weekend with a varied program about love and the superb Russian violinist Alina Ibragimova playing Beethoven

February 8, 2016
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By Jacob Stockinger

ALERT: TUESDAY is the last day for the Madison Symphony Orchestra’s special sale — two tickets for the price of one — for its Valentine’s Day concerts coming up this weekend. Read more about the players and program below.

By Jacob Stockinger

The Ear has received the following press release from the Madison Symphony Orchestra (below). To be honest, he cares less about the Valentine’s Day tie-ins – some of which seem tenuous – than about hearing the Russian violinist Alina Ibragimova in the Violin Concerto by Ludwig van Beethoven.

The Ear had heard all the of the Beethoven sonatas for violin and piano played by Ibragimova, with Belgian pianist Cedric Tiberghien, and thinks they rank right at the top of recorded versions. Plus, they are live!

She is clearly something very special, so The Ear says: Don’t miss her. (You can hear Alina Ibragimova and her forceful but subtle style — perfectly suited to Beethoven — in the first movement of Beethoven’s famous “Kreutzer” Sonata in a YouTube video at the bottom.)

John DeMain and MSO from the stage Greg Anderson

Now on to the overview, written under the headline:

“Music, the food of love” permeates Madison Symphony Orchestra’s Valentine’s Weekend Concerts on Feb. 12, 13 and 14

Cupid

Love’s attractions and dilemmas infuse the Madison Symphony Orchestra’s Valentine’s weekend concerts Feb. 12, 13 and 14. They feature the Madison debut of Russian violinist Alina Ibragimova in Overture Hall.

Guest conductor Daniel Hege will lead the Madison Symphony Orchestra (MSO) and substitute for music director John DeMain. (NOTE: John DeMain is in Washington, D.C., conducting a production of Kurt Weill‘s “Lost in the Stars” for the Washington National Opera at the Kennedy Center for the Performing Arts. It opens next week.)

Shakespeare’s tale of star-crossed lovers takes musical form in Peter Ilyich Tchaikovsky’s instantly recognizable Romeo and Juliet Fantasy Overture.

Next, Maurice Ravel’s lush Daphnis and Chloe Suite No. 2 depicts lovers Daphnis and Chloe reuniting at daybreak. That is followed by a Bacchanalian dance.

Ludwig van Beethoven’s hugely influential Romantic-era Violin Concerto brings the concert to a thrilling close with technical fireworks.

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

Born in Russia, the young violinist Alina Ibragimova (below) rapidly established herself as a first-rate soloist and chamber musician with the world’s foremost ensembles. Britain’s The Guardian newspaper called her “one of the most technically gifted and charismatic instrumentalists of the age.” A highly flexible and adaptable musician, Ibragimova is equally at home on modern and baroque period instruments, and frequently tours as both soloist and director. She was awarded the Royal Philharmonic Society Young Artist Award in 2010.

alina ibragimova

The concerts cover three different periods of music.

The program begins with the late Romantic period with the Romeo and Juliet Fantasy Overture by Peter Ilyich Tchaikovsky (below). The work taps into the great Shakespearean play, contrasting the rivalry between the Capulet and Montague families, with the passionate music of the second theme clearly expressing the feelings of the two young lovers.

Tchaikovsky 1

The Impressionistic period is represented the sensuous Daphnis and Chloe Suite No. 2 by Maurice Ravel (below). It recounts the stirring fifth-century BCE Greek story of Daphnis and Chloe, who were abandoned as children and brought up by shepherds. The two fall in love, but Chloe is abducted by pirates. After Daphnis rescues Chloe, the couple pantomimes the tale of Pan wooing the nymph Syrinx as the sun rises. Ravel’s score originally accompanied a ballet premiered by the Ballets Russes in Paris in 1912.

ravel

Finally, the early Romantic period is featured with the technically challenging Violin Concerto by Ludwig van Beethoven (below top) which premiered in 1806. A work of beauty, the concerto did not become popular until several decades later, thanks to the advocacy of the legendary violinist Joseph Joachim (below bottom). Beethoven’s only violin concerto, this work paved the way for the great 19th-century German violin concertos by Felix Mendelssohn, Max Bruch and Johannes Brahms.

Beethoven big

Joseph Joachim

Known for his novel interpretations of standard repertoire, Colorado native Daniel Hege (below) is Music Director and Conductor of the Wichita Symphony Orchestra and a frequent guest conductor of orchestras throughout the United States including the Houston, Detroit, Seattle and Indianapolis symphonies.

Syracuse Symphony Orchestra

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

Randal Swiggum conducting BW

More background on the music can also be found in the Program Notes by MSO trombonist Michael Allsen at: http://www.madisonsymphony.org/ibragimova

Single Tickets are $16 to $85 each, available at http://www.madisonsymphony.org/ibragimova 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, www.madisonsymphony.org/groups

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: www.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 February concerts is provided by Irving and Dorothy Levy Family Foundation, Inc., Johnson Bank, and Cyrena and Lee Pondrom. Additional funding is provided by John A. Johnson Foundation, a component fund of the Madison Community Foundation, Gary and Lynn Mecklenburg, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts (NEA).


Classical Music Education: A Piano Vortex will descend this Friday and Saturday on the University of Wisconsin-Madison School of Music — all FREE and OPEN TO THE PUBLIC. On Friday night, classical virtuoso Christopher Taylor will perform a FREE recital of Prokofiev and Liszt-Beethoven; on Saturday morning jazz master Johannes Wallmann will hold a workshop. Plus the UW’s inaugural high school piano competition will take place Friday and Saturday in Morphy Recital Hall with the public invited to preliminary rounds and a final concert. Plus, UW-Madison music students will play blues and jazz-inspired classical music.

February 26, 2014
3 Comments

By Jacob Stockinger

This weekend will find us not only in the fading grip of the Polar Vortex but also in the full force of The Piano Vortex.

Steinway Grand Piano

Here is an overview, with a complete schedule and list of names and repertoire, from Fanfare, the terrific new music blog at the University of Wisconsin-Madison School of Music written and compiled by concert and publicity manager Kathy Esposito:

“Piano Extravaganza! will feature well-known pianists as well as rising stars”

“Hear the UW’s best collegiate pianists, faculty and high school talents at an all-day festival this Saturday at UW-Madison. Masterclasses, workshops and performances hosted by UW-Madison faculty and students. This year’s Piano Extravaganza will feature piano works influenced by jazz and blues.”

Here is the schedule of events, all of which are FREE and OPEN TO THE PUBLIC:

FRIDAY, FEB. 28

8 p.m. in Mills Concert Hall: A FREE recital by Christopher Taylor, Faculty Concert Series. Here is what Taylor said about his program to the UW’s Fanfare blog about his program of the Sonata No. 6, Op. 82 (1939) by Sergei Prokofiev (1891-1953) and the Symphony No. 3 in E-Flat Major (“Eroica”), Op. 55, by Ludwig van Beethoven (1770-1827), as transcribed by Franz Liszt (1811-1886).

Taylor writes: “I find altogether exhilarating the opportunity to re-experience works that inspired me even before taking my first piano lesson.

“Although, needless to say, a pianist cannot hope to duplicate the precise effect of Beethoven’s orchestrations, the attempt to simulate a few of them gives rise to endlessly fascinating pianistic possibilities.

“Virtually every technical resource of fingering, voicing, articulation, and pedaling (even the middle pedal, a device that Liszt himself lacked till late in his career) proves useful in these mighty transcriptions.

“While tonight’s version of the Eroica can obviously never displace the original form, I do hope that the pairing of a single musician with one versatile instrument can produce a fresh view of this immortal work, whose turbulent historical genesis and juxtaposition of heroism, tragedy, and redemption complement the Prokofiev so aptly.”

And here is a profile of Christopher Taylor that local critic Greg Hettmansberger wrote for Madison Magazine:

http://www.madisonmagazine.com/Madison-Magazine/February-2014/A-Q-A-with-Pianist-Christopher-Taylor/

Christopher Taylor at Miller Theater in NYC CR Richard Termine of the NYT

And here is a link to the complete Fanfare blog entry:

http://uwmadisonschoolofmusic.wordpress.com/2014/02/24/brailey-wbq-tour-pianofest/

And here is a previous post with some background:

http://uwmadisonschoolofmusic.wordpress.com/2014/01/14/high-school-piano-competition/

AND BECAUSE THE EAR FEELS THAT STUDENT MUSICIANS DESERVE TO GET AT LEAST AS MUCH MEDIA COVERAGE AND PUBLIC ATTENTION AS STUDENT ATHLETES, I HAVE INCLUDED A LENGTHY AND MUCH LONGER THAN USUAL LIST OF THE PIANO CONTESTANTS, REPERTOIRE, PARTICIPANTS AND JUDGES.

PIANO EXTRAVAGANZA! of Concerts, a Masterclass, a Young Pianists Competition (For High School Students) at the University of Wisconsin-Madison School of Music on Friday, February 28—Saturday, March 1, 2014. (1st Prize: $1,500; 2nd Prize: $1,000; 3rd Prize: $500)

SATURDAY, MARCH 1

8:30-11 a.m.: Piano Extravaganza Competition

11 a.m.-noon: Professor Johannes Wallmann, Jazz Improvisation Workshop

1:30-3:30 p.m. Masterclass and Q&A with UW-Faculty

3:45-6:30 p.m.: Jazz and Blues in Classical Music Extravaganza (Performed by UW-Madison Piano Majors)

ALL EVENTS ON SATURDAY TAKE PLACE IN MORPHY RECITAL HALL (below) ARE FREE AND OPEN TO THE PUBLIC

Morphy Hall 2

SATURDAY, MARCH 1, 2014

8:30-11 a.m.: Piano Extravaganza Competition

FINALISTS WERE SELECTED FROM PRELIMINARY RECORDING ROUND.

8:30 a.m.: Anthony Cardella (17, from Porterfield, WI): Sonata Op. 2, No. 3, I. Allegro con brio –by Ludwig van Beethoven; Toccata, Op. 11, by Sergei Prokofiev

8:45 a.m.: Ethan Nethery (17, from Hartland, WI); “Isn’t She Lovely” by Stevie Wonder and “How Little We Know” by Phillip Springer

9 a.m.: Olivia Montgomery (18, from Fitchburg, WI): Prelude No. 1 Allegro ben ritmato e deciso George Gershwin; Sonata in C minor, Op. 10, No. 1, I. Allegro molto e con brio –Ludwig van Beethoven

9:15 a.m.: Vivian Wilhelms (15, from Waunakee, WI); French Suite No. 6, BWV 817- Johann Sebastian Bach; Sonatine, I. Modéré – Maurice Ravel

9:30 a.m.: Michelle Xie (16, from Verona, WI): Sarcasm, Op. 17, No. 1 Tempestoso – Sergei Prokofiev; Sonata Op. 31, No. 1, I. Allegro – Ludwig van Beethoven

9:45 a.m.: Garrick Olson (17, from Madison, WI): Fantasy in C Major, II. Mäßig. Durchaus energisch – Robert Schumann; Etude No. 6, Omaggio a Domenico Scarlatti – Marc-Andre Hamelin

10 a.m.: Theodore Liu (15, from Waunakee, WI): Sonata in D Major, Op. 10, No. 3, I. Presto- Ludwig van Beethoven; Nocturne in D-flat Major, Op. 27, No. 2– Frederic Chopin

10:15 a.m. Quentin Nennig (15, from Sherwood, WI): Waldesrauschen”- Franz Liszt; Concerto in E-flat Major, KV 449 – Wolfgang Amadeus Mozart

10:30 a.m. Kaitlin Lalmond (17, from Germantown, WI): Prelude and Fugue in C-sharp Major, BWV 848 – Johann Sebastian Bach; Sonata in E-flat Major, Op. 7, I. Allegro molto e con brio – Ludwig van Beethoven

11 a.m.-Noon: Jazz Improvisation Workshop with Professor Johannes Wallmann (below): “Milestones,” John Lewis (1920-2001) of The Modern Jazz Quartet; “Night and Day,” Cole Porter (1891-1964); “Sonnymoon For Two,” Sonny Rollins (b. 1930). All selections performed by Johannes Wallmann (below) and local guest artist Dave Stoler

johannes wallmann playing

Noon-1:30 p.m.: Lunch

1:30-3:30 p.m.: Masterclass and Q&A with UW-Faculty

3:45-6:30 p.m.: Jazz and Blues in Classical Music Extravaganza, Performed by UW-Madison Piano Majors

Opening Remarks by Susan C. Cook, Professor of Musicology and Director of the School of Music

“Alla Turca Jazz,” (1993) Fazil Say, Jason Kutz (b. 1970)

“Nightmare Fantasy,” (1979) William Albright, Oxana Khramova (1944-1998)

“Prelude No. 1,” (1926) George Gershwin, Yana Groves (1898-1937)

From “Preludes, Book 2” (1912-1913) Claude Debussy, “General Lavine Eccentric” (1862-1918); Emili Earhart

“Fantasy on Bill Evans’ “Turn Out the Stars,” Jonathan Thornton (b. 1985), Jonathan Thornton

“Lonely House” from Street Scene (1947) Kurt Weill (1900-1950), Thomas Leighton, Tenor, & Emily O’Leary

Impromptu, Op. 66, No. 2 (2004) Nikolai Kapustin (b. 1937) ; Haley O’Neal

“The Serpent’s Kiss” (Rag Fantasy) (1969), William Bolcom, Sara Giusti (b. 1938)

Sonata for One Piano, Four Hands (1919), Francis Poulenc (1899-1963), Prelude Rustique

Ian Tomaz and Jason Kutz

“Milonga del Angel” (1965), Astor Piazzolla (1921-1992), Cody Goetz

From Gershwin Songbook (1932) George Gershwin (189801937): “My One and Only,”  “Fascinatin’ Rhythm” and “I Got Rhythm,” Dino Mulic 

“Etudes on Gershwin Songs,” (1973) Earl Wild (1915-2010), “Embraceable You,”  Yusuke Komura

INTERMISSION

Excursions,” Op. 20, No. 1 (1942), Samuel Barber, Andrew Mlynczak (1910-1981)

“Carnaval Noir,” (1997) Derek Bermel, Ying Wang (b. 1967)

“Bamboula,” (1844-45) Louis Moreau Gottschalk, Duangkamon Wattanasak (1829-1869)

“A Little Jazz Exercise,” (1970) Oscar Peterson (1925-2007), Evan Engelstad

“Jazz Waltz” from Suite Impressions (1996) by Judith Lang Zaimont, Shengyin Chen (b. 1945)

“Magnetic Rag” (1914) Scott Joplin, Zach Campbell

“Deuces Wild” (1944) and “The Duke and the Count” (1944), Mary Lou Williams (1910-1981), Henry Misa

“Dreadful Memories” (1978), “Down by the Riverside” (1979)  Frederic Rzewski (b. 1938) Sungho Yang

From Preludes, Book 1 (1909-1910) Claude Debussy (1862-1918)  “Minstrels,” Jace Rockman

Sonata No. 2 in G Major for Violin and Piano (1927), II. Blues, Maurice Ravel  (1875-1937) Elspeth Stalter-Clouse, violin, and Tiffany Yeh

From “Carnival Music” (1976), George Rochberg (1918-2005), Emily O’Leary

Three Preludes (2000), Shuai Zhang  (b. 1979), I. Rubato: appassionato abandano, II. mesto misterioso, III. estemporale impetuoso, Zijin Yao

piano keys

MEET THE UW-MADISON KEYBOARD FACULTY

Martha Fischer (below) is Professor of Piano and heads the Collaborative Piano Program at the University of Wisconsin-Madison. American Record Guide recently wrote: “…she is a marvelous pianist, profound interpreter, and expert collaborator.” She has recorded extensively and will soon release the complete works for two pianists at one keyboard by Robert Schumann with her frequent duet partner and husband, Bill Lutes. The Washington Post described their performance of Schubert’s F minor Fantasie as “bursting with heartfelt intensity.” A singer as well as pianist, Fischer is an expert on the works of Gilbert and Sullivan and has also presented unique recitals of art song in which she accompanies herself. A dedicated teacher, she has participated in international festivals, symposia, and competitions.

Martha Fischer color Katrin Talbot

Jessica Johnson (below left, with UW percussionist Anthony Di Sanza) serves as Professor of Piano and Director of Graduate Studies in Piano Pedagogy at UW-Madison, where she was the 2006 recipient of the prestigious Emil Steiger Distinguished Teaching Award. She frequently commissions and programs contemporary solo and chamber works, regularly performing with Sole Nero, duo for piano and percussion. Johnson has been featured in workshops and recitals throughout North America, Europe and China. A two-time winner of AMT’s Article of the Year Award, Johnson has articles published in American Music Teacher, Piano Journal of EPTA, Klavier Companion and Piano Pedagogy Forum. Passionate about community engagement and arts outreach, she serves as Director of Piano Pioneers, a program that brings high quality piano instruction to low-income community members and high-risk youth in Wisconsin.

sole nero Jessica Johnson piano and Anthony Di Sanza percussion

John Chappell Stowe (below) is Professor of Organ and Harpsichord at the University of Wisconsin-Madison School of Music. He graduated from Southern Methodist University and Eastman School of Music, studying organ with Robert Anderson and Russell Saunders. Stowe holds the Doctor of Musical Arts degree and Performer’s Certificate from the Eastman School and was the first-place winner in 1978 of the National Open Organ Playing Competition of the American Guild of Organists. In his appearances throughout the United States as a solo organist, Stowe’s recital repertoire includes a wide variety of literature extending from 1550 to the present day. His programming reflects both strong commitment to contemporary music and dedication to great repertoire of past generations.

BATC2 John Chappelle Stowe and Edith Hines

Christopher Taylor (below) has performed extensively around the world, having appeared in recent years not only throughout the U.S. but in Russia, China, Korea, the Balkans, and elsewhere. Critics hail him as “frighteningly talented” (The New York Times) and “a great pianist” (The Los Angeles Times), and nu-merous awards have confirmed his high standing in the musical world (a Van Cliburn Competition Bronze Medal, an Avery Fisher Career Grant, an American Pianists’ Association Fellowship). Apart from concertizing, he has taught at UW-Madison since 2000 and pursues a wide variety of additional interests — most recently using his mathematical and computer skills in the design and construction of a new double-manual keyboard instrument.

ChristopherTaylorNoCredit

Johannes Wallmann (below) joined UW Madison as Director of Jazz Studies in 2012. He previously taught at California State University East Bay, New York University, and at the New School for Jazz and Contemporary Music. As a pianist, composer, and bandleader, Wallmann has released four critically acclaimed CDs, The Johannes Wallmann Quartet (1997), Alphabeticity (2003), Minor Prophets (2007), and The Coasts (2012). Over twelve years in New York City and five years in the San Francisco Bay Area, Wall Coasts (2012). Over 12 years in New York City and five years in the San Francisco Bay Area, Wallmann also established himself as a prolific sideman in styles as diverse as mainstream jazz and electric fusion, American spirituals, Cantonese pop music, and 20th century classical music. He has toured throughout North America and in Europe and Asia.

johannes wallmann mug

Todd Welbourne (below, in a photo by Katrin Talbot) is a pianist and chamber musician with appearances in this country as well as in Europe and South America. He has performed and given presentations on new music at national conferences of the Society of Electro/Acoustic Music (1995, 1997, 2009), the International Society for Electronic Arts, (1993, 1997, 2010), College Music Society (2001, 2003, 2006), and Music Teachers National Convention (1999, 2004) and has lectured and performed at new music festivals around the country. Welbourne uses the Yamaha Disklavier in his teaching providing students with the latest in teaching techniques and he has been an innovator in the area of interactive music performance systems using the Yamaha Disklavier and Max/MSP. He currently serves as Director of Graduate Studies at the School of Music.

Todd Welbourne by Katrin Talbot

GUEST ARTIST AND ALUMNUS

Madison native Dave Stoler (below) is one of the busier professional musicians in the Midwest, and was named 2009 Isthmus Jazz Personality of the Year. His current projects include the Tony Castaneda Latin Jazz Sextet and his own group, which has performed at Smalls Jazz Club in New York City. His CD “Urban Legends” features drummer Billy Hart, bassist Ron McClure and tenor saxophonists Rich Perry and Rick Margitza. He received a Master of Music degree from the University of Miami-Coral Gables in Jazz Performance, and a Bachelor of Music degree in Music Composition from the University of Wisconsin-Madison. He was a semi-finalist in the Thelonious Monk Piano Competition and the American Jazz Piano Competition, and a finalist in the Jacksonville Jazz Piano Competition. 

Dave Stoler

Sponsors of The Piano Extravaganza are The Evjue Foundation, the charitable arm of The Capital Times, and UW-Madison Chancellor Emeritus Irving Shain.

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Classical music: The classical music nominations for the 2013 Grammy Awards provide a helpful holiday gift shopping guide. Part 1 of 2. Plus, the UW Russian Folk Orchestra, the UW Chamber Orchestra, the UW Choral Union and Madison Area Concert Handbells perform this weekend.

December 8, 2012
5 Comments

ALERTS: It’s another very busy weekend in the Madison area. (Here is a partial listing. You can also look at this past’s week’s postings.) Today at noon, you can hear a FREE one-hour holiday concert by the University of Wisconsin Russian Folk Orchestra (below) at the downtown Grace Episcopal Church, 116 West Washington Avenue, on the Capitol Square. For more information, visit http://www.russorch.wisc.edu.  Then at 8 p.m tonight in Mills Hall, you can hear conductors James Smith and David Grandis lead the UW Chamber Orchestra in a FREE concert featuring Kurt Weill‘s Symphony No. 2; UW composer Joseph Koykkar’s “Cosmic Code”  with video; and Franz Joseph Haydn‘s Symphony No. 99. On Sunday at 3 p.m., Madison Area Concert Handbells will perform a holiday concert at St. Stephen’s Lutheran Church, 5700 Pheasant Hill Road, in Monona. For more information about other performances and tickets, visit www.madisonhandbells.org. Then on Sunday at 7:30 p.m., you can hear the UW Choral Union, the UW Symphony Orchestra and soloists perform Brahms’ “German” Requiem in Mills Hall. Tickets are $15, $8 for seniors and students.

UW Russian Folk Orchestra

By Jacob Stockinger

On Wednesday night, the nominations for the 55th annual Grammy Awards, to be awarded in early 2013, were announced and posted. The actual air time on the TV show goes to the more popular genres such as rock, pop, hip-hop, country and the like.

You can tell that by the numbers listed next to the various classical categories, numbers that I left in. They are a good indication of the priority of classical music to The Industry.

But as I have done in past years, I will post this list in two installments over the weekend. The nominations can help guide you to some fine holiday gifts for classical buffs. And shopping, whether in brick-and-mortar stores or on the Internet, will be in high gear this weekend and for the next several weekends, I imagine.

Grammy

I won’t provide a lot of commentary on the Grammy nominations, although I will provide more detail commentary by other critics and bloggers as they appear.

But I will remark on how the Grammys seem to be getting further and further away from standard composers and works.

Similarly, the Grammys seem to be focusing on smaller and less well-known labels. Many of which are the in-house labels of the performing organizations. Of course, that is also a trend in the recording industry, and the Grammys exist to promote the recording industry.

The final awards will be announced live on Feb. 10, 2013 at 8 p.m. EST on the CBS network.

You can also find the complete list of nominations and, later, winners at www.grammy.com

Any comments or advice to others you can provide about the nominees would be appreciated. Just use the COMMENT section.

So, maestro, a drum roll, please! Here is part 1 of 2:

70. BEST ENGINEERED ALBUM, CLASSICAL

Americana: Daniel Shores, engineer; Daniel Shores, mastering engineer (Modern Mandolin Quartet); [Sono Luminus]

Beethoven: The Late String Quartets, Op. 127 & 131: Bruce Egre, engineer (Brentano String Quartet); [Aeon]

Life & Breath – Choral Works By René ClausenTom Caulfield & John Newton, engineers; Mark Donahue, mastering engineer; (Charles Bruffy & Kansas City Chorale); [Chandos]

Music For A Time Of War: Jesse Lewis & John Newton, engineers; Jesse Brayman, mastering engineer (Carlos Kalmar & The Oregon Symphony); [PentaTone Classics]

Souvenir: Morten Lindberg, engineer; Morten Lindberg, mastering engineer; (TrondheimSolistene); [2L (Lindberg Lyd)]

Music in a Time of War

71. PRODUCER OF THE YEAR, CLASSICAL

Blanton Alspaugh

  • Chamber Symphonies (Gregory Wolynec & Gateway Chamber Orchestra)
  • Davis: Río De Sangre (Joseph Rescigno, Vale Rideout, Ava Pine, John Duykers, Kerry Walsh, Guido LeBron, The Florentine Opera Company & Milwaukee Symphony Orchestra)
  • Gjeilo: Northern Lights (Charles Bruffy & Phoenix Chorale)
  • In Paradisum (Brian A. Schmidt & South Dakota Chorale)
  • Life & Breath – Choral Works By René Clausen (Charles Bruffy & Kansas City Chorale)
  • Music For A Time Of War (Carlos Kalmar & The Oregon Symphony)
  • Musto: The Inspector (Glen Cortese & Wolf Trap Opera Company)

Tim Handley

  • Berlioz: Symphonie Fantastique (Leonard Slatkin & Orchestre National De Lyon)
  • Debussy: Orchestral Works, Vol. 7 (Jun Märkl & Orchestre National De Lyon)
  • Debussy: 24 Préludes (Jun Märkl & Royal Scottish National Orchestra)
  • Fuchs, K.: Atlantic Riband; American Rhapsody; Divinium Mysterium (JoAnn Falletta, Paul Silverthorne, Michael Ludwig & London Symphony Orchestra)
  • Gershwin: Piano Concerto In F; Rhapsody No. 2; I Got Rhythm Variations (Orion Weiss, JoAnn Falletta & Buffalo Philharmonic Orchestra)
  • Hailstork: An American Port Of Call (JoAnn Falletta, Virginia Symphony Chorus & Virginia Symphony Orchestra)
  • Holst: Cotswolds Symphony; Walt Whitman Overture (JoAnn Falletta & Ulster Orchestra)
  • Mahler: Symphony No. 1 (Marin Alsop & Baltimore Symphony Orchestra)
  • Roussel: Le Festin De L’Araignée (Stéphane Denève & Royal Scottish National Orchestra)
  • Still: Symphonies Nos. 2 & 3 (John Jeter & Fort Smith Symphony)

Marina Ledin, Victor Ledin

  • Americana (Modern Mandolin Quartet)
  • Brubeck & American Poets (Lynne Morrow & Pacific Mozart Ensemble)
  • Delibes: Sylvia; Coppélia (Martin West & San Francisco Ballet Orchestra)
  • Mind Meld (ZOFO Duet)
  • Rupa-Khandha (Los Angeles Percussion Quartet)
  • Weigl: Isle Of The Dead; Six Fantasies; Pictures & Tales; Night Fantasies (Joseph Banowetz)

James Mallinson

  • Britten: War Requiem (Gianandrea Noseda, Joseph Cullen, Alastair Tighe, Choir Of Eltham College, London Symphony Chorus & Orchestra)
  • Bruckner: Symphony No. 4 (Bernard Haitink & London Symphony Orchestra)
  • The Greatest Film Scores Of Dimitri Tiomkin (Richard Kaufman, Whitney Claire Kaufman, Andrew Playfoot, London Voices & London Symphony Orchestra)
  • Massenet: Don Quichotte (Valery Gergiev, Andrei Serov, Anna Kiknadze, Ferruccio Furlanetto, Soloists’ Ensemble Of The Mariinsky Academy Of Young Singers & Mariinsky Orchestra)
  • Rachmaninov: Symphonic Dances (Valery Gergiev & London Symphony Orchestra)

Dan Merceruio

  • Arensky: Quartets Nos. 1 & 2; Piano Quintet, Op. 51 (Ying Quartet)
  • Brasileiro – Works Of Francisco Mignone (Cuarteto Latinoamericano)
  • Change Of Worlds (Ensemble Galilei)
  • The Complete Harpsichord Works Of Rameau (Jory Vinikour)
  • Critical Models – Chamber Works Of Mohammed Fairouz (Various Artists)
  • The Kernis Project: Schubert (Jasper String Quartet)
  • Le Bestiaire (Celine Ricci)
  • Scarlatti: La Dirindina & Pur Nel Sonno (Matthew Dirst & Ars Lyrica Houston)
  • Two Lutes – Lute Duets From England’s Golden Age (Ronn McFarlane & William Simms)
  • Weill-Ibert-Berg (Timothy Muffitt & Baton Rouge Symphony Chamber Players)

Tim Handley SOUND ENGINEER

Tomorrow: Best Orchestra Performance, Best Opera, Best Instrumental Solo and more.

 


Classical music: Madison Symphony Orchestra’s John DeMain is praised by The New York Times for his conducting in two productions at the acclaimed Glimmerglass Opera Festival in New York State. Highlights are an updated version of Verdi’s “Aida” that uses waterboarding; and Kurt Weill’s “Lost in the Stars.”

August 9, 2012
4 Comments

By Jacob Stockinger

Madison musicians don’t make great music only in Madison.

If you didn’t already know it, the Madison Symphony Orchestra’s music director and conductor John DeMain (below top, in a photo by James Gill) is spending the entire summer at the acclaimed Glimmerglass Opera Festival (at bottom) in upstate New York in Cooperstown, where the Baseball Hall of Fame is also located.

That is, in fact, the reason why DeMain could not conduct the Madison Opera’s record-breaking “Opera in the Park” concert last month. DeMain is the artistic director of the Madison Opera.

His wife Barbara is also there, as is their daughter Jennifer, who is studying singing with soprano Julia Faulkner at the University of Wisconsin-Madison School of Music and who got a job in the Glimmerglass Opera chorus for the summer.

On Tuesday, a review by senior music critic Anthony Tommasini of the updated version of Giuseppe Verdi’s popular opera “Aida,” staged by Glimmerglass’ general director and artistic director Francesca Zambello with waterboarding and other contemporary references, got a front page laudatory review in the Arts section of The New York Times. (Below, in a photo by Kari Cadel of the Glimmerglass Festival, is Michelle Johnson as “Aida” and Noah Stewart as Radames.)

Tommasini also praised the production of Kurt Weill’s “Lost in the Stars” as “powerful” and reviewed a third opera, the baroque “Armide” by Lully, which had a different conductor.

Tommasini singled out DeMain — who also conducted an unamplified version of the popular musical “The Music Man” — especially for his “lush and urgent conducting” of the Weill opera, which is based on the Alan Paton’s anti-apartheid novel “Cry, the Beloved Country.” (He also praised the artist-in-residence bass-baritone Eric Owen, who played to raves as the evil dwarf Alberich (below) in the Metropolitan Opera’s new “Ring” cycle of Richard Wagner by Robert Lepage. The review is a great read.)

Here is a link:

http://www.nytimes.com/2012/08/07/arts/music/at-glimmerglass-aida-armide-and-lost-in-the-stars.html?pagewanted=all

If you want to Maestro John a message of congratulations, leave a it in the COMMENT section.


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