The Well-Tempered Ear

Classical music: Broadcasts of operas from the Met and string quartets by the UW-Madison’s Pro Arte Quartet are featured on old media and new media this Saturday and Sunday. Plus, the 89th Edgewood college Christmas Concert is tonight and tomorrow afternoon.

December 2, 2016
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ALERT: Edgewood College will present its 89th Annual Christmas Concerts tonight at 7 p.m. and Saturday afternoon at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive.

Now expanded to two performances, the holiday concert features the Edgewood College choirs and Concert Band, along with audience sing-alongs, prelude music by the Guitar Ensemble, and a post-concert reception featuring the Jazz Ensemble.

Tickets are $10, and seating is limited for this very popular annual event. Tickets should be purchased online in advance.

By Jacob Stockinger

Classical music meets old media and new media this weekend through opera and chamber music.

SATURDAY

This Saturday marks the beginning of the LIVE RADIO broadcasts of operas from the Metropolitan Opera (below) in New York City. This will be the 86th season for the radio broadcasts, which educated and entertained generations of opera lovers before there were DVDs, streaming and the “Live in HD From the Met” broadcasts to movie theaters.

Metropolitan Opera outdoors use Victor J. Blue NYT

Met from stage over pit

The performances will be carried locally on Wisconsin Public Radio, WERN-FM 88.7. This Saturday, the starting time for Puccini’s “Manon Lescaut” with Russian superstar soprano Anna Netrebko (below, in a photo by Richard Termine for The New York Times), is 11:30 CST. Other operas will have different starting times, depending their length.

This season runs from Dec. 3-May 15.

Radio has certain strengths, The Ear thinks. For one, it allows the listeners to focus on the music, to be less distracted or less enriched – depending on your point of view – by sets, costumes, lighting, the physicality of the acting and other stagecraft that is left to the imagination.

This season, there will be lots of standard fare including: Verdi’s “La Traviata” and “Aida”; Puccini’s “La Boheme”; Bizet’s “Carmen”; Beethoven’s “Fidelio”; Wagner’s “Tristan und Isolde” and “The Flying Dutchman”; Richard Strauss’ “Der Rosenkavalier” and “Salome”; and Mozart’s “Idomeneo.”

But you can also hear the new music and less frequently staged operas. They include the 2000 opera “L’amour de loin” (Love From Afar) by Finnish composer Kaija Saariaho, which will receive its Metropolitan Opera premiere next week, on Dec. 10.

Here is a link to the complete season along with links to information about the various productions. Starting times are Eastern Standard Time, so deduct an hour for Central Standard Time or a different amount for your time zone:

http://www.metopera.org/Season/Radio/Saturday-Matinee-Broadcasts/

met-manon-lescaut-anna-netrebko-cr-richard-termine-nyt

SUNDAY

On this Sunday afternoon, the Pro Arte Quartet (below, in a photo by Rick Langer), longtime artists-in-residence at the University of Wisconsin-Madison School of Music, will wrap up the first semester of “Sunday Afternoon Live From the Chazen,” which used to air weekly on Wisconsin Public Radio but now is presented once a month, on the first Sunday of the month, directly by the museum.

The program this Sunday features the “Italian Serenade” by Hugo Wolf; the String Quartet No. 3 in F Major by Dmitri Shostakovich; and the String Quartet in A-Flat Major, Op. 105, by Antonin Dvorak.

Pro Arte Quartet new 2 Rick Langer

The FREE concert takes place from 12:30 to 2 p.m. in Brittingham Gallery No. 3 of the Chazen Museum of Art and the University of Wisconsin-Madison.

Donors to the museum can reserve seats. Concerts by the Pro Arte Quartet, kind of the house quartet of the museum, are usually “sold out.”

But the concert can also be streamed live via computer or smart phone by clicking on the arrow in the photo and using the portal on the following website:

https://www.chazen.wisc.edu/index.php?/events-calendar-demo/event/sunday-afternoon-live-at-the-chazen-12-4-16/

sal-pro-arte-12-4-16

You might also want to arrive early or stay late to see the historic and rare First Folio edition (below) of the plays by William Shakespeare that is on display at the Chazen Museum through Dec. 11 to mark the 400th anniversary of the death of the Bard.

First Folio


Classical music: Madison Opera stages Charles Gounod’s opera “Romeo and Juliet” this Friday night and Sunday afternoon to celebrate the 400th anniversary of the death of William Shakespeare

November 1, 2016
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By Jacob Stockinger

Madison Opera will present Charles Gounod’s “Romeo & Juliet” on this Friday night at 8 p.m. and Sunday afternoon at 2:30 p.m. in Overture Hall of the Overture Center.

It will be sung in French with English subtitles and will last about three hours with one intermission.

Tickets are $18-$130.

With soaring arias, impassioned scenes and plenty of sword fights, Gounod’s gorgeous opera brings the famous tragic tale of young love to vivid life.

Set in 14th century Verona, Italy, the opera follows the story of Shakespeare’s legendary star-crossed lovers. The Montague and Capulet families are caught in a centuries-old feud.

One evening, Romeo Montague and his friends attend a Capulet ball in disguise. The moment Romeo spots Juliet Capulet, he falls in love, and she returns his feelings. Believing they are meant for one another, they proclaim their love, setting in motion a chain of events that will change both their families.

Romeo and Juliet is one of the most famous love stories in Western literature,” says Kathryn Smith (below, in a photo by James Gill), the general director of Madison Opera. “Gounod’s operatic version of it is equally beloved, and it’s exciting to present an amazing cast that brings such vocal and dramatic depth to their story.

“I’m also delighted that we are performing the opera the same weekend that Shakespeare’s First Folio goes on display at the University of Wisconsin-Madison‘s Chazen Museum of Art, enabling our community to enjoy a very Shakespearean weekend.”

Kathryn Smith Fly Rail Vertical Madison Opera

Gounod’s operatic adaption of the tragedy of “Romeo & Juliet” premiered in 1867 at the Théâtre Lyrique in Paris. While Gounod is now better known for “Faust,” “Romeo and Juliet” was a bigger success at its premiere, and has stayed in the repertoire for 150 years due to its beautiful music, genuine passion mingled with wit, and exciting fight scenes.

“Having conducted Gounod’s Faust so often, I’m thrilled to finally have the opportunity to conduct his romantic masterpiece,” says John DeMain (below, in a photo by Prasad), the artistic director of Madison Opera who will conduct the two performances.

“The vocal and orchestral writing is lyrical and downright gorgeous,” DeMain adds. “We have a glorious cast, the Madison Opera Chorus and the Madison Symphony.  What more could a conductor ask for!” (You can hear Anna Netrebko sing Juliet’s famous aria “Je veux vivre” — “I want to live” – in the popular YouTube video at the bottom.)

John DeMain full face by Prasad

Madison Opera’s cast features both returning artists and debuts.

John Irvin (below top) and Emily Birsan (below bottom) return to sing the title roles of Romeo and Juliet.  Irvin sang Count Almaviva in the 2015 production of The Barber of Seville, while Birsan returns from singing at Opera in the Park 2016 and Musetta in last season’s La Bohème.

john-irvin

Emily Birsan 2016

Sidney Outlaw, who sang at this past summer’s Opera in the Park, makes his mainstage debut as Romeo’s friend, Mercutio.  Liam Moran, who sang Colline in last season’s La Bohème, sings Frère Laurent, who unites the two lovers in the hope of uniting their families. Madisonian Allisanne Apple (below) returns as Gertrude, Juliet’s nurse.

Alisanne Apple BW mug

Making their debuts are Stephanie Lauricella as Romeo’s page, Stephano; Chris Carr as Tybalt, Juliet’s cousin; Philip Skinner as Lord Capulet; and Benjamin Sieverding as the Duke of VeronaFormer Madison Opera Studio Artist Nathaniel Hill returns as Gregorio, while current Studio Artist James Held sings the role of Paris.

Directing this traditional staging is Doug Scholz-Carlson (below), who directed Gioaccchino Rossini’s “The Barber of Seville,” Aaron Copland’s “The Tender Land” and Benjamin Britten‘s “The Turn of the Screw” for Madison Opera. Scholz-Carlson is the artistic director of the Great River Shakespeare Festival and has directed the original “Romeo and Juliet,” among many Shakespeare plays.

He will discuss the differences between staging “Romeo and Juliet” as a play and as an opera in another posting tomorrow.

douglas-scholz-carlson

For more information about the production, the cast and tickets, go to:

http://www.madisonopera.org/performances-2016-2017/romeo-and-juliet/


Classical music: Wisconsin Public Radio will broadcast Madison Opera’s productions of “La Boheme” and “The Tales of Hoffmann” on two Saturday afternoons — May 14 and May 21

May 5, 2016
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By Jacob Stockinger

The Ear has received the following news alert:

Madison Opera partners with Wisconsin Public Radio to present recorded broadcasts of Giacomo Puccini’s “La Bohème” on Saturday, May 14, and Jacques Offenbach’s “The Tales of Hoffmann” on Saturday, May 21.

Both broadcasts begin at 1 p.m. and listeners can tune into WPR on 88.7 FM or stream online at www.wpr.org/listen-live.

Each spring, two operas from Madison Opera’s season are presented by Wisconsin Public Radio to let listeners re-live the season. These broadcasts cap off the end of the season of live radio broadcasts from The Metropolitan Opera that run from December through May on WPR’s News and Classical Music Network.

Giacomo Puccini’s “La Bohème” (below top, in a photo by James Gill), the greatest love story in opera, opens the broadcast series on Saturday, May 14, at 1 p.m. Set to a ravishing score, Puccini’s classic opera tells of the lives, loves and losses of a group of young artists in a Bohemian quarter of Paris.

Critic William Wineke called Madison Opera’s November 2015 production “the best I’ve seen anywhere, including the high-definition broadcasts from the Met.”

Madison Opera’s cast features Eleni Calenos as Mimi, Mackenzie Whitney as Rodolfo, Emily Birsan as Musetta, Dan Kempson as Marcello, Alan Dunbar as Schaunard, Liam Moran as Colline and Evan Ross as Benoit/Alcindoro. John DeMain conducts, featuring the Madison Opera Chorus and Madison Symphony Orchestra.

The broadcast includes intermission features with cast members and DeMain, interviewed by WPR’s Lori Skelton (below bottom).

Boheme Madison Opera USE Mimi and Rodolfo GILL

Lori Skelton

On Saturday, May 21, at 1 p.m., the broadcasts conclude with Jacques Offenbach’s “The Tales of Hoffmann” (below in a photo by James Gill).

As he sits in a tavern, the poet Hoffmann recounts the stories of his three loves: a doll, a singer and a courtesan.

Offenbach’s masterpiece moves in a fantasy world, with showpiece arias for the bravura cast, the gorgeous barcarolle, and a truly moving tribute to what it means to be an artist. Critic John W. Barker called Madison Opera’s April 2016 production “an absolute triumph.”

Madison Opera’s cast features Harold Meers as Hoffmann, Siân Davies as Antonia, Giulietta and Stella; Jeni Houser as Olympia; Morgan Smith as The Villains; Adriana Zabala as The Muse and Nicklausse; Jared Rogers as The Servants; Thomas Forde as Luther and Crespel; and Robert Goderich as Spalanzani. John DeMain conducts the production that features the Madison Opera Chorus and Madison Symphony Orchestra.

The broadcast includes intermission features with Meers, Davies, Smith and DeMain, interviewed by WPR’s Lori Skelton.

Madison Opera Hoffmann set CR James Gill

Madison Opera is a non-profit professional opera company based in Madison, Wisconsin. Founded in 1961, the company grew from a local workshop presenting community singers in English-language productions to a nationally recognized organization producing diverse repertoire and presenting leading American opera singers alongside emerging talent.

A resident organization of the Overture Center for the Arts, Madison Opera presents three productions annually in addition to the FREE summer concert Opera in the Park – in Garner Park on the city’s far west side this year on July 23 at 8 p.m.– and a host of educational programming.

Opera in Park 2012 crowd 2 James Gill

For more about Opera in the Park, visit:

http://www.madisonopera.org/performances-2015-2016/park/


Classical music: Playing softly is the mark of great music-making

April 5, 2016
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By Jacob Stockinger

Like so many young pianists, when The Ear was young he wanted to project strength. He wanted to play BIG virtuosic pieces and play them FAST and LOUD — even though they were usually way beyond his ability.

Pieces such as the “Appassionata” Sonata and “Emperor” Concerto by Ludwig van Beethoven.

The Piano Concerto No. 2 in C minor, Op. 18, and Prelude in C-sharp minor (“Bells of Moscow”) by Sergei Rachmaninoff.

The Piano Concerto No. 1 in B-flat minor by Peter Tchaikovsky.

The “Great Gate at Kiev,” from “Pictures at an Exhibition,” by Modest Mussorgsky.

The ”Military” Polonaise and the “Revolutionary” Etude by Frederic Chopin.

You know, the kind of piece that can easily descend into pounding and banging, but that makes an impression on listeners and people who don’t play — and on the player too!

Back then, doing that kind of muscular music-making seemed the task of a real virtuoso.

But no longer.

Maturity brings an appreciation of subtlety and softness, which are much better hallmarks of musicality. Softness is definitely NOT weakness. In fact for The Ear, softness has become a kind of test of mature musicianship.

The past year or so has been a wonderful opportunity to demonstrate that the mark of a really great and mature virtuoso artist is the ability to play softly.

The most recent example came this past Sunday afternoon when The Ear heard pianist Garrick Ohlsson (below) play the Piano Concerto No. 1 in D minor, Op. 15, by Johannes Brahms with the Madison Symphony Orchestra under the baton of MSO’s longtime music director and conductor John DeMain.

Garrick Ohlsson

To be sure, the MSO performed absolutely superbly on its own in the 2011 Symphony by Steven Stucky and the tone poem “Don Juan” by Richard Strauss.

But the second half of the concert, devoted to the concerto, was both ear-opening and heart-rending.

The first concerto is a product of Brahms’ youth and is dramatic. Ohlsson, who possess both power and great technique, has no problem getting a huge sound out of the piano when he wants to or playing the most virtuosic passages with absolute fluidness and complete command.

But here is what really mattered: Ohlsson took away the bombast and bluster you so often hear in this early work. You felt as if you were hearing the concerto for the first time or at least hearing it anew.

What emerged was a uniquely convincing and beautifully poetic reading of this famous work – and not just in the slow movement but also in various interludes during the first and third movements. Plus, Ohlsson was joined by DeMain and the MSO whose accompaniment bought into his interpretation and also emphasized subtlety. It was complemented perfectly by the quietly songful encore, which was the lyrical Nocturne in D-flat major by Chopin.

There have been other occasions like that over the past year or so.

Here are just a few.

The duo-pianists Alessio Bax and Lucille Chung (below) at Farley’s House of Pianos played an all-Schubert recital and proved how seductive quiet and restrained playing can be.

Lucille Chung and Alessio Bax 2015

UW-Madison pianist Christopher Taylor (below, in a photo by Michael R. Anderson) can compete with the best when it comes to forceful playing. But what lingers in The Ear’s mind is hearing Taylor’s seductive playing of the slow movement from the Piano Sonata No. 3 in F minor, Op. 5, by Johannes Brahms as a great example in how playing softly draws in listeners but requires great virtuosity and control.

Christopher Taylor Recital

Christopher Taylor Recital

Pianist Emanuel Ax (below), who played the Piano Concerto No. 4 by Beethoven with the Madison Symphony Orchestra, also demonstrated an uncanny ability to play softly with deep tone.

Emanuel Ax portrait 2016

There were other examples in various kinds of music. The Ear recalls beautifully soft singing in some songs by Franz Schubert during the Schubertiade (below) at the UW-Madison in late January.

Schubertiade 2016 Shepherd on the Rock

He also remembers some fantastic quiet playing of Johann Sebastian Bach and Brahms in the debut recital by UW violinist Soh-Hyun Park Altino (below, in a photo by Caroline Bittencourt).

Soh-Hyun Park Altino CR caroline bittencourt

There are many other examples from other individuals and groups, including the violinist Benjamin Beilman with the Wisconsin Chamber Orchestra; the UW Choral Union in the Gloria by Francis Poulenc; the Madison Opera’s productions of Puccini’s “La Boheme” and Mark Adamo’s “Little Women”; pianist Joyce Yang at the Wisconsin Union Theater; and the Pro Arte Quartet among others.

But you get the point.

It isn’t easy to play softly. In fact, it can be downright hard.

But it makes music so beautiful.

So moving.

So unforgettable.

As listener or player, try it and see for yourself.


Classical music: It’s Valentine’s Day 2016. What do you think is the most romantic piece of music ever written? Plus, this afternoon is the last performance of the Valentine program by the Madison Symphony Orchestra

February 14, 2016
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ALERT: This afternoon at 2:30 p.m. in Overture Hall is your last chance to hear the Valentine’s Day program of works by Peter Tchaikovsky, Maurice Ravel and Ludwig van Beethoven performed by the Madison Symphony Orchestra with guest conductor Daniel Hegge and guest soloist violinist Alina Ibragimova. The opening night performance received fine reviews.

Here is a link to the review by Jessica Courtier for The Capital Times:

http://host.madison.com/ct/entertainment/arts_and_theatre/concert-review-madison-symphony-dedicates-valentine-s-weekend-to-love/article_21d106c8-1011-5f6c-9346-f17c3d07b2e3.html

By Jacob Stockinger

Today is Valentine’s Day.

Cupid

That makes it a good occasion to talk about romantic music – not necessarily Romantic music (with a capital R) since there is plenty of Baroque, Classical era and modern music that fits the bill.

Johann Sebastian Bach, Georg Frideric Handel, Wolfgang Amadeus Mozart Ludwig van Beethoven, Franz Schubert, Frederic Chopin, Johannes Brahms, Antonin Dvorak, Giuseppe Verdi, Gustav Mahler, Gabriel Faure, Maurice Ravel, Peter Tchaikovsky, Sergei Rachmaninoff, Sergei Prokofiev – all of them, and many other composers, wrote some deeply moving romantic music.

And it comes in so many different forms: symphonies and concerto; sonatas and suites; orchestral music; choral music and songs; solo works for piano; chamber music for strings, winds and brass.

The Ear loves listening to and also playing romantic music. He thinks probably the most consistently romantic composer was the German composer Robert Schumann (1810-1856, below with his wife). So many of his greatest pieces — in so many different genres — were inspired by his steadfast and often thwarted, but finally victorious, love of his wife Clara Wieck Schumann.

An outstanding concert pianist, the much younger Clara outlived the mentally troubled Robert, and edited the publication of his works and popularized them through performing them.

Schumann_Robert_and_Wieck_Clara

But if you asked The Ear to pick the single most romantic piece of music he knows, it would have to be the opening arias from the opera “La Bohème” by Giacomo Puccini.

Every time he hears Rodolfo and Mimi sing to each other and fall in love at first sight, the little hairs on his neck stand up and often his eyes tear up.

You can hear that sung in the YouTube video at the bottom. It features the late superstar tenor Luciano Pavarotti. He could not  read music, but he sure could sing. And his voice has a special quality that adds to the romance and poignancy.

What do you think is the most romantic piece of music? What romantic music would you play for someone special or have played for yourself on Valentine’s Day?

Leave your choice – preferably with some personal background or commentary or even a dedication to your Valentine plus, if possible, a link to a YouTube performance – in the COMMENT section.

The Ear wants to hear.


Classical music: Mark Adamo’s “Little Women” is a second-rate opera that got a first-rate production from the Madison Opera

February 12, 2016
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By Jacob Stockinger

Loyal readers of this blog know very well the name of Mikko Rankin Utevsky. The young violist, baritone and conductor is a senior at the University of Wisconsin-Madison School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and conductor James Smith, plays in the UW Symphony Orchestra, and sings with the University Opera.

Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra (MAYCO – www.MAYCO.org), which will perform its sixth season this summer. He also directs a local community orchestra, The Studio Orchestra (www.disso.org).

You can check out his many honors and projects by typing his name into the search engine on this blog site.

Utevsky offered The Ear a guest review of this past weekend’s performance of Mark Adamo’s “Little Women” by the Madison Opera.

I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.

Also, his latest venture was the successful recent launch of the Impresario Student Opera at the UW-Madison.

Here is the review by Mikko Utevsky (below) with production photos by James Gill for the Madison Opera:

new Mikko Utevsky baton profile USE

By Mikko Rankin Utevsky

A great opera can be memorable in many ways. You might remember how you felt at the climaxes of the music, or walk out humming the Big Tune from the showstopper aria, or leave with an image fixed in your mind’s eye of the most dramatic moment in the first-act finale.

In an opera by Wolfgang Amadeus Mozart or Giuseppe Verdi or Giacomo Puccini, you might remember all of these. But in American composer Mark Adamo’s debut opera, “Little Women,” there’s nothing to remember — no great moving moments, no thrilling stage pictures, no hummable tunes.

There are motifs, certainly, and recurring lines. But “Things change, Jo” (song by acclaimed mezzo-soprano Joyce DiDonato in the YouTube video at the bottom) can hardly hold a candle to “O soave fanciulla” in Puccini’s “La Bohème,” the first-act Trio in Mozart’s “Figaro,” the parents’ sextet in Jake Heggie‘s “Dead Man Walking,” or the quartet from Verdi’s “Rigoletto.”

It’s all technically correct, but it’s not great opera — neither great storytelling nor great music.

I left the Sunday performance by Madison Opera with the unshakeable feeling that Adamo’s score had been performed far better than it deserved.

Part of the problem is that Mark Adamo (below) is too clever for his own good. The libretto, from the classic 19th-century American novel by Louisa May Alcott, is stronger than the music — never quite moving, but full of evocative and witty phrases.

The music displays a clear command of naturalistic settings of the text, rising to peaks when it should and creating compelling atmosphere. But it always seems to pull back just when a lyrical melody might break forth, or when an emotional climax draws near.

Mark Adamo

Several times he uses the gambit of two conversations on stage at the same time, talking about the same things. But the pacing is never quite right, and the unison lines are predictable and trite rather than powerful. He lacks the confidence to let people talk over one another unless we’ve already heard half of the lines. (Whether the lack of trust is in the audience or stems from his own compositional skill is a matter of conjecture.)

The dramatic and musical tricks are all “correct” — Adamo knows his business — but none of them make an emotional impact, a point driven home by their success in last season’s “Dead Man Walking,” which employs all the same devices to far greater effect. When the opening scene came back at the end of the show, I was ready to walk out. Enough already!

It is a sad fact that the most moving part of the whole affair was only half Adamo’s — a setting of Goethe’s “Kennst du das Land” (Do You Know the Land) thrown into the second act that almost approached melody, and tugged at the heartstrings in a way no other scene of the opera managed to do.

Beth’s death scene – below top with Chelsea Morris Shephard as Beth (left) and Heather Johnson as Jo — was a close second, admittedly.

Little Women 143 Beth dies GILL

And the lovely wedding vow — below bottom with, from left, Alexander Elliott as John Brooke; Courtney Miller as Meg; Rick Henslin as Gideon March; Elizabeth Hagedorn as Alma March — was marred only by Rick Henslin’s intonation.

LIttle Women 101 wedding GILL

The minimal set cheated the opera out of the lush visual setting it deserved. If the realism of the story had been played up, with painted walls and structures, the human elements of the story might have been more believable in a setting that doesn’t feel as though a strong wind might knock it all down.

Little Women 58 GILL

Instead, a few flown-in flats with cheap-looking projections stood in for the occasional wall, and some rather cool shifting images on the scrim in front of the orchestra highlighted the apparent supernatural elements of the story — not that I thought there were supposed to be any in “Little Women.”

Little Women Jo 40 GILL

This is not to say the visuals were all misses — costumes, wigs, and makeup (Karen Brown-Larimore and Jan Ross) were excellent, particularly in establishing distinctive characterizations for the four sisters, who could easily have been hard to tell apart in a less careful production.

The ghostly vocal quartet that opens the opera — and haunts various scenes in the middle, although I’m told they were intended to be offstage — felt like nothing so much as discount Eric Whitacre: cascading clusters and whole-tone scales with no particular narrative purpose, illuminating nothing about the plot. I did find myself wondering if we were supposed to think Jo had gone insane, between that and the drifting projections on the set, but I’m sure that wasn’t the intended effect.

Despite all this, the voices themselves were superb, and married to strong acting skills to boot. Time and again Madison Opera has shown a knack for finding up-and-coming young singers with tremendous talent, and this cast was no exception.

The four Little Women themselves (below, from left, with Eric Neuville as Laurie; Courtney Miller as Meg, Heather Johnson as Jo; Chelsea Morris Shephard as Beth; Jeni Houser as Amy), aided by sure-handed direction from Candace Evans, mustered warm, credible camaraderie and sisterly love.

They, and their paramours, baritone Alexander Elliot and tenor Eric Neuville, all displayed rich and even vocalism, with clear and precise English diction rendering the supertitles mostly superfluous.

Litlle Women 22 GILL

As the aloof Aunt March and the mother Alma, Brenda Harris and UW-Madison guest professor Elizabeth Hagedorn were secure and confident in their roles as well.

As the German teacher Friedrich Bhaer (below left, with Heather Johnson as Jo), Craig Verm’s accent faded in and out, but his aria, the aforementioned setting of Goethe’s famous “Kennst du das Land,” was the highlight of the show despite this.

Little Women 130 GILL

Guest conductor Kyle Knox (below), a graduate student at the UW-Madison, led musicians of the Madison Symphony Orchestra capably through a score mired in complexity and made the result sound natural — not an easy feat.

Kyle Knox 2

I admire general director Katherine Smith (below) and the Madison Opera for taking a chance on contemporary American opera, and I dearly hope they do so again next season, and the season after that.

In a tremendously conservative industry, it takes guts to put on something by a living composer when everyone else is picking the safe options to sell out the house. And I’d rather see a contemporary opera and hate it than sit through a mediocre “Bohème” (though this fall’s “Bohème” by the Madison Opera was quite excellent).

Kathryn Smith Fly Rail Vertical Madison Opera

Modern opera is a gamble, both for the box office and for the musicians. Sometimes you find “Dead Man Walking.” And sometimes you don’t. I hope the next contemporary piece to grace the Capitol Theater stage is one for the ages, even if this one, well, wasn’t.

NOTE: For purposes of comparison, here are links to two other reviews of the Madison Opera’s production of “Little Women”:

This is the review John W. Barker wrote for Isthmus:

http://isthmus.com/arts/stage/madison-opera-little-women/

And this is the review by Greg Hettmansberger, who writes for Madison Magazine and now has his own blog WhatGregSays as well as monthly appearances on WISC-TV:

https://whatgregsays.wordpress.com/2016/02/06/madison-opera-stands-tall-for-little-women/

And here is a  link to an interview with Mark Adamo:

https://welltempered.wordpress.com/2016/02/03/classical-music-it-always-starts-from-the-singing-line-composer-and-librettist-mark-adamo-talks-about-creating-his-popular-opera-little-women-which-will-be-perfo/


Classical music: Puccini makes us all bohemians. Madison Opera scores a big heart-rending success with “La Bohème.” The final performance is this afternoon.

November 15, 2015
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By Jacob Stockinger

Loyal readers of this blog know very well the name of Mikko Rankin Utevsky. The young violist, baritone and conductor is a senior at the University of Wisconsin School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm, plays in the UW Symphony Orchestra, and sings with the University Opera.

Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra (MAYCO – www.MAYCO.org), which will perform its sixth season this summer. He also directs a local community orchestra, The Studio Orchestra (www.disso.org).

You can check out his many honors and projects by typing his name into the search engine on this blog site.

Utevsky offered The Ear a guest preview review of this past weekend’s performance of “La Bohème” by the Madison Opera.

I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, has done other opera reviews and who blogged for this post when he was on tour with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.

Here is the review by Mikko Utevsky (below):

new Mikko Utevsky baton profile USE

By Mikko Rankin Utevsky

Giacomo Puccini’s “La Bohème” is perhaps the most beloved of all operas, adored by newcomers and veterans alike for its richly Romantic melodies, subtly shaded score and sheer vocal magnetism. (Performance photos are by James Gill for the Madison Opera.)

This weekend’s production anchors Madison Opera’s writer-themed season, which continues with Mark Adamo‘s “Little Women” in February and Jacques Offenbach’s “Les Contes d’Hoffman” (The Tales of Hoffmann) in April.

The famous numbers in “La Boheme” — the first-act arias “Che gelida manina” by the poet Rodolfo (Mackenzie Whitney) and “Si, mi chiamano Mimi” by Mimi (Eleni Calanos), and the following duet “O soave fanciulla” in particular — are familiar showstoppers, and were well sung Friday night. (You can hear Jussi Bjorling and Renata Tebaldi sing the arias and duets in the YouTube video at the bottom. Can you not be moved?)

Boheme Madison Opera USE Mimi and Rodolfo GILL

But the indisputable star of this production was Maestro John DeMain (below in a photo by Prasad), whose flexible leadership in conducting united a remarkably even cast and the Madison Symphony Orchestra, whose lush, supple sound filled Overture Hall to the rafters with a powerful reading of Puccini’s rich and colorful score.

John DeMain full face by Prasad

One was struck by the tightness of composition. For a composer often accused of pandering to popular tastes, sacrificing musical integrity for cheap emotional tricks, the score to “La Bohème” is densely motivic and self-referential.

As in Mozart or Verdi, the orchestra often represents the subtext or the emotional undercurrents of the scene, with snatches of remembered melody drifting throughout the drama. The only complaint must be that we sometimes heard a bit too much of this lovely orchestra, to the detriment of balance with the singers.

Among the cast, the sense of camaraderie between the members of the male quartet — Marcello, Rodolfo, Colline and Schaunard — was palpable, by turns rowdy and rambunctious and in the fourth act deeply moving.

Madison Opera Boheme cafe sceneJames Gill

Whether this was the result of some special chemistry between the singers (Dan Kempson, Mackenzie Whitney, Liam Moran, and Alan Dunbar) or something drawn out by director David Lefkowich (below), it brought the ensemble scenes to life marvelously, and drew the audience into the lives of the four friends quite powerfully.

David Lefkowich 2013

Dan Kempson (below) deserves special praise as the painter Marcello, a somewhat unsympathetic role, both for humanizing the jealous lover and for his rich and warm singing throughout the evening.

Madison Opera boheme Rodolfo GILL

Tenor Mackenzie Whitney brought a clear and smooth tone to the role of Rodolfo, shining brightest in ensemble singing.

Evan Ross, in the buffo roles of Benoit and Alcindoro, brought humor, but not enough sound to be consistently heard over the orchestra, leaving the audience chuckling at his mannerisms and the supertitles rather than what he actually sang.

Soprano Emily Birsan (below), a favorite of local audiences and a UW-Madison graduate, who recently graduated out of the Ryan Center at the Lyric Opera of Chicago, made an excellent showing as the flirtatious Musetta, whose gentle side in the fourth act was extraordinarily poignant.

Emily Birsan MSO 2014

And Eleni Calenos’ Mimi (below, second from right) was both credibly fragile and vocally excellent, with warmth to spare and the ability to draw the audience into the intimate final moments of her life.

Madison Opera Boheme death scene

Sets from the Lyric Opera of Kansas City made subtle but evocative use of perspective, drawing the eye where it needed to be without drawing attention away from the action. (I was particularly fond of the Cafe Momus.)

Madison Opera Boheme outdoor scene GILL

The city beyond the garret was subtly shaded by Connie Yun’s lighting design. And Anthony Cao’s chorus, together with the Madison Youth Choirs, brought the necessary sense of spectacle to the outdoor scenes in Act II.

Madison Opera Boheme outdoor 2 parade GILL

All in all, despite some balance issues early on, the gorgeous playing of the orchestra alone makes this a production worth hearing, and the largely young cast brings Puccini’s “verismo” (realistic) masterpiece vividly to life.

It’s another feather in the caps of artistic director John DeMain and general director Kathryn Smith of the Madison Opera.

It is sung in Italian with projected English supertitles. The final performance, with two intermissions, will be this afternoon at 2:30 p.m. in Overture Hall of the Overture Center.


Classical music: Puccini’s gift for heart-touching melody allows both beginners and veterans to connect with his timeless operas in a way that has been largely lost in contemporary music, says John DeMain. He will conduct the Madison Opera’s production of La Bohème this Friday night and Sunday afternoon.

November 12, 2015
1 Comment

By Jacob Stockinger

On this Friday night, Nov. 13, at 8 p.m. and Sunday afternoon, Nov. 15, at 2:30 p.m. in Overture Hall of the Overture Center for the Arts, the Madison Opera will perform its production of Giacomo Puccini’s evergreen “La Bohème.”

The opera will be sung in Italian with English surtitles.

Tickets are $18 to $129 and are available from the Overture Center Box Office (608) 258-4141 or from www.madisonopera.org. Student and group discounts are available.

Puccini’s classic opera tells of the lives, loves and losses of a group of young artists in a bohemian quarter of Paris.

La Bohème has been an audience favorite since its first performance on Feb. 1, 1896 ( below is the original poster from 1896 by Adolfo Hohenstein) at the Teatro Regio in Turin, Italy, and is performed by opera companies around the world.

Its popularity over the past century is undiminished and its ravishing score has inspired generations of artists, including the composer Jonathan Larson, who used it as the basis for his award-winning 1996 musical “Rent,” and Baz Lurhmann, director of the 2001 movie “Moulin Rouge.” It also played a pivotal role in the movie “Moonstruck” with Cher and Nicholas Cage.

La Boheme 1896 poster by Adolfo Hohenstein

For more information about the Madison Opera’s production and cast, read the Q&A that The Ear did with Kathryn Smith, the general director of the Madison Opera. Here is a link:

https://welltempered.wordpress.com/2015/11/09/classical-music-puccini-was-a-master-crafter-of-drama-says-kathryn-smith-the-madison-operas-stages-its-production-of-la-boheme-this-friday-night-and-sunday-afternoon/

By The Ear’s reckoning, John DeMain (below, in a photo by Prasad), has spent close to 50 years in opera. He is the artistic director of the Madison Opera and music director of the Madison Symphony Orchestra, and will conduct the singers, orchestra and choruses for the two performances of “La Bohème.”

He graciously agreed to share his experience and knowledge in an email Q&A with The Ear:

John DeMain full face by Prasad

What about the story makes “La Bohème” such an enduring classic for both first-timers and veterans?

First of all, it’s a love story involving young adults trying to make it through their young years living from hand to mouth. They are college or post-college age, and are living life on the edge, enjoying great camaraderie, as college roommates enjoy to this day.

We have all lived through the tragedy of disease or plagues affecting various parts of the world in our own time. Mimi has tuberculosis, and we have seen how HIV/AIDS, SARS and Ebola have taken young lives in our own time, robbing people of the chance to live out their lives and loves. So, there is always some part of a story like this for people, both old and young, to connect with.

And what about the same aspect in the music?

Once we enter into the world of Italian “verismo,”or realism, we basically have music that is timeless. The music vividly underscores the action of the drama in great detail from moment to moment.

The interplay of the various leitmotifs manipulates our emotions, leading us to enjoy a good laugh at the interplay of the guys, or Musetta’s outrageous carrying on to make her “ex” jealous and win Marcello back. Then the music engages us in the great sadness of losing Mimi to her disease and robbing Rodolfo of his loved one ( in the final scene below from a production by the Houston Grand Opera, which John DeMain used to head before coming to Madison).

Our great film composers and composers of musical theater all learned from Puccini how to connect the emotions of the drama to the music and vice-versa.

HGO La Boheme

HGO La Boheme

Is Puccini’s reputation as a serious and innovative opera composer, not just a popular one, being reexamined and revised upward in recent years?

Puccini’s output as a composer was limited both in scope and in number. He focused primarily on opera and gave us 12 works in that form. To this day, La Bohème, Madama Butterfly, Turandot and Tosca remain in the top echelon of opera’s most popular works.

Puccini (below) labored over each of his operas for long periods of time, rewriting to get these pieces as close as possible to perfection, creating librettos and music that soars emotionally, melodically and harmonically. His Fanciulla del West (The Girl of the Golden West), Turandot and even parts of Butterfly are great examples of Italian Impressionism.

But while Bohème has a few touches of impressionistic harmony, most of the opera stays within a late Romantic harmonic vocabulary.

I think we appreciate more than ever Puccini’s capacity to write unforgettable melody that goes to the very core of our being. Indeed, we lament that most contemporary scores can’t achieve that, and therefore, they don’t have the same relationship with our audiences today. (You can hear that in the arias sung by Luciano Pavarotti and Fiamma Izzo in a YouTube video at the bottom. Listen for when the audience applauds Pavarotti singing a high C.)

puccini at piano

Are there special things you would like the public to know about this particular production? Do you have comments about the concept and cast, sets and costumes?

I would like to encourage people who have never been to an opera to come and see La Bohème. There are still people out there who don’t know that we have English titles over the stage that simultaneously translate the opera into English.

The acts are not long, the drama flows at almost the same rate of time as it would if it were just spoken without music. And the young stunning cast we have assembled will thrill young and old alike.

This, like Carmen or Madama Butterfly, is the perfect opera for a first-timer. For the rest of us, it is a chance to thrill once again to one of the most beautiful scores ever composed for the operatic stage.

 


Classical music: Puccini was a master crafter of drama, says Kathryn Smith. The Madison Opera stages its production of “La Bohème” this Friday night and Sunday afternoon.

November 9, 2015
3 Comments

By Jacob Stockinger

Anyone want to bet that it qualifies as almost everyone’s first and still favorite opera?

On Friday night, Nov. 13, at 8 p.m. and Sunday afternoon, Nov. 15, at 2:30 p.m. in Overture Hall at the Overture Center for the Arts, the Madison Opera will perform its production of Giacomo Puccini’s evergreen “La Bohème.”

The opera will be sung in Italian with English surtitles.

Tickets are $18 to $129 and are available from the Overture Center Box Office at (608) 258-4141 or from www.madisonopera.org. Student and group discounts are available.

The classic opera by Puccini (below) tells of the lives, loves and losses of a group of young artists in a bohemian quarter of Paris.

puccini at piano

On Christmas Eve, the poet Rodolfo and the artist Marcello burn pages from Rodolfo’s latest drama, trying to stay warm in their garret. They are joined by their roommates, Colline and Schaunard, and head out to celebrate at Café Momus.

Staying behind, Rodolfo answers a knock on the door and meets his new neighbor, a seamstress named Mimi. The two fall instantly in love, and the opera charts the course of their relationship, as friendship, poverty, and illness intersect in what has often been called “the greatest love story ever sung.”

La Bohème is simply perfect,” says Kathryn Smith, Madison Opera’s General Director. “The passionate music is perfectly matched to the very emotionally true story of young people dealing with life in all of its happiness and sorrow. Bohème never ages and is perfect for both opera newcomers and opera omnivores.”

La Bohème has been an audience favorite since its first performance on Feb. 1, 1896 at the Teatro Regio in Turn, Italy, and is performed by opera companies around the world. Its popularity over the past century is undiminished and its ravishing score has inspired generations of artists, including the composer Jonathan Larson, who used it as the basis for his award-winning 1996 musical Rent, and Baz Lurhmann, director of the 2001 movie Moulin Rouge. It also played a pivotal role in the movie “Moonstruck” with Cher and Nicholas Cage.

“La Bohème is one of the reasons I fell in love with opera and wanted to become an opera conductor,” says John DeMain (below, in a photo by Prasad), Madison Opera’s Artistic Director and conductor. “It has glorious lyricism, engaging and ultimately gripping theater, and is sumptuously written for the orchestra. It is a perfect specimen.”

John DeMain full face by Prasad

The cast features a mixture of returning Madison Opera artists and debuts.

Following her performance at Opera in the Park 2015, Eleni Calenos (below) makes her main stage debut as the seamstress Mimi, a role she has previously performed at Palm Beach Opera.

Palm Beach Opera "La Boheme" dress rehearsal Thursday, January 15, 2015.

Palm Beach Opera “La Boheme” dress rehearsal Thursday, January 15, 2015.

Making their Madison Opera debuts are Mackenzie Whitney (below) in the role of the enamored poet Rodolfo and Dan Kempson, singing the role of his friend and artist Marcello. Whitney recently sang in Rappacini’s Daughter with Des Moines Metro Opera; Kempson has recently sung with Santa Fe Opera and Fort Worth Opera.

Mackenzie Whitney La Boheme

The other bohemian friends are played by faces familiar to the Madison Opera audience. UW-Madison alumna Emily Birsan (below) sings Musetta, Marcello’s on-and-off again lover, a role she just performed at Boston Lyric Opera.

Emily Birsan MSO 2014

Liam Moran returns as the philosopher Colline, following his performance as Don Fernando in last season’s Fidelio. Alan Dunbar (below, in a photo by Roy Heilman), last seen here in The Barber of Seville, sings Schaunard. They are joined by Evan Ross, debuting with Madison Opera as Benoit and Alcindoro.

Alan Dunbar CR Roy Heilman

This traditional staging is directed by David Lefkowich, who directed The Daughter of the Regiment for Madison Opera.

David Lefkowich 2013

Madison Opera’s general manager Kathryn Smith (below, in a photo by James Gill) generously answered an email Q&A for The Ear:

Kathryn Smith Fly Rail Vertical Madison Opera

What about the story makes “La Bohème” such an enduring classic for both first-timers and veterans?

The story is such a universal one that it is instantly relatable for opera newcomers, but still carries an emotional immediacy for those who have seen it before. A group of 20-something friends struggle financially, have fun together, fall in love, break up and deal with illness and death – this is a story that plays out in real life every day. As audience members, I think we grow with La Bohème: what moves you the most when you are 23 years old might be Act III; later in life, Act IV might strike a stronger chord.

And what about the same aspect in the music?

Puccini’s music is so emotional and melodic that it appeals to every ear, and it is so perfectly tied to the story that it is impossible to separate the two. “O Soave Fanciulla” could only be a love duet, and the heartbreak of Mimi’s phrase, “Addio, senza rancor” sums up every painful romantic breakup in just a few notes. (You can hear soprano Anna Netrebko and tenor Rolando Villazon sing “O Soave Fanciulla” in a concert version at the bottom in a YouTube video.) 

Is Puccini’s reputation as a serious and innovative opera composer, not just a popular one, being reexamined and revised upward in recent years?

I think that may be a question for critics and academics! In our world – the performance world – Puccini has always been highly regarded, as his shows have been wildly successful with audiences, regardless of what critics or other composers might write. “La Bohème” was definitely harshly criticized when it was new, with phrases like “musical degradation” tossed about, but it has been one of the most performed operas around the world ever since.

What do you think is the most overlooked or underrated aspect of “La Bohème” and of Puccini in general?

I think people overlook how tight the dramaturgy is. There is not one page of Bohème that could be removed without having the entire structure collapse. Most 19th-century operas can — and do —  benefit from cuts, but Puccini doesn’t waste time, either musically or dramatically. In addition, the music really illustrates the story. There are specific moments where the music tells us what happens on stage, and as long as you obey the music, the story will work.

Are there special things you would like the public to know about this particular production? Do you have comments about the concept and cast, sets and costumes?

This is a traditional production, but that doesn’t mean it looks exactly like every other La Bohème, as every cast and director brings their own ideas and chemistry to the mix.

We have a spectacular young cast who are perfectly matched with each other and will bring this classic story to vivid life.

We have two exciting debuts, with Mackenzie Whitney as Rodolfo and Dan Kempson as Marcello.

Returning to us are Eleni Calenos (Mimì), who sang at Opera in the Park last summer; Emily Birsan (Musetta), who graduated from the University of Wisconsin-Madison School of Music and who last sang with us in 2010; Alan Dunbar (Schaunard), who was last in Rossini’s Barber of Seville; and Liam Moran (Colline), who debuted in Beethoven’s Fidelio last fall.

Add in our wonderful Madison Opera Chorus, the Madison Youth Choirs and the Madison Symphony Orchestra, and it will be a musical and dramatic feast.

 


Classical music: This week brings some appealing solo recitals and chamber music performances for piano, violin, cello, guitar and piano trio.

November 8, 2015
1 Comment

By Jacob Stockinger

This coming week has some big musical events, including the Madison Opera’s production of Giacomo Puccini’s opera “La Bohème” on Friday night and Sunday afternoon; and the annual two days of fall concerts by the Wisconsin Youth Symphony Orchestras on Saturday and Sunday. Both of those events will be previewed at length later this week.

But there is also some very appealing music on a smaller scale, including a solo piano recital, a violin and piano recital, a guitar recital, and a chamber music concert that features piano trios.

Here are the four stand-out events:

TUESDAY NIGHT

On Tuesday night at 8 p.m. in Mills Hall, Canadian-born pianist Joel Hastings will give a FREE guest artist concert.

His program features five transcriptions by Franz Liszt (1811-1886): Il m’aimait tant – Mélodie; Die Gräberinsel der Fürsten zu Gotha – Lied von Herzog Ernst, zu Sachsen-Coburg- Gotha; Spanisches Ständchen – Melodie von Graf Leó Festetic Romance du Comte Mikaïl Wielhorsky; Die Zelle in Nonnenwerth – Elegie/ Also included is piano music by Jean Roger-Ducasse (1873-1954) including Barcarolle No. 1, Chant de l’Aube, Sonorités and Rythmes; and Twelve Etudes, Op. 8, by Alexander Scriabin (1872-1915).

Joel Hastings (below), who teaches at Florida State University in Tallahassee, was the winner of the 2006 Eighth International Web Concert Hall Competition and the 1993 International Bach Competition at the Kennedy Center in Washington, D.C.
 After his performance at the 10th Van Cliburn International Piano Competition in Fort Worth, Texas, one reporter designated Hastings the “audience favorite” while another declared, “the kinetic fingers of this young Canadian reminded me strongly of his late countryman, Glenn Gould.”

Hastings will also give a FREE and PUBLIC master class on Wednesday, Nov. 11, from noon to 2 in Morphy Hall.

For more information about events at the UW-Madison including student performances, visit:

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

Joel Hastings

WEDNESDAY 

The UW-Madison Guitar Ensemble (below) will perform a FREE concert at 7:30 p.m. in Morphy Hall under director Javier Calderon. Sorry, The Ear has received nothing specific about the program.

Undergraduates Erik Anderson, left, and Anthony Caulkins perform a duet during a UW Guitar Ensemble music concert in Mills Hall at the Mosse Humanities Building at the University of Wisconsin-Madison during spring on April 17, 2013. The photograph was created for #UWRightNow, a 24-hour multimedia and social-network project. (Photo by Jeff Miller/UW-Madison)

Undergraduates Erik Anderson, left, and Anthony Caulkins perform a duet during a UW Guitar Ensemble music concert in Mills Hall at the Mosse Humanities Building at the University of Wisconsin-Madison during spring on April 17, 2013. The photograph was created for #UWRightNow, a 24-hour multimedia and social-network project. (Photo by Jeff Miller/UW-Madison)

FRIDAY

At 8 p.m. in Mills Hall, Soh-Hyun Park Altino (below, in a  photo by Caroline Bittencourt), the new professor of violin at the University of Wisconsin-Madison School of Music, will make her local debut. (She is seen below teaching in a photo by Michael R. Anderson.)

Altino (left), with freshman violinist Lydia Schweitzer, has developed a specialty in addressing overuse injuries.

Altino (left), with freshman violinist Lydia Schweitzer, has developed a specialty in addressing overuse injuries.

Her must-hear program features the Sonata No. 3 in C Major for Solo Violin, BWV 1005, by Johann Sebastian Bach (which you can hear performed by Hilary Hahn in a YouTube video at the bottom); the Sonata No. 2 for Violin and Piano by Johannes Brahms; the Romance, Op. 23, by American composer Amy Beach; and the Sonata No. 2 for Violin and Piano by American composer Charles Ives. UW professor of collaborative piano Martha Fischer will perform with her. Admission is $12 for the public; free for all students.

For more information, visit these sites:

http://www.music.wisc.edu/event/debut-faculty-concert-soh-hyun-park-altino-violin/

For a Q&A:

http://www.music.wisc.edu/2015/07/31/welcoming-new-faculty-violinist-prof-soh-hyun-park-altino/

For a fine background story and preview about a “world-class talent” from Isthmus:

http://www.isthmus.com/music/violin-professor-soh-hyun-park-altino/

Soh-Hyun Park Altino CR caroline bittencourt

SATURDAY

This Saturday afternoon, Nov. 14, at 3 p.m., St. Andrew’s Episcopal Church (below), located at 1833 Regent Street in Madison, will host a performance by participants in The Leonard Sorkin International Institute of Chamber Music.

Parking is on the street and admission is a free-will offering.

St. Andrew's Episcopal Madison Front

St. Andrew's Church interior

The Leonard Sorkin International Institute of Chamber Music (ICM) offers a concentration in chamber music performance for advanced level graduate students and young professional musicians. The program is based at University of Wisconsin-Milwaukee and is directed by violin professor Bernard Zinck.

Leonard Sorkin Institute logo

The program prepares students for careers in performance with a combination of weekly masterclasses, coaching and private lessons as well as financial and facility support. ICM students enjoy a rehearsal space and office dedicated to their use, mentors on self-management or advice on seeking professional management, and contest travel finances in addition to generous fellowships which pay tuition plus a modest stipend.

Leonard Sorkin Institute class

Typically, individual students form chamber ensembles such as string quartets or piano trios, give one group recital each semester, and use the repertoire from these recitals in outreach presentations, concerts and competitions.

The program to be performed at St. Andrew’s is: Piano Trio, Op. 33, in E-flat major by Louise Farrenc; Sonata for Cello and Violin by Maurice Ravel; and Piano Trio No. 3 in C Major, Op. 87, by Johannes Brahms.

For more information and biographies of the performers, go to an scroll down:

http://www.standrews-madison.org/saint-andrews-concert-series.html


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