The Well-Tempered Ear
Classical music: Madison Opera’s annual FREE Opera in the Park returns this Saturday night, July 20, in Garner Park and celebrates 18 years plus a glimpse of the upcoming season
Leave a Comment
IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
The Ear has received the following announcement to post about one of the most highly anticipated musical events of summer, one that offers lots of family-friendly fun and serious musical enjoyment:
Madison Opera’s Opera in the Park (below, in a photo by James Gill) celebrates its 18th year on this coming Saturday night, July 20, at 8 p.m. in Garner Park, on Madison’s far west side at the intersection of Rosa Road and Mineral Point Road.
The annual free concert of opera and Broadway favorites closes the company’s 2018-19 season and provides a preview of the 2019-20 season. (You can hear a sample of past years in the YouTube video at the bottom.)
A Madison summer tradition that often attracts over 14,000 people, Opera in the Park is an enchanting evening of music under the stars, featuring selections from opera and Broadway.
Opera in the Park 2019 features soprano Jeni Houser, soprano Michelle Johnson, tenor David Blalock and baritone Ben Edquist.
Jeni Houser (below) has sung many roles with Madison Opera, most recently in Sondheim’s A Little Night Music, and she returns next season as Eurydice in Offenbach’s Orpheus in the Underworld.
Michelle Johnson (below) scored a major success with Madison Opera as Santuzza in Mascagni’s Cavalleria Rusticana last season.
David Blalock (below) debuted with Madison Opera in 2014 and returns this season as Orpheus in Orpheus in the Underworld.
Ben Edquist (below) is making his debut, and will return to the company as Hawkins Fuller in Gregory Spears’ Fellow Travelers, about the Lavender Scare against LGBTQ people, in February.
The four soloists are joined by the Madison Opera Chorus and Madison Symphony Orchestra, conducted by John DeMain (below, in a photo by Greg Anderson).
The evening is hosted by Madison Opera’s General Director Kathryn Smith and WKOW TV’s 27 News co-anchor George Smith (below, in a photo by Simon Fowler).
“Opera in the Park is the greatest performance in Madison Opera’s season,” says Smith (below, in a photo by James Gill). “It offers a truly magical blend of beautiful voices, music from many centuries, and thousands of members of our community relaxing together under the same night sky. I am grateful to all of our supporters who share our belief in the community-building power of music and help us produce this concert every summer.”
Opera in the Park 2019 features arias and ensembles from Verdi’s La Traviata, which opens the 2019-20 season in November; Spears’ Fellow Travelers, which will be performed in February; and Offenbach’s Orpheus in the Underworld, which will be performed in April.
The program also includes selections from Verdi’s Rigoletto and La Forza del Destino (The Force of Destiny); Donizetti’s The Elixir of Love and Don Pasquale; Korngold’s Die Tote Stadt (The Dead City); Romberg’s The Student Prince; Funny Girl; Rodgers and Hammerstein’s Carousel; and more. As always, this spectacular evening will include one number conducted by the audience with light sticks (below).
Garner Park is located at 333 South Rosa Road. Parking is available in the CUNA Mutual Group and University Research Park lots. Attendees are encouraged to bring picnics, blankets and chairs. Alcohol is permitted but not sold in the park.
On the day of the concert, Garner Park will open at 7 a.m. Audience members may not leave items in the park prior to this time. Lots of porta potties will be provided. Transportation via golf carts is available for those who have limited mobility.
The rain date for Opera in the Park is Sunday, July 21, at 8 p.m.
For more details about attending Opera in the Park and for more extensive biographies of the singers, go to: https://www.madisonopera.org/2018-2019-season/oitp/
While Opera in the Park is free to attend, it would not be possible without the generous support of many foundations, corporations, and individuals who believe in the importance of music in the community.
Madison Opera is grateful to the sponsors of Opera in the Park 2019.The Presenting Sponsor is the BerbeeWalsh Foundation. Other sponsors are the John and Carolyn Peterson Charitable Foundation; Full Compass Systems; the Raymond B. Preston Family Foundation; University Research Park; Colony Brands; the Evjue Foundation; Johnson Financial Group; MGE Foundation; National Guardian Life; the Wisconsin Arts Board; Dane Arts; and the Madison Arts Commission.
WKOW, Madison Magazine, Wisconsin Public Radio, Magic 98, and La Movida are media sponsors for this community event.
RELATED EVENTS
The Prelude Dinner at Opera in the Park 2019 is at 6 p.m. This annual fundraiser to benefit Opera in the Park helps support Madison Opera’s free gift to the community.
The event includes dinner catered by Upstairs Downstairs, VIP seating at the concert, and a reception with the artists following the performance. Tickets are $150 per person or $1,150 for a table of eight.
More information about Opera in the Park and about the 2019-20 season, including subscriptions, is available at Madison’s Opera’s home website www.madisonopera.org
Tags: #ALittleNightMusic, #All-FestivalConcert, #BaritoneSinger, #BenEdquist, #BerbeeWalshFoundation, #BlogPost, #BlogPosting, #BroadwayMusical, #BroadwayShows, #Carouselmusical, #CavalleriaRusticana, #ChoralMusic, #ColonyBrands, #CUNAMutual, #DaneArts, #DavidBlalock, #DonPasquale, #ErichWolfgangKorngold, #FacebookPost, #FacebookPosting, #FamilyFriendly, #FellowTravelers, #FreeParking, #FullCompassSystems, #FunnyGirl, #GaetanoDonizetti, #GarnerPark, #GeneralDirector, #GeorgeSmith, #GiuseppeVerdi, #GregAnderson, #GregorySpears, #HistoricBuilding, #HomeWebsite, #JacquesOffenbach, #JamesGill, #JeniHouser, #JohnandCarolynPeterson, #JohnDeMain, #JohnsonFinancialGroup, #KathrynSmith, #LaForzadelDestino, #LaMovida, #LavenderScare, #LGBTQrights, #LGBTRights, #LightStick, #MadisonArtsCommission, #MadisonGasandElectric, #MadisonMagazine, #MadisonOpera, #MadisonOperaChorus, #MadisonSymphonyOrchestra, #Magic98, #MG&E, #MGEFoundation, #MIchelleJohnson, #MineralPointRoad, #MusicalTheater, #MusicalTheatre, #NationalGuardianLife, #NightSky, #OperaAria, #OperaInThePark, #OperaMusic, #OrpheusintheUnderworld, #PietroMascagni, #PortaPotty, #RainDate, #RaymondB.Preston, #RodgersandHammerstein, #RosaRoad, #SigmundRomberg, #SopranoSinger, #SoundSample, #StephenSondheim, #SubscriptionTicket, #TelevisionNews, #TelevisionStation, #TenorSinger, #TheDeadCity, #TheElixirofLove, #TheEvjueFoundation, #TheForceofDestiny, #TheStudentPrince, #UniversityResearchPark, #UpstairsDownstairs, #VocalMusic, #WestSide, #WisconsinArtsBoard, #WisconsinPublicRadio, #WKOWTV, #YouTubevideo, A Little Night Music, alcohol, anchor, announcement, annual, anticipate, April, arias, artists, Arts, attend, audience, baritone, beautiful, belief, Ben Edquist, BerbeeWalsh Foundation, blanket, blend, blog, Broadway, build, Carousel, catered, Cavalleria Rusticana, centuries, century, chair, charitable, choral music, city, Classical music, Colony Brands, community, company, composer, Concert, conductor, corporations, CUNA Mutual, CUNA Mutual Group, Dane Arts, date, David Blalock, dead, debut, dinner, Don Pasquale, Donizetti, enchanting, enjoyment, ensembles, Erich Wolfgang Korngold, Eurydice, evening, event, Family, favorites, February, Fellow Travelers, forward, foundations, free, Full Compass Systems, fun, Fundraising, Funny Girl, Gaetano Donizetti, Garner Park, General director, gift, Giuseppe Verdi, grateful, Greg Anderson, Gregory Spears, host, individuals, item, Jacob Stockinger, Jacques Offenbach, James Gill, Jeni Houser, John and Carol Peterson, John DeMain, Johnson Financial Group, July, Kathryn Smith, La Forza del Destino, La Movida, Lavender Scare, LGBT, LGBTQ, light stick, like, link, Madison, Madison Arts Commission, Madison Gas and Electric, Madison Magazine, Madison Opera, Madison Opera Chorus, Madison Symphony Orchestra, Magic 98, magical, major, Mascagni, media, member, MGE Foundation, Michelle Johnson, Mineral Point Road, Music, musical theatre, National Guardian Life, new, news, night, night sky, November, Offenbach, opera, Opera in the Park, Orchestra, Orpheus, Orpheus in the Underworld, Park, parking, performer, permit, permitted, photo, picnic, Pietro Mascagni, poet, porta potties, porta potty, post, power, Prelude, public, rain, rain date, Raymond B. Preston, reader, reception, relax, relaxing, Rigoletto, Roda Road, Rodgers and Hammerstein, Romberg, sample, Saturday, Season, seating, selections, share, shows, Sigmund Romberg, sing, Singing, sky, sold, Sondheim, song, soprano, spectacular, sponsor, stars, Stephen Sondheim, subscriber, subscription, success, summer, support, supporter, symphony, tag, Television, tenor, The Dead City, The Elixir of Love, The Evjue Foundation, The Force of Destiny, The Student Prince, tickets, TV, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, University Research Park, Upstairs Downstairs, Verdi, video, VIP, vocal music, voice, Website, west side, Wisconsin, Wisconsin Arts Board, wisconsin public radio, WKOW TV, YouTube
Classical music: University Opera’s updated Hollywood production of Verdi’s “Falstaff” proves a triumph on all counts. Plus, FREE Opera Scenes concert is Tuesday night
Leave a Comment
By Jacob Stockinger
Here is a guest review by The Opera Guy of Giuseppe’s Verdi’s “Falstaff” as staged by the University Opera. Performance photos are by Michael Anderson.
By Larry Wells
In the past few years I’ve seen Verdi’s “La Forza del Destino” set in the Spanish Civil War, Wagner’s Ring cycle re-imagined as the history of cinema, and Puccini’s “Turandot” presented as a performance by a traveling circus.
Thus, Verdi’s ‘Falstaff’ set in 1930’s Hollywood seemed a reasonable reinterpretation, and so it proved at its final performance Tuesday evening by University Opera.
“Falstaff,” drawn from three plays by Shakespeare, is Verdi’s final opera and a rare comedy. More importantly, gone are his familiar forms of a recitative followed by an aria with lots of oom-pa-pa orchestral accompaniment, now replaced with a conversational style that to me shows Wagner’s influence. It just doesn’t sound like Verdi, but it certainly sounds good.
I felt that the whole evening was a triumph.
The sets were beautifully dressed, the costumes were excellent and the lighting was effective.
The UW Symphony Orchestra, conducted by James Smith, played wonderfully, although from where I sat the sound was occasionally muffled.
Thank goodness a new music building is being built, and I trust that there will be a theater within it that will accommodate operatic performances. The current Music Hall has its limitations, one being that much of the orchestra was playing underneath the stage and another being that for some reason the theater’s temperature cannot be controlled. It was stiflingly hot during the performance.
As for the singing and acting, the cast I saw was uniformly strong. Falstaff, performed by UW-Madison faculty member Paul Rowe (below), was very robust and was particularly affecting during his act III soliloquy. The Ear mentioned to me his Oliver Hardy mannerisms, and once I noticed that I was constantly amused.
Yanzelmalee Rivera as Alice was hilarious in her seduction scene and really came alive in Act III. Courtney Kayser as Meg was a compelling comic actress. Rebecca Buechel’s Mistress Quickly was an equally adept comic actress and had an excellent voice. Emily Weaver as Nannetta was a beautiful singer who shone in her third act moments as Queen of the Fairies. These four women had some outstanding ensemble moments, and I was constantly diverted by their antics as they outwitted the men.
Among the hapless male characters, Brian Schneider was a standout as Ford and the deep voice of Benjamin Schultz (below left, with Paul Rowe and Jiabao Zhang) made the minor character Pistola noticeable whenever he was on stage.
But the voice of the evening belonged to tenor José Daniel Muñiz (below right) as Fenton. He excelled not only in his solo moments but blended extremely well with his paramour Nannetta (Claire Powling, below left).
The outstanding ensemble work exhibited throughout the opera culminated in the grand fugue at the end of the opera, and the nearly full-house audience was blown away by those final moments. (You can hear the fugal finale, conducted by Sir George Solti, in a YouTube video at the bottom.)
The 1930’s Hollywood concept worked well. It seemed completely fitting and was undoubtedly more amusing than it would have been had the opera been set in the time of Henry IV.
“Well done” to the University Opera’s new full-time director David Ronis (below center) for his imagination and direction. I look forward to his production of Benjamin Britten’s “Turn of the Screw” in early March.
And since this University Opera production and other events are being presented to commemorate the 400th anniversary of Shakespeare’s death and the exhibition of a First Folio at the Chazen Museum of Art, I want to put in a plug for Ralph Vaughan Williams’ “Sir John in Love” which has almost exactly the same plot as “Falstaff” and is woefully underperformed.
I also want to draw your attention the FREE Opera Scenes concert by University Opera that will be presented this Tuesday night, Nov. 22, at 7:30 p.m. in Music Hall. Featured are singers, with piano accompaniment, in scenes from: Charles Gounod’s “Faust”; Claudio Monteverdi’s “The Coronation of Poppea“; Giacomo Puccini‘s “La Rondine”; Leonard Bernstein‘s “Trouble in Tahiti”; Gioacchino Rossini’s “The Barber of Seville”; Dominick Argento’s “Postcard From Morocco”; and Marc Blitzstein’s”Regina.”
Tags: accompaniment, Arts, Barber of Seville, Beethoven, Benjamin Britten, Charles Gounod, Chazen Museum of Art, choral music, Christina and Michelle Naughton, cinema, circus, Civil War, Classical music, concerto, Dominick Argento, Edo de Waart, Falstaff, Faust, Francis Poulenc, fugue, Giacomo Puccini, Gounod, Hollywood, Igor Stravinsky, Jacob Stockinger, La Forza del Destino, La Rondine, Laurel and Hardy, Leonard Bernstein, Ludwig van Beethoven, Madison, Marc Blitzstein, Milwaukee Symphony Orchestra, Monteverdi, Music, Oliver Hardy, opera, Orchestra, Piano, Postcard From Morocco, Puccini, Ring cycle, Rossini, scenes, Shakespeare, Sir John in Love, Solti, Spain, Spanish Civil War, symphony, The Coronation of Poppea, Trouble in Tahiti, Turandot, Turn of the Screw, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, University Opera, vaughan williams, Verdi, Wagner, wisconsin public radio, YouTube
Recent Comments
 | samanthacrownoversbc… on How do post-pandemic concert a… |
 | Ronnie on How do post-pandemic concert a… |
 | welltemperedear on How do post-pandemic concert a… |
 | Polly Kuelbs on How do post-pandemic concert a… |
| welltemperedear on How do post-pandemic concert a… |
The Well-Tempered Ear 