The Well-Tempered Ear

Music education: Madison Youth Choirs perform their Spring Concert series “Seriously Funny” this Sunday

May 10, 2018
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By Jacob Stockinger

The Ear has received the following announcement to post:

“This spring, the Madison Youth Choirs singers (below) are exploring the unexpected ways that elements of humor, from irony and incongruity to improvisation and timing, are reflected in a wide variety of classical and contemporary musical compositions.

“We’re learning that music, like humor, is a kind of language, operating with its own sense of logic, patterns, and conventions that composers can twist to surprise us and take our musical journey to new places.

“As we study the complexity of humor as a mode of creative expression, we are discovering the power of satire, wit, and misdirection to help us reexamine our assumptions, musical and otherwise.

“In our culminating concert series, our singers will present works including “No, di voi non vo’ fidarmi” by George Frideric Handel; Timothy Takach’s “I Will Howl” by Timothy Takach; the “Fugue for Tinhorns” from Guys and Dolls; and the second movement of Chichester Psalms by Leonard Bernstein.”

The MYC Spring Concerts, “Seriously Funny: Musical Humor, Wit, and Whimsy” will take place this Sunday afternoon and evening, May 13, at the First Congregational United Church of Christ, 1609 University Ave., across from Camp Randall Stadium.

Performance are: 1:30 p.m. for Girlchoirs; 4 p.m. for Boychoirs; and 7 p.m. for High School Ensembles.

Tickets will be available at the door: $10 for general admission; $5 for students 7-18; and free for children under 7. A separate ticket is required for each performance.

This concert is supported by American Girl’s Fund for Children, BMO Harris Bank, Dane Arts with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, Inc., charitable arm of The Capital Times, the W. Jerome Frautschi Foundation, and the Pleasant T. Rowland Foundation. This project is also supported by the Wisconsin Arts Board with funds from the state of Wisconsin and the National Endowment for the Arts.

About the Madison Youth Choirs (MYC):

Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community.

Cultivating a comprehensive music education philosophy that inspires self-confidence, personal responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.

For further information, go to www.madisonyouthchoirs.org or call (608) 238-7464.

Here is the Repertoire List for MYC 2018 Spring Concert Series, “Seriously Funny: Musical Humor, Wit and Whimsy”

1:30 P.M. CONCERT (FEATURING MYC GIRLCHOIRS)

Choraliers

“Bee! I’m expecting you!” by Emma Lou Diemer

“A Menagerie of Songs” by Carolyn Jennings

Con Gioia

“When V and I” by Henry Purcell

“The Fate of Gilbert Gim” by Margaret Drynan

“The Cabbage-Tree Hat,” traditional Australian folk song

Capriccio (below)

“Papageno-Papagena Duet” (from The Magic Flute) by Wolfgang Amadeus Mozart

“Ich jauchze, ich lache” (from BWV 15) by Johann Sebastian Bach

“J’entends le Moulin,” French folk song, arr. Donald Patriquin

Combined Choirs

“Funiculi, Funicula” by Luigi Denza

4 P.M. CONCERT (FEATURING MYC BOYCHOIRS)

Combined Boychoirs

“Sumer is icumen in,” Anonymous, 13th century Middle English piece

Purcell Boychoir 

“When V and I” by Henry Purcell

“Modern Major-General” from The Pirates of Penzance by Gilbert and Sullivan

“Weevily Wheat,” arr. Dan Krunnfusz

Britten Boychoir  (below)

“Gloria Tibi” by Leonard Bernstein

“The Plough Boy,” Traditional, arr. Benjamin Britten

Holst Boychoir

“Il est bel et bon” by Pierre Passereau

“Hopkinton” by William Billings

Ragazzi Boychoir

“I Will Howl” by Timothy Takach

“Rustics and Fishermen,” part V of Choral Dances from Gloriana by Benjamin Britten

“Fugue for Tinhorns” from Guys and Dolls by Frank Loesser

Combined Boychoirs

“Chichester Psalms” II. Adonai ro-i by Leonard Bernstein

7 P.M. CONCERT (FEATURING HIGH SCHOOL ENSEMBLES)

Cantilena

“A Girl’s Garden” from Frosting by Randall Thompson

“Love Learns by Laughing” by Thomas Morley

“Turn, Turn, Then Thine Eyes” from The Fairy Queen by Henry Purcell

“My Funny Valentine” from Babes in Arms by Richard Rodgers and Lorenz Hart

“Etude 1 pour les cinq doigts d’après Monsieur Czerny” by Claude Debussy

Ragazzi

“I Will Howl” by Timothy Takach

“Fugue for Tinhorns” from Guys and Dolls by Frank Loesser

Cantabile

“sam was a man” by Vincent Persichetti, text by e.e. cummings

“No, di voi non vo’ fidarmi” by George Frideric Handel

“Cruel, You Pull Away Too Soon” by Thomas Morley

“This Sky Falls” by Jocelyn Hagen

“Svatba,” Traditional Bulgarian, arr. H.R. Todorov

Cantabile and Ragazzi

Choral Dances from Gloriana by Benjamin Britten

 

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Classical music: The Madison Symphony Orchestra finishes its season with first-time performances of a piano concerto by Mozart and a Slavic Mass by Janacek

May 3, 2018
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By Jacob Stockinger

This weekend the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) concludes its current season with “Mass Appeal,” a program that includes two first-ever performances.

One work is the Piano Concerto No. 22 in E-Flat Major, K. 382, with Christopher O’Riley as the soloist. The other work is the massive “Glagolitic Mass” by the Czech composer Leos Janacek.

The concerts are in Overture Hall of the Overture Center, 201 State St., on Friday, May 4, at 7:30 p.m.; Saturday, May 5, at 8 p.m.; and Sunday, May 6, at 2:30 p.m.

Tickets cost $18-$90. Ticket information is lower down.

MSO music director John DeMain (below, in a photo by Prasad) had the following comments about the program:

“The concert opens with the exhilarating Overture to the opera Don Giovanni by Wolfgang Amadeus Mozart,

“Janacek’s monumental Glagolitic Mass is a very dramatic work. The soloists who are joining us will fill Overture Hall with voluptuous sound, and the Madison Symphony Chorus will bring its high level of professionalism, adding to the thrilling auditory experience that is so characteristic of Janacek. (NOTE: You can hear the dramatic and brassy opening of the Glagolitic Mass in the YouTube video at the bottom.)

“This work also features the organ in a movement all its own, and will give our audiences a chance to once again experience the beauty and power of the Overture Concert Organ as played by MSO’s Principal Organist Greg Zelek (below).”

“Mozart’s opera Don Giovanni was completed in 1787. Mozart’s musical genius is evident in the subtle shadings of darkness he injects into even the most outwardly cheerful moments of the overture — which was most recently performed by the MSO in 2003.

“Composed in December of 1785, Piano Concerto No. 22 was the first concerto by Mozart (below) to include clarinets, his favorite woodwind, in its scoring. The concerto is considered to be a particularly elegant work, filled with ornate, often complicated, writing for the soloist that carries a natural sense of aristocratic poise.

“The Glagolitic Mass, considered to be one of the century’s masterworks and Janacek’s finest choral work, has often been viewed as a celebration of Slavic culture. With text in Old Church Slavonic, the five movements correspond to the Roman Catholic Ordinary of the Mass, omitting “Dona nobis pacem” in the Agnus Dei.

“The piece begins and closes with triumphant fanfares dominated by the brass and prominently features the organ throughout.

“Janacek (below) wanted it to be a Mass “without the gloom of the medieval monastic cells in the themes, without the same lines of imitation, without the tangled fugues of Bach, without the pathos of Beethoven, without the playfulness of Haydn,” rather he talks of the inspiration of nature and language.

“Acclaimed for his engaging and deeply committed performances, pianist Christopher O’Riley (below, in a photo by Dan Williams) is known to millions as the host of NPR’s From the Top, which spotlights gifted young classical musicians.

“O’Riley’s repertoire spans a kaleidoscopic array of music from pre-baroque to present-day. He performs around the world and has garnered widespread praise for his untiring efforts to reach new audiences.

Christopher O’Riley has performed as a soloist with virtually all of the major American orchestras, including the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Chicago Symphony, National Symphony, and San Francisco Symphony. He last appeared with the Madison Symphony Orchestra in 1995, making for a highly anticipated return with his performance this season.

Soprano Rebecca Wilson (below, in a photo by Jeremy Lawson) has been praised as a “staggeringly talented singer” by St. Louis Magazine. She has appeared with Union Avenue Opera, in the role of Gutrune in Richard Wagner’s Götterdämmerung (Twilight of the Gods) and has performed throughout the Chicago area in many roles.

Hailed as possessing a voice of “spell-binding power and intensity” (The Register-Guard), mezzo-soprano Julie Miller (below, in a photo by Devon Cass) has appeared as a soloist with many orchestras and in many major concert halls across the country.

Tenor Rodrick Dixon (below, in a photo by Dan Demetriad) is a classical crossover artist who possesses a voice of extraordinary range and versatility. His body of work covers 25 years of television, recordings, live theater and concerts, including PBS Specials with tenors Victor Cook, and Thomas Young; “Hallelujah Broadway,” starring his wife, Alfreda Burke; the Miss World Pageant broadcast from China and Washington, D.C., on the “E” channel in 126 countries.

Dixon recently appeared in the annual Freedom Awards. His eclectic discography includes recordings for Sony BMG, EMI Records and Naxos.

Bass Benjamin Sieverding (below, in a photo by Lu Zang) has been recognized by critics nationwide for his “surprising depth” (Boulder Daily Camera), as well as his “natural gift for comedy” and “full, rich sound” (Ann Arbor Observer).

As an active soloist and recitalist, Sieverding performs both regionally and internationally. Sieverding is a three-time district winner and regional finalist of the Metropolitan Opera National Council Auditions.

The Madison Symphony Chorus (below, in a photo by Greg Anderson) gave its first public performance on February 23, 1928, and has performed regularly with the Madison Symphony Orchestra ever since. The chorus (below) is directed by MSO assistant conductor Beverly Taylor and is comprised of more than 150 volunteer musicians who come from all walks of life and enjoy combining their artistic talent.

One hour before each performance, Beverly Taylor (below), Director of Choral Activities and Professor at the UW-Madison,will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please view the Program Notes by MSO trombonist and retiring UW-Whitewater professor J. Michael Allsen at: http://www.allsenmusic.com/NOTES/1718/8.May18.html

The Symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk (free for all ticket-holders).

Single Tickets for the 2017–2018 season finale May concerts are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit https://www.madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets. More information is at: https://www.madisonsymphony.org/studentrush

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 May concerts is provided by Mirror 34 Productions, Fiore Companies, Inc., the Steinhauer Charitable Trust, Diane Ballweg, and WPS Health Solutions. Additional funding provided by Carla and Fernando Alvarado, Forte Research Systems and Nimblify, William Wilcox and Julie Porto, and Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


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Classical music: Madison Opera travels to the jungle for the local premiere of the Spanish opera “Florencia en el Amazonas” this Friday night and Sunday afternoon

April 23, 2018
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By Jacob Stockinger

This weekend, the Madison Opera travels to the jungle to present the Madison premiere of Florencia en el Amazonas (with sets from the production by the Arizona Opera, below) by Daniel Catán on Friday night, April 27, at 8 p.m. and Sunday afternoon, April 29, at 2:30 p.m. in the Overture Hall at the Overture Center for the Arts, 201 State Street.

The opera will be sung in Spanish with English supertitles. Running time is 2 hours and 15 minutes with one intermission.

Tickets are $18-$130 with discounts available for students and groups. For more information about tickets and the production, go to www.madisonopera.org

Mexican composer Daniel Catan’s lush and accessible orchestral soundscape brings the Amazon River to life in this magical and mystical journey.

Set in South America at the turn of the 20th century, the story begins when Florencia Grimaldi, a famous opera singer, embarks anonymously on a voyage down the Amazon River to sing a concert in Manaus, Brazil.

She is traveling to the concert incognito; her real hope for the journey is to be reunited with the lover she left behind, a butterfly hunter.

On the boat with her are a young journalist, Rosalba, who is writing a biography of Grimaldi; a couple feeling the strain of their long marriage, Paula and Alvaro; the boat’s captain; the captain’s restless nephew, Arcadio, who falls in love with Rosalba; and a man who is a rather mystical presence, Riolobo.

Over the course of the journey, the passengers encounter a storm, piranha, and ultimately cholera.

Florencia en el Amazons is simply gorgeous,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s General Director.  “I heard only wonderful things about it following its 1996 premiere, and when I saw the opera 10 years ago, I realized why audiences love it so much.

“The music is ravishing, the setting is physically beautiful, and the characters are fascinating. I am delighted to be presenting it in Madison, as part of our vision of sharing operas from all time periods and in all languages.”

Florencia was the third opera composed by Daniel Catán (below, in a photo by Gina Ferazzi for the Los Angeles Times) and the first Spanish-language opera to be commissioned by a major U.S. opera company. Houston Grand Opera premiered the work in 1996; it has since been performed across North America and Europe, with companies like Houston, Los Angeles, and Seattle producing it multiple times due to audience demand.

The opera’s libretto, while an original story, was inspired by the writings of the Nobel Prize-winning Colombian novelist Gabriel García Márquez (below) author of 100 Years of Solitude and Love in the Time of Cholera. Librettist Marcela Fuentes-Berain was a protégé of Márquez; according to Catán, he and Fuentes-Berain would show García Márquez parts of the libretto as they were finished. Elements of the author’s trademark magic realism pervade many parts of the opera.

Catán’s music was acclaimed for its lush writing.  The New York Times said, “Mr. Catán’s writing for the voice is luxuriously lyrical; and he orchestrates with skill.” (You can hear the opera’s opening scene in the YouTube video at the bottom.)

Catán wrote two more operas before dying at age 62 of a heart attack. At his sudden death in 2011, Plácido Domingo called him “one of the great opera composers of our time, beloved by audiences and especially by the musicians who had the privilege of performing his incredible work.”

“I am so happy to have the opportunity to perform this absolutely gorgeous opera,” says John DeMain (below, in a photo by Prasad), Madison Opera’s Artistic Director. “I had the pleasure of knowing Daniel Catán, and commissioned an orchestral suite from this opera for the Madison Symphony Orchestra, which we performed in 2003.

“We all were struck by the power and sweep of the music. This story of the power of love and music in all of our lives will be sung by a great cast of singers, and the orchestral fabric will lift audiences out of their seats and transport them to the magical world of the Amazon. This is an opera written in our time, with a musical score that will leave audiences wanting to hear it again and again.”

Madison Opera’s cast features a number of returning favorites. For revealing 10-question interviews with cast members, go to the MadOpera blog at: http://madisonopera.blogspot.com

Elizabeth Caballero (below) sings Florencia Grimaldi, a role she has sung for New York City Opera and Nashville Opera. The Cuban-American soprano debuted with Madison Opera at Opera in the Park in 2007 and returned in Carmen, La Traviata,and Don Giovanni. Last month, she sang Mimì in La Bohème at the Metropolitan Opera.

Rachel Sterrenberg sings the journalist Rosalba; she debuted in Charlie Parker’s Yardbird here last season.

Adriana Zabala (below), who sang in The Tales of Hoffmann and at last summer’s Opera in the Park, sings Paula, a role she has also sung at San Diego Opera and Arizona Opera.

Nmon Ford (below, in a photo by Guy Madmoni), who sang Scarpia in Tosca with Madison Opera in 2013, sings the mysterious Riolobo.

Mackenzie Whitney, who debuted as Rodolfo in La Bohème with Madison Opera in 2015, returns as Arcadio, the Captain’s nephew. Levi Hernandez, who debuted in The Magic Flute here in 2005, returns as Alvaro. Bass Ashraf Sewailam (below) makes his Madison Opera debut as the Captain of the El Dorado.

Kristine McIntyre (below) returns to direct this Madison Opera premiere. She has directed many successful productions for Madison Opera, including Dead Man Walking and The Tales of Hoffmann. Recent work includes productions at Pittsburgh Opera, Utah Opera, Des Moines Metro Opera, and Kentucky Opera.

The production prominently features members of Kanopy Dance Company, playing spirits of the river.  Lisa A. Thurrell, co-artistic director of Kanopy, has created choreography for her dancers and this production.

The set (below) comes from Arizona Opera, with costumes designed by Madison Opera’s Karen Brown-Larimore, who designed the costumes for The Abduction from the Seraglio in February.

As always, the opera features the Madison Opera Chorus and the Madison Symphony Orchestra.

Madison Opera’s production of “Florencia en el Amazons” is sponsored by the National Endowment for the Arts, Thompson Investment Management, Inc., Carla and Fernando Alvarado, Thomas Terry, the Ann Stanke Fund, Kennedy Gilchrist and Heidi Wilde, and Charles Snowdon and Ann Lindsey.


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Classical music: Madison Opera will stage its first-ever production of Mozart’s “The Abduction from the Seraglio” this Friday night and Sunday afternoon

February 7, 2018
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By Jacob Stockinger

This weekend, the Madison Opera presents The Abduction from the Seraglio by Wolfgang Amadeus Mozart on Friday, Feb. 9, at 8 p.m. and Sunday, Feb. 11, at 2:30 p.m. in the Capitol Theater at the Overture Center for the Arts, 201 State Street.

According to a press release, the opera — below is a mock-up of the locally designed and constructed set — will be sung in German with English used for dialogue and in the translated supertitles above the stage. Running time is about 2-1/2 hours with one intermission.

Tickets are $25-$114 with student and group discounts available. Call the Overture Box Office at (608) 258-4141 or visit www.madisonopera.org

With some of the most virtuosic vocal writing by Mozart (below), the opera is an adventure story of love, danger, humor and humanity.

Set in the 17th-century Ottoman Empire, the opera begins when Belmonte, a Spanish nobleman, arrives at Pasha Selim’s palace to rescue three people who had been captured during a shipwreck: his fiancée, Konstanze, and their servants, Blonde and Pedrillo.

A simple escape proves no easy task, and Mozart’s masterpiece weaves together comedy, quiet reflection and youthful optimism, with a happy ending brought about by an Enlightened ruler.

Abduction is a simply marvelous opera,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director who will give free pre-performance talks in the third-floor Wisconsin Studio at 7 p.m. on Friday night and 1:30 p.m. on Sunday afternoon. “It’s the opera with which Mozart started to reinvent opera, with not only the expected arias, but also brilliant ensemble work. The very real humanity of the piece – its funny parts, its moving parts and the universal truth of the ending – is extraordinary.”

The Abduction from the Seraglio (Die Entführung aus dem Serail) was Mozart’s first major success. Written for the National Singspiel in Vienna – a pet project of Emperor Joseph II – it premiered in 1782 and was an immediate hit. (You can hear the familiar and captivating Overture in the YouTube video at the bottom.)

Like all singspiels, the opera uses spoken dialogue; indeed, the critical role of Pasha Selim is entirely spoken, perhaps one of the few instances of a major opera character not singing a note. In Madison, the dialogue will be performed in English, with the music sung in German (with projected English translations).

With a libretto by Johann Gottlieb Stephanie the Younger – an unauthorized adaptation of a libretto by Christoph Friedrich Breztner – Abduction was one the first successful German-language operas.

It was immortalized in the film Amadeus, and is famous for a possibly apocryphal story in which Emperor Joseph II criticized the work, saying to Mozart, “Too many notes,” and Mozart responded, “Exactly as many as needed.”

Abduction would go on to become Mozart’s most popular opera during his lifetime, but it has been a comparative rarity in the United States. This is Madison Opera’s first production of the opera in the company’s 57-year history.

“Mozart’s music for Abduction is a delight from start to finish,” says John DeMain (below, in a photo by Prasad), Madison Opera’s artistic director and conductor. “Great – and at times excitingly challenging – arias are enhanced by beautiful duets, trios and quartets. It has always been a favorite opera of mine, and I’m so looking forward to Madison Opera’s first production of this masterpiece with an absolutely knockout cast of great young singers.”

Mozart’s phenomenal vocal writing requires a strong team of five singers, and Madison Opera’s cast features a number of returning favorites.

Amanda Woodbury (below) sings the Spanish noblewoman Konstanze, whose aria “Martern aller Arten” is one of the most challenging arias ever written. Woodbury debuted with Madison Opera as Pamina in The Magic Flute last spring, and has recently sung leading roles for the Metropolitan Opera and Los Angeles Opera.

Tenor David Walton (below) sings Belmonte, Konstanze’s fiancé; he debuted at Opera in the Park this past summer, has sung many leading roles for Minnesota Opera, and sings at the Glimmerglass Festival this summer.

Matt Boehler (below) returns as Osmin, the palace overseer with some devilishly low bass notes. He sang Rocco in Fidelio and Leporello in Don Giovanni for Madison Opera, and more recently has sung with Minnesota Opera, Opera Philadelphia, and the Canadian Opera Company.

Konstanze and Belmonte’s servants, Blonde and Pedrillo, are sung by Ashly Neumann(below top) in her Madison Opera debut and Wisconsin native Eric Neuville (below bottom), who sang Laurie in Little Women for Madison Opera.

Alison Mortiz (below) directs this new production in her debut with Madison Opera. Moritz has directed at opera companies around the United States, including Central City Opera, Tulsa Opera and Tri-Cities Opera.

The sets and costumes (below) are locally made specifically for this production.

The scenery and lighting are designed by Anshuman Bhatia, also in his Madison Opera debut, with costumes designed by Karen Brown-Larimore. As always, the opera features the Madison Opera Chorus and the Madison Symphony Orchestra.

Madison Opera’s production of The Abduction from the Seraglio is sponsored by Kay and Martin Barrett, Fran Klos, Sally and Mike Miley, and the Wisconsin Arts Board.


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Classical music: Today is New Year’s Day 2018. The annual concert from Vienna airs this morning from 10 to noon on Wisconsin Public Radio and then tonight from 8 to 9:30 on Wisconsin Public Television. Here are details, background and the playlist

January 1, 2018
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By Jacob Stockinger

No event in classical music has become more iconic than the annual New Year’s Day concert given in Vienna’s luxurious Golden Hall by the Vienna Philharmonic under a guest conductor.

It may be predictable and repetitive, but it surely is beloved. The broadcast reaches 50 million listeners and viewers in more than 90 countries.

The concert, which is always heavy on Strauss family waltzes , polkas and marches as well as some music by other composers from that era, will first air this morning from 10 a.m. to noon CST on Wisconsin Public Radio.

Then later tonight it will add pictures and more  — scenic landscapes, royal interiors, classic architecture, a celebrity narrator and dance interpretations by the Vienna City Ballet — when it airs again from 8 to 9:30 p.m. CST on Wisconsin Public Television.

The guest conductor this year is Riccardo Muti (below), the music director of the Chicago Symphony Orchestra.

Here is some background from Vienna:

https://www.wienerphilharmoniker.at/new-years-concert/new-years-concert-main

Here is the complete program or playlist from WQXR-FM in New York City:

https://www.wqxr.org/story/new-years-day-2018-vienna-riccardo-muti-vienna-philharmonic

And here, with sound samples, is a list of the distinguished conductors who have led the event over 30 years. Find your favorites and relive some memories:

https://www.wqxr.org/story/be-our-guest-vienna-philharmonic-thirty-years-guest-conductors-new-years-day

Here is more background on the television broadcast, part of PBS’ “Great Performances” series which will be hosted for the first time by Hugh Bonneville (below, in a photo by Nick Briggs) of “Downton Abbey” fame. He succeeds Walter Cronkite and Julie Andrews.

And here is background from the “Great Performances” website:

http://www.pbs.org/wnet/gperf/

You can also consult the German-language YouTube video at the bottom.

If you want to relive this year’s experience, the CDs and DVDs will be available very shortly from Sony.


Classical music: Composer-performer John Harbison explains why the Token Creek Chamber Music Festival is revisiting “The Musical Offering” by Johann Sebastian Bach for a third time

August 25, 2017
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By Jacob Stockinger

If you have ever attended a concert at the Token Creek Chamber Music Festival (below), which opens this Saturday night at 8 p.m. and Sunday afternoon at 4 p.m., you know how insightful the short commentaries by John Harbison invariably are.

Perhaps that should come as no surprise. Harbison (below), the co-founder and co-artistic director with his violinist wife Rose Mary Harbison, has been awarded a MacArthur ‘genius grant” and won a Pulitzer Prize, all while teaching at MIT.

The concerts this weekend focus on Johann Sebastian Bach’s incredible “Musical Offering,” part of which you can hear in the YouTube video at the bottom.

Here is a program note by composer-pianist Harbison, which will probably be complemented by some additional remarks:

”Every musician has the experience of understanding a piece better after they have performed it. A few have careers which welcome (sometimes to a fault) chances to re-perform, hopefully with greater insight, a piece they wish to carry with them and continue to share with colleagues and listeners.

“We have performed two complete Musical Offerings by Bach (below) at Token Creek. Why are we going back to its Trio Sonata? Because it has become necessary, for the fullness of our encounter, to present what is a revision, a reconsideration, a reinforcement of vows, regarding a masterpiece whose carrot remains forever on the stick.

“Such could be said about other elements on this program. One of the subtexts is about the fascinating issue of continuo realization — the piano or harpsichord part — the strange language in which harmonic structure is described to the player in cipher.

“In pieces by Bach this language is strained to the breaking point in works such as The Musical Offering and the E minor sonata for violin and continuo; it is in fact about to disappear, replaced by the explicit writing out, in pitches, all the musical information. Living in the world before and after this decision was taken is one of the preoccupations of this concert.

“In a concert dominated by Bach, the requirement of the other pieces (by Haydn and Harbison) is really sufficient originality and integrity not to be dwarfed or rendered ephemeral by his authority, a high bar, considered carefully by the management.”

For more information about the five concerts of three different programs, including ticket information, go to: http://tokencreekfestival.org


Classical music: The third and final week of the Bach Dancing and Dynamite Society’s 26th season offers vocal music, four-hand piano music and instrumental chamber music of four centuries plus a Midwest premiere

June 22, 2017
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By Jacob Stockinger

Building on the success of the past two weekends and previous four programs, the Bach Dancing and Dynamite Society chamber music festival, which features top local and guest performers, concludes its season this weekend with a typically eclectic mix of vocal and instrumental music that ranges from the late 18th century up to today, including a Midwest premiere.

As usual, the BDDS venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Concerts are spiked with stories about the music, mystery guests and even door prizes.

This season’s theme is Alphabet Soup, because it’s BDDS’ 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

The final weekend of concerts welcomes back audience favorites Hye-Jin Kim, violin; Ara Gregorian, viola; Randall Hodgkinson, piano (below top); and Timothy Jones, bass-baritone (below bottom).

They are joined by the acclaimed local violinist Soh-Hyun Park Altino (below top), a new member of the UW-Madison music faculty, and by Madison Symphony Orchestra cellist Madeleine Kabat (below bottom, in a photo by Christian Steiner), who is filling in for UW-Madison professor and Pro Arte Quartet cellist Parry Karp, who has sustained a finger injury.

“Cs the Day” includes the Midwest premiere of “Cool Fire” for flute, string quartet and piano by Paul Moravec (below), and Mozart’s  “Coronation Piano Concerto” arranged for the entire ensemble.

Timothy Jones will be featured in the song cycle, “Let Us Garlands Bring” by Gerald Finzi. These are settings of carpe diem poems of Shakespeare. (Carpe diem is Latin for “seize the day” = “Cs the Day”— get it?) You can hear the songs in the YouTube video at the bottom.

At the center of this program is Carl Czerny’s Sonata in C minor for piano four-hands. BDDS will suspend a camera over the keyboard so the audience can see how the hands of the pianists cross and interlock throughout this virtuosic masterpiece. (Below is a view of a similar set up six seasons ago.)

Cs the Day will be performed at The Playhouse, Overture Center for the Arts on Friday, June 23, at 7:30 p.m.; and Spring Green at the Hillside Theater, Sunday, June 25, at 2:30 p.m. 

The final program of the season, “R&B,” features “Rounds for Robin, a short work by Kevin Puts (below top) for flute and piano written in memory of comedian Robin Williams, and the Flute Quintet in G minor by Luigi Boccherini (below bottom).

The “Santa Fe Songs” for baritone and piano quartet by Ned Rorem (below, in a photo by Christian Steiner) features the mesmerizing voice of Timothy Jones in one of the great American song cycles.

The 26th season concludes with Johannes Brahms’ towering Piano Quintet in F minor.

R&B will be performed at The Playhouse, Overture Center, Madison, on Saturday, June 24, at 7:30 p.m.; and Spring Green at the Hillside Theater, Sunday, June 25, and 6:30 p.m. 

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes will be on exhibit in The Playhouse through Sunday, July 9.

Single general admission tickets are $43. Student tickets are always $10.

For tickets visit: http://www.overture.org/events/bach-dancing

For more information about the programs, performers, performances and background, visit www.bachdancinganddynamite.org or call (608) 255-9866.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply).

Tickets are also available at the door at all locations.


Classical music: The second week of programs by the Bach Dancing and Dynamite Society offers vocal and instrumental music that spans four centuries and includes a world premiere

June 15, 2017
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By Jacob Stockinger

Last weekend, the Bach Dancing and Dynamite Society opened its 26th season with two programs in three venues that all proved highly successful.

Building on that success, the chamber music festival with top local and guest performers, now turns to vocal and instrumental music that ranges from the late 18th century up to today, including a world premiere.

As usual, the BDDS venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Concerts are spiked with stories about the music, mystery guests and even door prizes.

This season’s theme is Alphabet Soup, because it’s BDDS’ 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

The second weekend of concerts features the San Francisco Piano Trio (below) Axel Strauss, violin; Jean-Michel Fonteneau, cello; and Jeffrey Sykes, piano).

They are joined by UW-Madison’s pianist Christopher Taylor, soprano Emily Birsan (another Madison favorite and a graduate of the UW-Madison and Lyric Opera of Chicago) and internationally acclaimed clarinetist Alan Kay.

TWO PROGRAMS

Two Bs or not Two Bs includes evocative songs by Maurice Ravel for soprano, flute, cello and piano and an entertaining bouquet of earthy cabaret songs by composers Benjamin Britten, William Bolcom and Arnold Schoenberg, sung by Emily Birsan.

The program also features Bela Bartok’s “Contrasts” for clarinet, violin and piano, a work commissioned by the legendary jazz clarinetist Benny Goodman (below), and Johannes Brahms’ epic Piano Trio in C Major, Op. 87. (You can hear a historic recording of Benny Goodman performing the Bartok work, with the composer playing the piano, in the YouTube video at the bottom.)

Two Bs or not Two Bs will be performed at The Playhouse, Overture Center for the Arts, on Friday, June 16, 7:30 p.m., and at the Hillside Theater, Taliesin, Spring Green, on Sunday, June 18, 2:30 p.m.


Special K is a showcase for Alan Kay, principal clarinetist of the renowned Orpheus Chamber Ensemble.

It includes “The Shepherd on the Rock” for soprano, clarinet and piano by Franz Schubert; the hip tour-de-force “Techno Parade” by Guillaume Conneson (below) for flute, clarinet and piano; and the Midwest premiere of “Living Frescoes” for clarinet, violin, cello and piano by American composer Kevin Puts.

Many will remember that Kevin Puts (below) was the Pulitzer Prize-winning composer BDDS commissioned for the song cycle “In At The Eye” in its 25th season last summer.

The program is rounded out with Mozart’s Piano Trio in E Major and three songs by Erich Wolfgang Korngold (below) sung by Emily Birsan, accompanied by Jeffrey Sykes.

Special K will be performed at The Playhouse, Overture Center for the Arts, on Saturday, June 17, 7:30 p.m., and at the Hillside Theater, Taliesin, in Spring Green, on Sunday, June 18, 6:30 p.m.

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes will be on exhibit in The Playhouse through Sunday, July 9.

Single general admission tickets are $43. Student tickets are always $10.

For tickets visit: http://www.overture.org/events/bach-dancing

For more information about the programs, performers, performances and background, visit www.bachdancinganddynamite.org or call (608) 255-9866.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply).

Tickets are also available at the door at all locations.


Classical music: The 26th season of the Bach Dancing and Dynamite Society chamber music festival opens this weekend with two programs in three locations

June 6, 2017
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By Jacob Stockinger

The Bach Dancing and Dynamite Society (BDDS) presents its 26th annual summer chamber music festival — Alphabet Soup — starting this weekend.

It will run from this Friday, June 9, through Sunday, June 25. The festival features 12 concerts over three weekends, and each weekend offers two different programs.

Concerts will be performed in The Playhouse at the Overture Center in Madison, the Stoughton Opera House in Stoughton and the Hillside Theater at Taliesin in Spring Green.

In the three-weekend festival, you can hear great classical masterpieces and fine contemporary works. A roster of musicians with national and international reputations will perform.

The venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Added attractions include stories about the music, mystery guests and even door prizes. As BDDS puts it, “It’s chamber music with a bang!”

BDDS is led by co-artistic directors and performers flutist Stephanie Jutt (below right), who is principal flute with the Madison Symphony Orchestra and who just retired from the UW-Madison faculty; and pianist Jeffrey Sykes (below left), who graduated from the UW-Madison and teaches in Berkeley, California,  where he is a member of the San Francisco Trio. Nineteen guest artists will also perform in the festival.

This season’s theme is Alphabet Soup, because it’s the 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

Musicians for Week One include three veteran string players: Naumberg Award-winning violinist Carmit Zori (below top); Madison’s very own violist Sally Chisholm (below middle) of the Pro Arte Quartet; and the Toronto Symphony Orchestra’s principal cellist Joseph Johnson (below bottom).

They will be joined by young artists who are participants in the newly formed Dynamite Factory, a BDDS program for nurturing and furthering the talents of three exceptional young musicians — violist Jeremy Kienbaum, violinist Misha Vayman and cellist Trace Johnson.

In one of two “sandwich” programs this weekend, PB&J, Carmit Zori will play the haunting Violin Sonata in F minor by Sergei Prokofiev and the program includes the heavenly Piano Quartet in A Major of Johannes Brahms.

The Dynamite Factory artists are featured in the emotional String Trio by Gideon Klein (below), a work he wrote at the Auschwitz concentration camp shortly before his death. (You can hear the trio by Gideon Klein in the YouTube video at the bottom.)

PB&J will be performed at the Stoughton Opera House on Friday, June 9, at 7:30 p.m.; and in Spring Green at the Hillside Theater, Sunday, June 11, at 2:30 p.m.

A second “sandwich” program, BLT, features the emotionally complex Cello Sonata (featuring Joseph Johnson) by Benjamin Britten (below top); all of the artists working together in the great “London” Symphony by Franz Joseph Haydn as arranged by Haydn’s contemporary and impresario Johann Peter Salomon (below bottom); and the beautiful string sextet “Souvenir de Florence” by Peter Tchaikovsky.

BLT will be performed at The Playhouse, Overture Center for the Arts, on Saturday, June 10, at 7:30 p.m. and at the Hillside Theater, Taliesin, Spring Green, on Sunday, June 11, at 6:30 p.m. 

For the seventh year, BDDS will perform two FREE family concerts, interactive events intended for all ages.

One event takes place 11–11:45 AM, on Saturday, June 10, in The Playhouse of the Overture Center.  The other will be at the Central Library Bubbler on this Thursday afternoon, June 8, from 4 to 5 p.m.

This is a performance for families with children of all ages and seating will be first come, first served. CUNA Mutual Group, Pat Powers and Thomas Wolfe and the Overture Center underwrite these performances.

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes are on exhibit in The Playhouse Gallery through July 9.

Single general admission tickets are $43. Student tickets are always $10.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply). Tickets are available at the door at all locations.

For more information about the group, performers and programs, including audiovisual clips, go to: http://bachdancing.org


Classical music: Mozart’s music requires the rhythms of both speech and dance, says maestro Gary Thor Wedow, who will also restore lost libretto text when he conducts two performances of “The Magic Flute” this weekend for the Madison Opera. Here is Part 2 of his interview with The Ear.

April 19, 2017
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By Jacob Stockinger

The Madison Opera will stage Wolfgang Amadeus Mozart’s The Magic Flute this Friday night, April 21, at 8 p.m. and this Sunday afternoon, April 23, at 2:30 p.m. in Overture Hall of the Overture Center. (Production photos are courtesy of the Arizona Opera from which the Madison Opera got the sets and costumes for its production.)

Yesterday’s post was the first of two parts. It has a plot synopsis and links to more information about the cast and production.

Here is a link to Part 1:

https://welltempered.wordpress.com/2017/04/18/classical-music-mozart-masterfully-melds-the-sensual-and-the-cerebral-says-maestro-gary-thor-wedow-who-will-conduct-two-performances-of-the-magic-flute-this-weekend-for-the-madiso/

The opera runs about 2 hours and 45 minutes with one intermission.

Tickets are $18 to $130.

“The Magic Flute” will be sung in German with English supertitles.

For more about the production and cast, go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/

And also go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/cast/

Here is Part 2 of The Ear’s recent email interview with conductor Gary Thor Wedow (below, conducting in an orchestra pit):

Are there certain “tricks” or “secrets” that you try to bring to conducting Mozart? Have you conducted “The Magic Flute” before? Do Mozart’s operas in general and this opera in specific present challenges? Where do you place the opera musically, both compared to other operas in general and in regard to its place in Mozart’s work?

I feel keenly that Mozart and all 18th-century music (probably continuing to this day) is either based on a rhetorical idea or a dance form; that music is either speaking or dancing. This style of music is “pre-French Revolution,” so No Two Notes are Created Equally! The lilt of language or the buoyancy of the dance has to infuse every moment; hierarchy and shape prevail.

I’ve been fortunate to have conducted The Magic Flute frequently, in many varied productions; it’s always been a part of my musical life. Because it’s a fairy tale, it lends itself to inventive and imaginative productions. Stage director Dan Rigazzi’s production (below) for Madison Opera is a whimsical one, influenced by the surrealist painter Magritte, steampunk and more, all rolled into one beautiful show.

Mozart was fascinated with German Singspiel, as it was opera in the language of the people. The Magic Flute is his masterpiece in this genre, though there are earlier works. There is the early Zaide – incomplete, but filled with gorgeous, innovative music –and also the more mature, sumptuous and comic The Abduction from the Seraglio; they are both rich and entertaining pieces.

The Magic Flute, I feel, has a special place in the opera repertoire for several reasons: its Masonic connections that were very important to Mozart, the drama, and its central themes that trace themselves back to ancient Egypt.

It also is a brilliant combination of comedy and deep spiritual drama in the guise of a heroic rescue tale. It uses an incredibly wide range of the most beautiful music written in every major genre: sacred music, opera seria, bel canto, folk song and complex Baroque counterpoint.

What would you like listeners to pay special attention to in the music of “The Magic Flute”?

I would say “Hang on!” Whatever style of music we are in, we are going to switch gears in a fairly short time. It’s a roller coaster, an Ed Sullivan Show, American Idol, and the Barnum and Bailey Circus all rolled into one.

This is your third time conducting at Madison Opera. Do you have an opinion about Madison musicians and audiences?

My previous two experiences in Madison have been the Opera in the Park concerts in 2012 and 2016 (below). These have been among the most sublimely satisfying moments of my musical life: a cornucopia of music played by this brilliant symphony orchestra with great singers.

The audiences have been magically focused and involved; the players are magnificent, dedicated musicians, and the community is very supportive of Madison Opera. It’s electric.

Is there anything else you would like to say about the music or this performance?

Magic Flute devotees might be startled to hear some new text in these performances, particularly in Tamino, Pamina and Sarastro’s arias and the duet with Pamina and Papageno. “Bei Männern” is now “Der Liebe.” (You can hear it in the YouTube video at the bottom.)

Let me explain by telling you a mystery story. After Mozart died, Constanze was desperate for money. Mozart’s Flute manuscript conducting score belonged to Schikaneder, the librettist and producer, but it seems that Constanze had another original score: the first original manuscript, which she then sold to a nobleman who eventually allowed it to be published.

This must have been a “composing score” that Mozart wrote first, before making the conducting score with the help of his assistant. The text deviates in several sections in notable ways. Probably Schikaneder, perhaps assisted by his Masonic brothers, “improved” the text, but Mozart had already shaped his music to the first text.

In most sections the differences are minimal and the new text was indeed an improvement. But in some cases I feel the original text was what inspired Mozart to write and orchestrate the way he did. Our marvelous singers have generously agreed to make the changes and I think we will all see how it fits the music so much better.

Sadly, Constanze’s manuscript was lost in the wars, but many scholars had already seen it and considered it to be genuine. I love how it shows how fluid the creative process is and how it spurs us to look anew at Mozart’s creative process.

On with the show!


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