The Well-Tempered Ear

Classical music: Saturday afternoon, Live From the Met in HD closes this season with an acclaimed production of “Dialogues of the Carmelites.” Here is a background story, two rave reviews, and next season’s 10 operas

May 10, 2019
2 Comments

ALERT:The Brass Choirs of the Wisconsin Youth Symphony Orchestras will present an afternoon of brass music this Saturday afternoon, May 11, at 2:30 p.m. in Mills Concert Hall, 455 North Park Street, in Madison. Directed by Tom Curry, the program features brass musicians from WYSO’s Concert, Philharmonia and Youth Orchestras. The concert is FREE and OPEN TO THE PUBLC. Music to be played is by Johann Sebastian Bach, George Frideric Handel, Giovanni Gabrieli, Charles Gounod, Edward Elgar, Paul Hindemith, Alan Hovahaness and Karel Husa.

CORRECTION: The Madison Youth Choirs will perform its “Legacy” concerts this weekend in the Capitol Theater of the Overture Center on Saturday and Sunday — NOT Friday, as mistakenly listed and then corrected in the original post, which is below: https://welltempered.wordpress.com/2019/05/08/classical-music-the-madison-youth-choirs-will-explore-the-theme-of-legacy-in-three-concerts-this-saturday-and-sunday-in-the-capitol-theater-of-the-overture-center/

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

This Saturday afternoon, May 11, the last production of this season’s “Live From the Met in HD” series, broadcast worldwide via satellite to cinemas, is Francis Poulenc’s “Dialogues of the Carmelites.”

By all accounts, it would be hard to end on a higher, stronger or more darkly dramatic note, given the outstanding music and performance of the score as well as the superb acting. (There is a brief preview of short scenes in the YouTube video at the bottom.)

The world premiere of the opera took place in 1957 at La Scala in Milan, Italy. One of the most successful operas of the later decades of the 20th century,  “Dialogues of the Carmelites” is a rare case of a modern work that is equally esteemed by audiences and experts, according to program notes from the Metropolitan Opera.

The opera focuses on a young member of the order of Carmelite nuns, the aristocratic Blanche de la Force, who must overcome a pathological timidity in order to answer her life’s calling. The score reflects key aspects of its composer’s personality: Francis Poulenc (below) was an urbane Parisian with a profound mystical dimension, and the opera addresses both the characters’ internal lives and their external realities.

The opera takes place between 1789 and 1794 in Paris and in the town of Compiègne in northeastern France, the site of the Carmelite nuns’ convent.

Its historical basis is the martyrdom of a group of 16 Carmelite nuns and lay sisters from Compiègne, who chose to offer themselves as victims for the restoration of peace to France during the French Revolution.

The Met uses the classic John Dexter production of Poulenc’s devastating story of faith and martyrdom.

Mezzo-soprano Isabel Leonard (below right) sings the touching role of Blanche and soprano Karita Mattila (below left), a legend in her own time, returns to the Met as the Prioress.

The conductor for the performance is the Met’s highly acclaimed new music director Yannick Nézet-Séguin, who also leads the Philadelphia Orchestra and the Metropolitan Orchestra of Montreal.

The high-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at noon and runs until 3:10 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)

The encore HD showings are next Wednesday, May 15, at 1 p.m. and 6:30 p.m.

The opera will be sung in French with supertitles in English, German and Spanish.

Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.

The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the far west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.

Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:

https://www.movietickets.com/movies

Here is a link to the Metropolitan Opera’s website where you can find the titles, dates, casts, production information and video clips of all 10 productions this past season — PLUS an announcement, with dates and titles, for next season’s 10 productions (which feature five new productions but no Verdi):

https://www.metopera.org/season/in-cinemas/

Here is a background story that focuses on the French-Canadian conductor Yannick Nézet-Séguin, who leads the orchestra in this production and is the new music director of the Metropolitan Opera:

https://www.nytimes.com/2019/05/02/arts/music/met-opera-dialogues-des-carmelites.html

Here is a rave review of “Dialogues of the Carmelites” by senior classical music critic Anthony Tommasini for The New York Times:

https://www.nytimes.com/2019/05/05/arts/music/dialogues-des-carmelites-met-opera-review.html

And here is another rave review from New York Classical Review:

http://newyorkclassicalreview.com/2019/05/met-closes-season-with-a-riveting-devastating-carmelites/

Here are links to a synopsis and program notes:

https://www.metopera.org/discover/synopses/dialogues-des-carmelites/

https://www.metopera.org/season/2018-19-season/dialogues-des-carmelites/

And here is a Wikipedia history of the hi-def broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.

https://en.wikipedia.org/wiki/Metropolitan_Opera_Live_in_HD


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Classical music: Madison Opera’s “Seraglio” stood out for its singing and staging, its local sets and costumes, and provided a crowd-pleasing comic romp in trying times. Plus, Friday brings FREE piano and viola da gamba concerts

February 15, 2018
3 Comments

FRDAY ALERTS: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Eric Miller playing the viola da gamba in a recital of early baroque music by Marais, Forquery, Sainte-Colombe, Abel, Hume and Ortiz. The concert runs from 12:15 to 1 p.m.

Then on Friday night at 8 p.m. in Mills Hall, the critically acclaimed guest pianist Marina Lomazov will perform a FREE recital of all-Russian music that includes “Pictures at an Exhibition” by Modest Mussorgsky. Lomazov’s recital is part of a larger event, “Keyboard Day,” that has a French focus and takes place all day Saturday at the UW-Madison’s Mead Witter School of Music. See tomorrow’s post for more information about Saturday. For more about Lomazov, go to: https://www.music.wisc.edu/event/guest-artist-marina-lomazov-piano/

By Jacob Stockinger

The Opera Guy filed this review of last weekend’s production by the Madison Opera:

By Larry Wells

On Sunday afternoon, I attended the second and final performance of Madison Opera’s production of Mozart’s “The Abduction from the Seraglio” in the Capitol Theater of the Overture Center.

This comic romp utilized a beautiful set and wonderful costumes designed and constructed in-house. (Below, Matt Bueller as Osmin peers out the door of the palace, or seraglio, at David Walton as Belmont.)

The orchestra, drawn from the Madison Symphony Orchestra and ably led by maestro John DeMain, was situated backstage. This was an effective novelty, although the sound was somewhat muffled, at least from where I sat in mid-orchestra.

The dialogue was in English while the singing was in German with English supertitles. I looked over the lengthy original libretto and was thankful that it had been heavily abridged for this two-hour production.

It had also been updated to be both hip and politically correct about Islamic culture and Turkey, where the story takes place. But it made me idly wonder what the reaction would be if the music had been likewise updated to be more in tune with the times.

The production was all about the singing.

David Walton’s Belmonte (below right, with Amanda Woodbury as Konstanze) was beautifully sung, particularly in the second act. He has a Benjamin Britten tenor voice with remarkable breath control.

Eric Neuville’s Pedrillo was also admirably sung. Neuville is an accomplished comic actor, as well.

Ashly Neumann’s singing as Blonde (below center, with women of the Madison Opera Chorus) was clean, clear and bell-like.

Amanda Woodbury as Konstanze (below right with Brian Belz as Pasha Selim)  was virtuosic. She displayed vocal fireworks several times and was especially effective in her lament toward the end of the first act.

This quartet’s ensemble work in the second act was a vocal high point. (You can hear the quartet from a different production in the YouTube video at the bottom.)

But to me the most impressive singing and comic acting belonged to Matt Boehler as Osmin. His bass was simply majestic. (Below, from left, are Brian Belz as Pasha Selim; David Walton as Belmonte; Matt Boehler as Osmin; Eric Neuville as Pedrillo; Ashly Neumann as Blonde; and Amanda Woodbury as Konstanze.)

The well-prepared chorus appeared briefly in each act, adding some color and motion to the production.

Musically and visually the production was a success. The audience responded with 19 ovations during the performance – yes, I counted. Every time the orchestra reached a cadence and paused, the audience members applauded as if they were at a musical. With the incessant coughing throughout the performance, I felt like I was at a performance of “South Pacific” in a tuberculosis ward.

The audience leapt to its feet at the end, and this made me wonder what it was that they found so praiseworthy. The story itself is inconsequential and has little relevance to life today.

The singing was very good, but this is not La Scala.

The music itself, with the exception of a couple of sublime moments, does little more than foreshadow the mature Mozart of “The Magic Flute.”

I concluded that the opera is unalarming, unthreatening, and simple. This is perhaps what people long for in these trying times.

I do look forward to the Madison Opera’s production of Daniel Catan’s “Florencia en el Amazonas” this spring. Based on repeated hearings of the recording, I guarantee that Madison will be in for a treat. And there is nothing threatening or alarming or complex about the music, despite it being a work of the late 20th century.


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