The Well-Tempered Ear
Classical music: The Met just canceled its entire fall opera season. Can local groups be far behind?
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By Jacob Stockinger
The question has weighed on The Ear ever since local groups started announcing their new concert seasons.
Will audiences – especially older and more vulnerable ones — be ready to risk venturing into crowds of 500, 1,000 or 2,000 people without an effective treatment or vaccine for global pandemic of the coronavirus (below) and the growing number of deaths from COVID-19?
Now such suspicions have been supported or even confirmed by news that the world-famous Metropolitan Opera (below), at Lincoln Center in New York City, has just canceled all of its live fall productions.
It cited concerns about the safety of both the public and the performers. And its reasoning makes sense — even though it is estimated that the Met will lose up to $100 million. It is hard or impossible in concert halls and on stages (below is a photo of the Met’s stage) to use masks and maintain social distancing.
All in all, it sounds all too familiar, similar to the reasons given for cancellations this past winter and spring, and even this summer.
Here’s a link about the Met cancellation, with lots of details and quotes, in The New York Times: https://www.nytimes.com/2020/06/01/arts/music/metropolitan-opera-cancels-season-virus.html
Locally, it seemed like the show might go on when many groups – despite the public health crisis growing worse — went ahead and started announcing their fall seasons or even an event this summer, as in the case of the Wisconsin Chamber Orchestra’s Concerts on the Square, which were postponed by a month.
After all, the Madison Symphony Orchestra (below, in a photo by Greg Anderson), the Madison Opera, the Wisconsin Chamber Orchestra, the Wisconsin Union Theater, the Middleton Community Orchestra and the Madison Bach Musicians have all announced new seasons — as did the Chicago Symphony Orchestra and the Milwaukee Symphony Orchestra. (You can hear about the Madison Symphony Orchestra’s new “Ode to Joy” season in the YouTube video at the bottom.)
The UW-Madison – the biggest presenter of live concerts in the Madison area with some 300 events a year – has wisely not yet announced its concert season, let alone how it will hold lessons and classes.
The Ear suspects that more cancellations are in the making, especially when it comes to mass gatherings such as concerts, movies, plays and sports events.
Indeed, it seems like many of the groups even took possible cancellations into consideration when it came to planning programs; cutting back on expenses and staffing; and using local or regional guest artists, who might be less expensive and less difficult to cancel, rather than long-distance imported ones.
Even if a vaccine is perfected by Jan. 1, it will take a while to produce enough of it, then to administer it and then to have it take effect.
But perhaps those suspicions and speculations are overly cautious or too pessimistic.
What do you think will happen to the fall concert season?
Will going online and streaming new or past concerts once again be a substitution?
Has the pandemic changed your own habits — perhaps waiting to purchase single tickets rather than renew a season subscription? Or your plans for the fall season, perhaps even the entire season?
The Ear wants to hear.
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Classical music: Superstar soprano Renée Fleming and pianist Emanuel Ax headline the 100th anniversary of the Wisconsin Union Theater’s Concert Series next season
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By Jacob Stockinger
The Ear has received the following major announcement to post about the Wisconsin Union Theater, which The Ear calls “the Carnegie Hall of Madison” for its long and distinguished history of presenting great performing artists.
The Wisconsin Union Theater (below top, with Shannon Hall below bottom) is delighted to announce the schedule for its 100th Concert Series during 2019-20.
In this celebratory year, we introduce two exciting additions: A transformative gift by Kato Perlman establishes the David and Kato Perlman Chamber Series, ensuring the world’s best chamber ensembles continue to perform as a regular feature of the Concert Series.
Additionally, two Concert Series performances will take place in the Mead Witter School of Music’s new Hamel Music Center (below). We look forward to increased collaborations with the school of music.
The 100th anniversary series was curated by the Wisconsin Union Directorate’s Performing Arts Committee, with wife-and-husband advisors pianist Wu Han and cellist David Finckel (below, in a photo by Tristan Cook), who are celebrated musicians and directors of several festivals of classical music and also serve as co-artistic directors of the Chamber Music Society of Lincoln Center. (You can hear them performing music by Johann Sebastian Bach in the YouTube video at the bottom.)
The first season of this distinguished series was in 1920-1921, and featured soprano May Peterson, violinist Fritz Kreisler and pianist Benno Moiseiwitsch.
Nineteen years later, in 1939-1940, the series moved to the newly opened Wisconsin Union Theater. The first season in the Wisconsin Union Theater featured bass singer Ezio Pinza, cellist Emanuel Feuermann, violinist Joseph Szigeti, pianist Robert Casadesus and, the highlight, contralto Marian Anderson.
Through these 99 years, numerous renowned, accomplished and prominent classical musicians have played in the series, the longest continuous classical series in the Midwest. Some made their debut here and continued returning as their fame rose.
See this article for an interview with former WUT director Michael Goldberg about the history of the series.
The schedule for the 100th Concert Series, including the inaugural David and Kato Perlman Chamber Music Series, is:
Oct. 6 – A cappella choral group Chanticleer, Hamel Music Center. Program To Be Announced
Nov. 2 – Pianist Emanuel Ax (below), Shannon Hall. All-Beethoven program, including Piano Sonatas Nos. 1, 2 and 3.
Dec. 6 – The Kalichstein, Laredo and Robinson Piano Trio (below), Shannon Hall. “Canonic Etudes” by Robert Schumann; Piano Trio No. 1 in D minor by Felix Mendelssohn; and Piano Trio in B-flat major “Archduke” by Ludwig van Beethoven.
Jan. 25, 2020 – The Escher String Quartet (below), featuring David Finckel, Shannon Hall. Quartets by Franz Joseph Haydn, Fritz Kreisler and Franz Schubert.
March 5, 2020 – Chamber Music Society of Lincoln Center – featuring David Finckel, Wu Han, Paul Neubauer and Arnaud Sussman, Shannon Hall. Sonatine by Antonin Dvorak; Piano Quartet by Josef Suk; Piano Quartet No. 1 in G Minor, Op. 25, by Johannes Brahms.
March 7, 2020 – Wu Han with the UW Symphony Orchestra, Hamel Music Center. Program TBD.
March 28, 2020 – Violinist Gil Shaham (below) with pianist Akira Eguchi, Shannon Hall. Program TBD.
May 2, 2020 – Special Gala Concert with Renée Fleming (below). Shannon Hall. Mixed Recital.
All programs are subject to change.
Subscriptions will be available starting March 18, 2019. Subscribers benefits include: access to the best seats, 20% off the price of single tickets, no order fees, a free ticket to Wu Han’s performance with the UW Symphony Orchestra, and the opportunity to be first to purchase tickets to Renée Fleming’s 100th Anniversary Gala Concert.
Find more information about the series and the artists at www.uniontheater.wisc.edu. Subscriptions will be available on March 18 at www.artsticketing.wisc.edu.
Tags: #ACappellaMusic, #AkiraEguchi, #All-Beethoven, #AntoninDvorak, #ArchdukeTrio, #ArtisticDirector, #BaroqueMusic, #BassSinger, #BennoMoiseitwitsch, #BlogPost, #BlogPosting, #CarnegieHall, #ChamberEnsemble, #ChamberMusic, #ChamberMusicSocietyofLIncolnCenter, #ChoralMusic, #ClassicalMusician, #ConcertSeries, #ContraltoSinger, #DavidFinckel, #EmanuelAx, #EmanuelFeuermann, #EscherStringQuartet, #EzioPinza, #FacebookPost, #FacebookPosting, #FelixMendelssohn, #FranzJosephHaydn, #FranzSchubert, #FritzKreisler, #GalaConcert, #GilShaham, #HamelMusicCenter, #husband-and-wife, #JaimeLaredo, #JohannesBrahms, #JohannSebastianBach, #JosefSuk, #JosephKalichstein, #JosephSzigeti, #KalichsteinLaredoRobinsonPianoTrio, #KatoPerlman, #LincolnCenter, #LudwigVanBeethoven, #MarianAnderson, #MeadWitterSchoolofMusic, #MichaelGoldberg, #MusicFestival, #NewYorkCity, #PerformingArtists, #PianoConcerto, #PianoMusic, #PianoQuartet, #PIanoRecital, #PianoSonata, #PianoTrio, #RenéeFleming, #RobertCasadesus, #RobertSchumann, #SchoolofMusic, #ShannonHall, #SharonRobinson, #SopranoSinger, #StringQuartet, #SubscriptionConcert, #TheEar, #TheMidwest, #ToBeAnnounced, #UniversityofWisconsin-Madison, #UWSymphonyOrchestra, #VocalMusic, #VoiceRecital, #Wife-and-Husband, #WisconsinUnionDirectorate, #WisconsinUnionTheater, #WuHan, #YouTubevideo, a cappella, access, accomplished, addition, advisor, Akira Eguchi, anouncement, Antonín Dvořák, Archduke Trio, Artistic director, artists, Arts, audience, Baroque, bass, Beethoven, Benno Moiseiwitsch, Canon, Carnegie Hall, cellist, Cello, centennial, chamber ensemble, Chamber music, Chamber Music Society of Lincoln Center, Chanticleer, choral music, Classical music, classical musician, collaboration, composer, concerto, contralto, curated, David Finckel, debut, director, distinguished, Emanuel Ax, Escher String Quartet, etude, Ezio Pinza, Facebook, fame, feature, fee, Felix Mendelssohn, forward, Franz Joseph Haydn, Franz Schubert, free, gala, gift, Gil Shaham, great, Hamel Music Center, highlight, History, husband, inaugural, information, interview, Jacob Stockinger, Jaime Laredo, Johann Sebastian Bach, Johannes Brahms, Josef Suk, Joseph Kalichstein, Joseph Szigeti, Kato Perlman, like, LIncoln Center, Lincoln Center for the Performing Arts, link, long, Ludwig van Beethoven, Madison, Marian Anderson, Mead Witter School of Music, Michael Goldberg, Midwest, Music, Music festival, New York City, performer, performing artists, Pianist, Piano, Piano concerto, Piano Quartet, Piano sonata, Piano Trio, post, posting, program, prominent, recital, regular, Renée Fleming, renowned, Robert Casadesus, Robert Schumann, schedule, School of Music, seat, Shannon Hall, share, Sharon Robinson, singer, Sonata, Sonatine, soprano, star, String quartet, subscription, superstar, tag, TBA, The Ear, ticket, University of Wisconsin–Madison, UW Symphony Orchestra, violinist, vocal music, voice, voice recital, wife, Wisconsin Union Directorate, Wisconsin Union Theater, Wu Han, year, YouTube
Classical music: Prize-winning composer John Harbison has turned 80. In February, Madison will see many celebrations of his birthday, starting this Friday night with the Imani Winds
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By Jacob Stockinger
This Friday night, Feb. 1, a month-long celebration in Madison of the 80th birthday of critically acclaimed and prize-winning composer John Harbison (below) gets underway.
The festivities start with a concert by the Grammy-nominated Imani Winds (below), which will perform this Friday night at 7:30 p.m. – with a pre-concert lecture at 6 p.m. — in Shannon Hall at the Wisconsin Union Theater. The program includes Harbison’s popular Wind Quintet.
Here is a link with more information about the group, the program and tickets: https://union.wisc.edu/events-and-activities/event-calendar/event/imani-winds/
Among America’s most distinguished artistic figures, Harbison is the recipient of numerous awards and honors, among them a MacArthur ”genius grant’ and a Pulitzer Prize. His work encompasses all genres, from chamber music to opera, sacred to secular. (You can hear Harbison discuss his approach to composing in the YouTube video at the bottom.)
He has composed for most of America’s premiere musical institutions, including the Metropolitan Opera, the symphony orchestras of Chicago, Boston, Los Angeles, Seattle and New York; and the Chamber Music Society of Lincoln Center and the Santa Fe Chamber Music Festival.
Institute Professor at MIT, Harbison serves as composer, conductor, performer, teacher and scholar. He divides his time between Cambridge, Mass., and Token Creek, Wis., where he co-founded and co-directs a summer chamber music festival with his violinist wife Rose Mary Harbison.
Other local birthday events include a performance by the Madison Symphony Orchestra; several chamber music and choral concerts at the First Unitarian Society of Madison, including one by the Mosaic Chamber Players; an exhibition of books and manuscripts at the Mills Music Library at UW-Madison’s Memorial Library.
There are also several concerts, including the world premiere of a new Sonata for Viola, and a composer residency at the University of Wisconsin-Madison’s Mead Witter School of Music; and the world premiere of a new motet by the Madison Choral Project.
Harbison will also be featured in radio interviews and broadcast retrospectives by both Wisconsin Public Radio and WORT community radio.
National and international celebrations include other world premieres of commissions, many new recordings and the publication of Harbison’s autobiographical book about Johann Sebastian Bach, “What Do We Make of Bach?”
For more details about the many local celebrations, you can go to the following two links. Schedules, programs and updates – events are subject to change — will be posted at www.tokencreekfestival.org and www.johnharbison.com.
To receive “Harbison Occasions,” an intermittent e-newsletter, write to arsnova.artsmanagement@gmail.com
Tags: #ArtisticWork, #BaroqueMusic, #BlogPost, #BlogPosting, #BostonSymphony, #CambridgeMassachusetts, #ChamberMusic, #ChamberMusicSocietyofLIncolnCenter, #ChicagoSymphonyOrchestra, #ChoralMusic, #CriticallyAcclaimed, #EmailNewsletter, #FacebookPost, #FacebookPosting, #FirstUnitarianSocietyofMadison, #GeniusGrant, #GrammyAward, #GrammyNominations, #HomeWebsite, #husband-and-wife, #ImaniWinds, #JohannSebastianBach, #JohnHarbison, #LincolnCenter, #LivingComposer, #LosAngeles, #LosAngelesPhilharmonic, #MacArthurFellow, #MacArthurFoundation, #MadisonChoralProject, #MadisonSymphonyOrchestra, #MassachusettsInstituteofTechnology, #MeadWitterSchoolofMusic, #MemorialLibrary, #MetropolitanOpera, #MillsMusicLibrary, #MosaicChamberPlayers, #MusicCritic, #NewMusic, #NewYorkPhilharmonic, #OperaMusic, #PopularMusic, #Prize-Winning, #PulitzerPrize, #RoseMaryHarbison, #SacredMusic, #SantaFe, #SantaFeChamberMusicFestival, #SeattleSymphony, #SecularMusic, #ShannonHall, #SymphonyOrchestra, #TheMet, #TokenCreek, #TokenCreekChamberMusicFestival, #UniversityofWisconsin-Madison, #ViolaSonata, #WindQuintet, #WisconsinPublicRadio, #WisconsinUnionTheater, #WorldPremiere, #WORT-FM89.9, 80, acclaimed, America, artistic, Arts, audience, autobiographical, autobiography, Bach, Baroque, birthday, blog, Book, books, Boston, Boston Symphony, Broadcast, Cambridge Massachusetts, celebration, Chamber music, Chamber Music Society of Lincoln Center, Chicago, Chicago Symphony Orchestra, Choir, choral, choral music, Classical music, commission, community, Compact Disc, composer, Concert, conductor, Early music, email, Facebook, festival, figure, First Unitarian Society of Madison, forward, Friday, genius grant, genre, Grammy, group, Imani Winds, information, international, interview, Jacob Stockinger, Johann Sebastian Bach, John D. and Catherine T. MacArthur Foundation, John Harbison, like, LIncoln Center, Lincoln Center for the Performing Arts, link, Living composer, Los Angeles, Los Angeles Philharmonic, MacArthur Fellow, MacArthur Foundation, Madison, Madison Choral Project, Madison Symphony Orchestra, manuscripts, Massachusetts Institute of Technology, Mead Witter School of Music, Memorial Library, Metropolitan Opera, Mills Music Library, MIT, month, Mosaic Chamber Players, motet, Music, music critic, national, new, New Music, New York City, New York Philharmonic, New York Philharmonic Orchestra, newsletter, NPR, opera, Orchestra, performer, popular, post, posting, professor, program, Pulitzer Prize, Radio, recording, residency, retrospective, Rose Mary Harbison, sacred, sacred music, Santa Fe Chamber Music Festival, schedule, scholar, Seattle Symphony, secular, secular music, Shannon Hall, share, Sonata, summer, symphony, symphony orchestra, tag, Teacher, the Met, ticket, Token Creek, Token Creek Chamber Music Festival, Token Creek Festival, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, update, UW-Madison, Viola, viola sonata, Violin, violinist, vocal music, Website, wife, Wind quintet, Wisconsin, wisconsin public radio, Wisconsin Union Theater, world premiere, WORT-FM 89.9, YouTube
Classical music: Superstar cellist Yo-Yo Ma turns 60. NPR offers a capsule biography and generous sound samples from throughout his varied career.
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By Jacob Stockinger
Have cello. Will play.
Any style. Any place.
Last Wednesday, superstar cellist Yo-Yo Ma, turned 60.
The unquestionable quality, astounding diversity and enviable longevity of his career will come as no surprise to Madison audiences.
After all, Ma (below, in a photo by Jason Bell for Sony Classical) has performed here many times, mostly at the Wisconsin Union Theater – he reopened the renovated Shannon Hall — but also at the Overture Center.
Ma has performed solo here. But he also has played with his longtime chamber music partner pianist Emanuel Ax and with the acclaimed Silk Road Ensemble and the bluegrass or roots music by violinist-composer Mark O’Conner.
And Ma has commissioned many works – including some by composers Osvaldo Golijov and John Adams – that have entered the mainstream repertoire. His influence on contemporary music will be felt for a very long time.
The Ear has met Ma in person a couple of times and found him to be as congenial and humorous as he is talented and original.
An iconic figure on TV and radio, Ma is a master of using the mass media although he never seems a crass self-promoter.
He is a veritable American cultural institution who also enjoys going on PBS for “Sesame Street” and “Live From Lincoln Center” as well as doing a cameo appearance playing unaccompanied Bach in the drama “The West Wing.” (You can hear him play the same piece in a YouTube video at the bottom that has more than 12 million hits.)
Perhaps you have also heard him live, maybe even more than once.
One thing is important but is overlooked by the NPR piece: The ever-reliable Ma is outstandingly successful at the box office. He is probably the most bankable and commercially successful American classical musician on the scene today. Ma’s career bodes well for the future of classical music that otherwise worries so many observers and participants.
You surely will appreciate the eminently readable and listenable post that Tim Huizenga wrote for the “Deceptive Cadence” blog on NPR or National Public Radio.
Here is a link:
http://www.npr.org/sections/deceptivecadence/2015/10/07/446364616/the-diverse-world-of-yo-yo-ma
Do you have a birthday greeting for or memory of cellist Yo-Yo Ma?
Leave it in the COMMENT section.
The Ear wants to hear.
Tags: Arts, Avery Fisher Hall, Bach, Baroque, bluegrass, Boston, box office, Cello, Chamber music, Classical music, Compact Disc, concerto, Emanuel Ax, Johann Sebastian Bach, John Adams, Lincoln Center for the Performing Arts, Live From Lincoln Center, Madison, mass media, media, Music, New York City, NPR, Orchestra, Osvaldo Golijov, PBS, Piano, public radio, Radio, roots music, Sesame Street, Silk Road Ensemble, Television, The West Wing, TV, United States, Violin, Wisconsin, Yo-Yo Ma, YouTube
Classical music: What qualities are needed to be a world-class conductor? New York Times critics weigh in. What do you think?
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By Jacob Stockinger
You may recall that Alan Gilbert (below), the conductor of the New York Philharmonic, surprised the music world when he recently announced he would step down at the end of the 2017 season after only eight seasons on the job.
Speculation about a successor — with Marin Alsop (below top) of the Baltimore Symphony Orchestra and Finnish native Esa-Pekka Salonen (below bottom) former director of the Los Angeles Philharmonic, topping the lists — began immediately.
Right now, The Ear leans toward Marin Alsop. It would be great to see a woman in such a high-profile post. It would also be fitting for a protege of Leonard Bernstein to ascend to the podium where American-born and American-trained conductors first made their name. Buy American!
The sensational Venezuelan-born and Venezuelan-trained superstar Gustavo Dudamel (below) seems to have taken himself out of the competition by agreeing to stay longer in LA. But every performer has his or her price, so his story may not yet be over in terms of going to New York.
But Gilbert’s move also raises the issue: What qualities should one look for in a world-class music director and conductor?
These days, it involves a whole lot more than holding the baton and leading the players.
Anyway recently music critics for The New York Times weighed in with their preferences and points of view.
Here is a link to the story:
Read and see what you agree and disagree with.
And also let us know who you think would be a good choice to be the next music director and conductor of the New York Philharmonic.
The Ear wants to hear.
Tags: Alan Gilbert (conductor), Arts, Avery Fisher Hall, Classical music, Esa-Pekka Salonen, Finland, Finn, Finnish, Gustavo Dudamel, Jacob Stockinger, Leonard Bernstein, Lincoln Center for the Performing Arts, Los Angeles, Los Angeles Philharmonic, Marin Alsop, Music director, New York City, New York Philharmonic, New York Times, Orchestra, Simón Bolívar, South America, The New York Times, Venezuela
Classical music: Avery Fisher Hall will be renamed. Is there no end to the shameless egos of Big Money and the desperation of those who pursue it? What’s next? The Walmart States of America? Plus, this afternoon is your last chance to see the Madison Opera’s production of Beethoven’s “Fidelio,” which gets rave reviews.
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ALERT: Today at 2:30 p.m. in Overture Hall of the Overture Center is your last chance to see the Madison Opera‘s production of Ludwig van Beethoven‘s only opera “Fidelio.” The production has drawn high praise from local critics. (Below, in a photo by James Gill, are the lead singers tenor Clay Hilley as the imprisoned Florestan and soprano Alexandra LoBianco as his wife Leonore.) For tickets, call the Overture Center box office at (608) 258-4141.
Here is a review by John W. Barker for Isthmus:
http://www.isthmus.com/daily/article.php?article=44067&sid=39e0add1db8c192442a2b8defe5ff286
And here is a review by Greg Hettmansberger for Madison Magazine’s blog “Classically Speaking”:
http://www.madisonmagazine.com/Blogs/Classically-Speaking/November-2014/Fidelio-Rings-True/
By Jacob Stockinger
It reads like something right out of a novel by Charles Dickens or Honore de Balzac or Emile Zola.
Did you hear about Avery Fisher Hall (below)? They want to rename it!!!!
It needs major work and expensive upgrading.
The stakes only get higher and more expensive, of course. But Big Money is no doubt up to the challenge.
Some you may remember the comments I recently posted about the renaming of the Wisconsin Union Theater as Shannon Hall (below) because of generous donations. A plaque would have sufficed, like at Camp Randall Stadium.
It shouldn’t be too hard for Big Money to follow the more modest and more respectable examples of local philanthropists Jerry Frautschi and Pleasant Rowland, who funded the Overture Center for the Arts without plastering their names all over it.
But no! The rich need to splash their names all over the buildings so that we honor wealth more than public service or history.
Well, now I see that a renovation of famed Avery Fisher Hall at Lincoln Center in New York City is seeking some deep pockets by offering naming rights.
Or should I say “re-naming rights.”
Officials will even pay the Fisher family millions of dollars to allow the renaming of the legendary hall where so many great careers have started and been put on display for the public.
That’s tacky, and even outdoes the University of Wisconsin-Madison when it asked the Elvehjem (pronounced LVM) family if it could rename the Elvehjem Museum of Art to the Chazen Museum of Art.
The Ear didn’t like that, either. But at least the UW-Madison didn’t pay for the family’s permission, didn’t buy back the honor and then turn around and give it to someone else.
Maybe that is the reality of financing projects in today’s income disparity and wealth gap plus lower taxes on the rich that Trickle-Downers want to lower even more.
But it is nonetheless shameful.
What’s next? Avery Fisher Hall becomes David H. Koch Hall?
When do we become the Wal-Mart States of America?
Here is the story that appeared in The New York Times:
http://www.nytimes.com/2014/11/14/arts/music/lincoln-center-to-rename-avery-fisher-hall.html?_r=0
Tell us what you think of it.
The Ear wants to hear.
Tags: Arts, Associated Press, Avery Fisher, Avery Fisher Hall, Balzac, Beethoven, Chamber music, Chazen Museum of Art, Classical music, David H. Koch, David H. Koch Theater, Dickens, Fidelio, Income Disparity, Jacob Stockinger, Koch brothers, Koch family, Lincoln Center for the Performing Arts, List of concert halls, Madison, Madison Opera, money, Music, naming rights, New York City, novels, Orchestra, Overture Center, Renovation, Republican Party United States, University of Wisconsin–Madison, Walmart, Wealth Gap, Wisconsin Union Theater, Zola
Classical music: The Metropolitan Opera is playing out its own dramatic opera plot as it renegotiates contracts with labor unions and seeks major cutbacks. If an agreement isn’t reached, a lockout could throw off the Met’s opening for the new season. Read and hear about it in a variety of sources selected by The Ear.
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By Jacob Stockinger
The Metropolitan Opera (below top is the Met’s exterior and bottom below is the Met’s grand interior) in New York City’s Lincoln Center is playing out its own dramatic plot.
Will the outcome be tragedy?
Or farce?
Or both.
In case you haven’t heard about it, the famed Met is negotiating new contracts with its labor unions. The Met currently has a debt of $2.8 million.
According to the Met’s general director Peter Gelb (below), major reductions totaling some $30 million, in salaries are required to put the Met back on a financially sustainable course.
Those are easy words to say for Gelb, whose own salary is reported to be $1.4 million and whose tenure has emphasized extremely expensive productions that have taxed the Met’s budget.
On his behalf, Gelb also is the manager who initiated the “Met Live in HD” that have been so popular in movie theaters around the world – including the Eastgate and Point cinemas in Madison — and have generated a lot of income. (You can see the coming season in a YouTube video at the bottom, although the November broadcast of “The Death of Klinghoffer” by John Adams has been cancelled under a controversial agreement to pacify Jewish and Israeli protest groups and lobbyists who see the opera as too focused on humanizing terrorism and Palestinian terrorists, and who threatened to withdraw much needed needed underwriting for the Met.)
The original deadline for an understanding or agreement was this past Sunday. But that deadline has been extended until Tuesday, today, apparently because negotiations continued and presumably continued in a positive way, despite the appearance of an overall deadlock.
Mediators were called in and apparently an independent audit of the Met’s books is under way.
So by the end of the day we should hear more about the results –- or lack of results. That, in turn, will tell us more about the short-term future and long-term future of the Met.
Some of the best coverage of this potentially major event can be found on the Deceptive Cadence blog written by NPR (National Public Radio):
Here are some links mostly to websites for newspapers and radio. The Ear has heard NOTHING – at least nothing that I recall – on the major TV outlets and network, commercial or cable. Well, maybe they are too busy doing features about dogs and children who raise money for good causes. I am sure they have polling and surveys to back up their story selection.
To learn about the major players in the Met drama – or the Cast of Characters, so to speak, here is a story:
How the negotiations were going? Read this:
If you want an overview of the situation, try these:
And here in another selection of stories from The New York Times:
Here is the latest news from The Wall Street Journal about an independent audit of the Met’s books:
http://online.wsj.com/articles/met-operas-books-to-undergo-financial-review-1407120687
Do you have an opinion on the matter?
Given the recent bankruptcies and closings of American symphony orchestras and the City Opera of New York, what do you think the Metropolitan Opera drama signifies or means for the classical music scene in the U.S.?
The Ear wants to hear.
Tags: Amsterdam Baroque Orchestra, Arts, bankruptcy, City Opera, City Opera of New York, Classical music, Death of Klinghoffer, Israeli, Jacob Stockinger, Jewish, John Adams, LIncoln Center, Lincoln Center for the Performing Arts, Madison, Metropolitan Opera, Music, New York City, New York Times, NPR, opera, Orchestra, Palestinean, Palestinian, Peter Gelb, symphony orchestra, terrorism, terrorist, The Death of Klinghoffer, The New York Times, The Wall Street Journal, TV, union, United States, Wall Street Journal, YouTube
Classical music: NPR reports how City Opera — the “People’s Opera” — in New York is on the brink of bankruptcy and ruin.
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REMINDERS: Edgewood College mezzo-soprano Kathleen Otterson (below top) performs her recital at 2:30 p.m. on SUNDAY — NOT Saturday, as The Ear mistakenly posted originally.
Here is more about her program:
I apologize for the above error and inaccuracy.
ALSO: This week’s installment of the live broadcast “Sunday Afternoon Live From the Chazen,” on Wisconsin Public Radio from 12:30 to 2 p.m., features duo-pianists Stanislava Varshavski and Diana Shapiro (below bottom) in a program of Igor Stravinsky‘s “The Rite of Spring” (which is marking its 100th anniversary this year) plus music by George Gershwin and Sergei Rachmaninoff.
By Jacob Stockinger
The story of the dire financial predicament of City Opera (below) – – the so-called “People’s Opera” — in New York City, which reads just like an opera plot, with lots of dramatic twists and turns, and reversals of fortune.
And now everyone is anxiously awaiting to see the story’s climax -– to see whether the famous opera company meets its fundraising needs or ends up going under after it left its permanent” home at the New York State Theater (below) in LIncoln Center.
The story of City Opera has bigger local importance than some might think.
John DeMain (below, in a photo by Prasad) of the Madison Symphony Orchestra has along history with the City Opera, which included excerpts from his production of George Gershwin’s “Porgy and Bess” there for its PBS TV celebration on “Live From Lincoln Center.”
When he was a student at the Juilliard School, DeMain was the second student to receive the Julius Rudel Award from the City Opera.
Since then he has directed other operas at City Opera including, Puccini’s “Tosca” and Scott Joplin’s “Treemonisha.”
Here is a link to Coty Opera where you can find out about its history, its calendar of productions and its current fundraising campaign:
Anyway, nobody has done a better job than NPR of explaining the predicament that the City Opera finds itself it.
It is the so-called people’s opera that was set up as a populist and affordable alternative to the posher and more famous Metropolitan Opera. One of its biggest stars was the famed Beverly Sills (below in f New york Times photo from the 1970s and in a YouTube video at the bottom). It recently moved from its permanent home at Lincoln Center to using different alternating venues.
What is the City Opera’s history? What are its financial circumstances? What is being done to save the company? Can you help?
Use this link to find out:
And then be sure to leave a COMMENT if you have an opinion about the City Opera and an experience you had with it that the rest of us should hear about.
The Ear wants to hear.
Tags: Beverly Sills, City Opera, Edgewood College, George Gershwin, Igor Stravinsky, Jacob Stockinger, John DeMain, LIncoln Center, Lincoln Center for the Performing Arts, Madison Symphony Orchestra, Metropolitan Opera, New York City, NPR, PBS, Sergei Rachmaninoff, wisconsin public radio, YouTube
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The Well-Tempered Ear 
Classical music: This Saturday brings Alban Berg’s “Lulu,” one of the most unusual and noteworthy offerings of the “Live From the Met in HD” series of operas shown in cinemas this season.
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By Jacob Stockinger
This Saturday, “Live From the Met in HD” features Alban Berg’s opera “Lulu,” a difficult landmark work know for both its 12-tone music and its plot of social commentary, all marked by the violent and decadent German Expressionist sensibility.
The opera will be shown at the Marcus Corporation‘s Point Cinemas on Madison far west side and — now that the Eastgate Cinemas have closed — at the Marcus Palace Cinema in Sun Prairie, a bit past Madison’s far east side.
The production by the Metropolitan Opera in New York City starts at 11:30 a.m. and has a running time, with two intermissions, of 4-1/2 hours. (Below, in a photo by Sara Krulwich of The New York Times, is Marlis Petersen, who is known for the role of Lulu — but who says she will retire the role after this production — and Donald Brenna as a smitten man. Susan Graham, not shown, also stars.)
Tickets are $28 for adults; $22 for seniors; and $18 for young people.
Here is a synopsis and notes about the cast:
http://www.metopera.org/Season/In-Cinemas/SynopsisCast/Lulu/
And here is a link to more about the cast and production with video samples:
http://www.metopera.org/Season/2015-16-Season/lulu-berg-tickets/
The Ear thought some other things might be useful and might whet your appetite to see this unusual production.
Here is a fascinating background piece by Zachary Woolfe of The New York Times, who interviewed several sources involved with the production and are knowledgeable about the opera (below is a photo of the German Expressionist set, taken by Sara Krulwich for The New York Times):
http://www.nytimes.com/2015/11/01/arts/music/in-lulu-the-question-that-stops-an-opera.html
And if you are undecided or wavering about going to the acclaimed production, directed by William Kentridge, here is a rave review by senior music critic Anthony Tommasini of The New York Times:
http://www.nytimes.com/2015/11/07/arts/music/metropolitan-opera-lulu-review.html?ref=topics
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Tags: 12-tone, Alban Berg, Anthony Tommasini, Arts, choral music, cinemas, Classical music, decadent, Donald Brenna, Expressionism, Expressionist, German Expressionism, German Expressionist, Jacob Stockinger, Lincoln Center for the Performing Arts, Live From The Met in HD, Lulu, Madison, Madison Symphony Orchestra, Marcus Cinemas, Marlis Petersen, Metropolitan Opera, movie theaters, movie theatres, Music, New York City, New York Times, opera, Palace Cinema, Point Cinema, social commentary, Susan Graham, theaters, theatres, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, violence, violent, vocal music, William Kentridge, Zachary Woolfe