The Well-Tempered Ear

Classical music: Madison Opera’s FREE 17th annual “Opera in the Park” takes place this Saturday night in Garner Park

July 16, 2018
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By Jacob Stockinger

Madison Opera’s annual Opera in the Park (below) celebrates its 17th year on this coming Saturday night, July 21, at 8 p.m. in Garner Park on Madison’s far west side, near West Towne Mall.

The annual FREE and family-friendly concert of opera and Broadway favorites closes the company’s 2017-18 season and provides a preview of the 2018-19 season.

A Madison summer tradition that often attracts over 15,000 people (below, in a photo by James Gill), Opera in the Park is an evening of music under the stars that features selections from opera and Broadway.

This year’s Opera in the Park features four soloists: soprano Elizabeth Caballero; soprano Brenda Rae; tenor John Lindsey; and baritone Levi Hernandez.

Caballero (below top) and Hernandez (below bottom) recently starred in Madison Opera’s acclaimed production of “Florencia en el Amazons” last spring.

Lindsey (below) is making his debut, and will return to the company as the Prince in Antonin Dvorak’s Rusalka in April, 2018.

Rae (below) is also making her Madison Opera debut. She did her undergraduate work at the UW-Madison’s Mead Witter School of Music before going on to the Juilliard School and an international career. She is singing Cunegonde in Candide at Santa Fe Opera this summer, and is performing at Opera in the Park in between performances there.

The four soloists are joined by the Madison Opera Chorus and Madison Symphony Orchestra (below top, in a photo by James Gill), conducted by Gary Thor Wedow (below bottom), who has guest conducted Opera in the Park before.

The evening is hosted by Madison Opera’s General Director Kathryn Smith and WKOW-TV’s 27 News co-anchor George Smith (below).

Opera in the Parkis the most wonderful and most unique performance we give at Madison Opera,” says Kathryn Smith (below, in a photo by James Gill). “We have beautiful voices performing music from many centuries in many languages, while thousands of members of our community relax together under the same night sky. It truly shows how music and opera can connect us. I am so grateful to all of our supporters for enabling us to produce this free concert every summer, harnessing the community-building power of music.”

Opera in the Park 2018 features arias and ensembles from Cavalleria Rusticana and Pagliacci, which open the 2018-19 season in November; Stephen Sondheim’s A Little Night Music, which will be performed in February; and Antonin Dvorak’s Rusalka, which will be performed in April. (You can hear the beautiful “Song to the Moon” form Rusalka — a signature aria for superstar soprano René Fleming — sung by Frederica von Stade, in the YouTube video at the bottom.)

The program also includes selections from La Bohème, Turandot, La Sonnambula, The Marriage of Figaro, El Niño Judío, La del Soto del Parral, My Fair Lady, Candide, On the Town, and more. For a complete list of repertoire on the program, which is subject to change, go to: https://www.madisonopera.org/2018-2019-season/oitp/

As always, this evening will include one number conducted by the audience with light sticks (below).

Garner Park is located at 333 South Rosa Road, at an intersection with Mineral Point Road. Parking is available in the CUNA Mutual Group and University Research Park lots across the street.

Attendees are encouraged to bring picnics, blankets and chairs. Alcohol is permitted but not sold in the park. On the day of the concert, Garner Park will open at 7 a.m. Audience members may not leave items in the park prior to this time.

The rain date for Opera in the Park is Sunday, July 22, at 8 p.m.

While Opera in the Park is free to attend, it would not be possible without the generous support of many foundations, corporations and individuals.

Sponsors of Opera in the Park 2018 are:  the BerbeeWalsh Foundation, the John and Carolyn Peterson Charitable Foundation, Full Compass Systems, the Raymond B. Preston Family Foundation, University Research Park, Colony Brands, the Evjue Foundation – the charitable arm of The Capital Times, Hooper Foundation, MG&E Foundation, Johnson Bank, National Guardian Life, Wisconsin Bank and Trust, the Wisconsin Arts Board, Dane Arts and the Madison Arts Commission.

Madison Magazine, Wisconsin Public Radio, Magic 98, and La Movida are media sponsors for this community event.

RELATED EVENT: Prelude Dinner at Opera in the Park 2018 is on Saturday, July 21, at 6 p.m. in the park under a tent.

This annual fundraiser to benefit Opera in the Park helps support Madison Opera’s free gift to the community. The event includes dinner catered by Upstairs Downstairs, VIP seating at the concert, a complimentary light stick, and a reception with the artists following the performance. Tickets are $145 per person or $1,100 for a table of eight. More information is available at www.madisonopera.org

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

A resident organization of the Overture Center for the Arts, Madison Opera presents three annual productions in addition to the free summer concert Opera in the Park and a host of educational programming.

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Classical music: This Sunday, Beverly Taylor retires as associate conductor of the Madison Symphony Orchestra. Kyle Knox will succeed Taylor starting this fall.

June 29, 2018
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By Jacob Stockinger

The Madison Symphony Orchestra (MSO) has announced that Associate Conductor Beverly Taylor (below) will retire from her current position after 22 years, effective this Sunday, July 1.

Taylor will continue to serve as Director of the Madison Symphony Chorus (below, in a  photo by Greg Anderson).

She will also continue as the Director of Choral Activities at the University of Wisconsin-Madison’s Mead Witter School of Music, where she conducts many groups including the Choral Union (below) and the Concert Choir.

Kyle Knox (below) will become the MSO’s new Associate Conductor, effective in the 2018–2019 season.

“I am delighted that Beverly will continue to work with the Madison Symphony Chorus. The chorus has improved steadily under her direction and will sing some very difficult music in the coming seasons,” said MSO music director John DeMain (below, in a photo by Prasad). “I also want to thank Beverly for the outstanding help she has given me in the preparation of our concerts over the years.”

“I’ve loved my time as associate conductor of the symphony, and will continue as chorus director,” says Taylor. “But I’m looking forward to more time for guest conducting, visiting friends and family and finishing the two books I’m at work on. I also have a grant to write a basic conducting textbook, and I’m finishing a handbook on how to develop a musical interpretation.”

John DeMain says he looks forward to Knox joining the MSO. “I think Kyle Knox is a natural to step into the associate conductor position. He has distinguished himself in the past few years with his work at the University of Wisconsin, Madison Opera and the Middleton Community Orchestra (below, in a photo by John W. Barker). He also successfully led the MSO in last year’s Concert on the Green.

“His recent appointment as Music Director of the Wisconsin Youth Symphony Orchestras (WYSO) is a testament to his brilliant talent and will dovetail easily with his duties with the MSO. I so look forward to our working together and welcome him to our Madison Symphony Orchestra family.”

Knox is also very pleased with his appointment.

“My history with the MSO goes back a few years and I have long admired the work of Maestro DeMain and this wonderful group of musicians,” he says. “It is an honor to have been selected for this opportunity and I look forward to happy years of service and collaboration.”

BACKGROUND BIOGRAPHIES

Beverly Taylor has been the Associate Conductor of the Madison Symphony Orchestra and Director of the Madison Symphony Chorus since 1996 and Director of Choral Activities at UW-Madison since 1995.

Prior roles include conductor of the Boston Bar Association Orchestra, Music Director of the Back Bay Chorale, and Associate Director of Choral Activities at Harvard University.

Taylor has been a guest conductor at the Arthur Rubinstein Philharmonic Orchestra in Poland, the St. Louis Symphony Chorus, the Vermont Symphony, the Harvard Chamber Orchestra, the Madison Opera, the U.S. Air Force Band and Orchestra, the Harvard Radcliffe Collegium Musicum, and the Wellesley Chamber Singers.

She graduated from the University of Delaware and Boston University School for the Arts and received a fellowship with Chorus America and an orchestral fellowship at Aspen.

Kyle Knox will take over the dual positions of Music Director of WYSO and Associate Conductor of the Madison Symphony Orchestra beginning in the 2018–2019 season.

Past and upcoming conducting credits include Mark Adamo’s Little Women with the Madison Opera; Benjamin Britten’s Albert Herring and The Turn of the Screw, and Transformations; with UW-Madison’s University Opera; the Madison Symphony Orchestra’s 2017 Concert on the Green; Johann Strauss Jr.’s Die Fledermaus and Gilbert and Sullivan’s The Gondoliers and H.M.S. Pinafore with the Madison Savoyards; as well as UW Music Clinic’s High School Honors Orchestra.

Other concerts include Carousel, Sunday in the Park with George, and Sweeney Todd (2018) with Middleton Players Theatre, Jon Deak’s The Passion of Scrooge with Oakwood Chamber Players, as well as regular appearances with the Middleton Community Orchestra.

He was formerly a clarinetist with Milwaukee Symphony Orchestra, the Santa Fe Opera and Philadelphia Orchestras, and was on the faculty at UW-Milwaukee. Festivals credits include Tanglewood, Spoleto (Italy), Santa Fe Chamber Music, and Bowdoin College, among others. His debut album, the first commercial recording of Conrad Susa’s chamber opera Transformations, will be released in the summer of 2018 on iTunes. He holds degrees from Juilliard School and the UW-Madison. He  is married to MSO concertmaster Naha Greenholtz. 


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Classical music: What should — and shouldn’t — the #MeToo movement mean for women in the opera world?

June 16, 2018
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By Jacob Stockinger

It is clear now that just about all aspects of life and culture in the United States are being affected more and more by the #MeToo movement that seeks to expose, punish, correct and prevent sexual harassment, sexual misconduct, sexual assault, sexual abuse and gender inequality in general.

But what does that mean specifically for the notoriously patriarchal and misogynistic opera world – meaning for the operas themselves and their themes, plots, characters and composers as well as for the people who put them on?

How, for example, should one now think of “Don Giovanni” by Wolfgang Amadeus Mozart? (The womanizing Don Juan is seen below in a production of “Don Giovanni” by the Metropolitan Opera.)

A recent discussion on National Public Radio (NPR) covered many dimensions of the problem, and The Ear found what was said fascinating although he didn’t agree with everything.

One Italian production went so far as to change the ending of a famous and popular opera – Bizet’s “Carmen” — in order to redeem the doomed heroine.

That seems excessive to The Ear, something that recalls the 17th-century writer Nahum Tate who rewrote the tragedy “King Lear” by Shakespeare to give it a happy ending. (You can hear the original ending of “Carmen” in the YouTube video at the bottom. The 2009 production by the Metropolitan Opera features Roberto Alagna and Elina Garanca.)

It brings up the question: How far should one go in imposing contemporary values on the past? And does rejecting an artist also mean rejecting that artist’s work?

Read the edited transcript or listen to the entire 8-minute discussion for yourself. Besides the female host (Lulu Garcia-Navarro), three women – two singers (Aleks Romano and Leah Hawkins) and one administrator (Kim Witman) – ask questions and give their opinions and thoughts.

Here is a link to the story that was posted on the NPR blog “Deceptive Cadence”:

https://www.npr.org/sections/deceptivecadence/2018/05/27/614470629/my-voice-should-be-heard-metoo-and-the-women-of-opera

Then decide what you think you would like to see done to address the concerns of the #MeToo movement in the opera world, and what is allowed and not allowed to you.

And let us know in the COMMENT section.

The Ear wants to hear.


Classical music: This weekend kicks off the 27th annual summer season of Bach Dancing and Dynamite Society concerts with the theme of musical works as toys to be “played” with for serious fun

June 7, 2018
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By Jacob Stockinger

Four performances on this coming Friday night, Saturday night, Sunday afternoon and Sunday night will open the 27th annual summer concert series of the critically acclaimed but always informal and light-hearted Madison-based Bach Dancing and Dynamite Society (below and in the YouTube video at the bottom).

There will be six programs in 12 concerts performed in three venues over the next three weekends.

The venues are: The Playhouse in the Overture Center (below top) at 7:30 p.m.; the Stoughton Opera House (below middle) at 7:30 p.m.; and the Hillside Theater (below bottom) at Taliesin, the Frank Lloyd Wright compound in Spring Green, at 2:30 and 6:30 p.m.

Ticket prices are $43, or $48 if you want a prime seat at the Overture Center. For more information, go to: http://bachdancing.org/tickets/season-tickets/

This opening weekend features a lot of flute music and a lot of string music plus some unusual arrangements or transcription and music by unknown women composers.

As usual, BDDS has lined up a series of impressive local talent as well as favorite guest performers, including the critically acclaimed soprano Emily Birsan (below top) and bass-baritone Timothy Jones (below bottom).

Also on the schedule is a Madison-based hip-hop dancer and choreographer, Blake Washington (below), for two pieces during the second weekend: Igor Stravinsky’s “The Soldier’s Tale” and Francis Poulenc’s “The Masked Ball.” In addition, four players from the BDDS Dynamite Factory – the apprentice school of BDDS for emerging performers – will take part.

Again, as always, there is a unifying theme to the season. This year it is “Toy Stories,” playing off the idea of “playing” pieces of chamber music.

Here is a background and overview story that appeared this week in The Wisconsin State Journal: http://host.madison.com/wsj/entertainment/music/bach-dancing-and-dynamite-gets-playful-with-toy-stories/article_918d38c4-1eba-5196-822e-2b2616eddb75.html

Here is an explanation from UW-Madison graduate and San Francisco-based teacher and pianist Jeffrey Sykes (below left), who co-founded, co-directs and performs in the series with retired UW-Madison and Madison Symphony Orchestra principal flutist Stephanie Jutt (below right):

“When we were kids, we would ride our hobby horses around the back yard pretending to be knights on a quest. We’d race our Slinkies down the stairs, cheering their contorted yet gymnastic moves. We made crazy cyborgs with our Mr. and Mrs. Potato Heads. The cyborgs would fight for world domination, and then they’d sit down to tea with our dolls. We cuddled our stuffed animals as we prepared for bed, confessing our deepest dreams and aspirations to them. How easily those toys sparked our imaginations and transported us to fantastic realms!

“I’m a grownup now, sort of, and while I might get a short-lived bang out of newfangled tech toys, I’ve mostly left behind the dolls, bears and rubber ducks (below) of my childhood. The “toys” that really light my fire are incredible pieces of chamber music that have their own personalities; that delight me, surprise me, cry with me, and laugh with me.

CHAMBER

“Performing chamber music is called “playing” for a good reason. Ask any artist who joins BDDS for our festival: chamber music is a magical way to recapture the spirit of imaginative play that came to us so easily as kids.

“We cherish favorite old toys — the great chamber works of Bach, Mozart, and Brahms, for example. Yet we can also delight in the new toys that come our way — the music of Gabriela Lena Frank (below top), Paul Wiancko (below middle) and Kevin Puts (below bottom).

“Whether these new playthings become favorite old friends, who’s to say? One thing’s for sure, we’ll never know unless we play with them.

“BDDS’s 27th season theme is TOY STORIES, and co-artistic director Stephanie Jutt and I have organized each of our programs around a quirky take on iconic toys.

“To celebrate the festival’s age, we’ve also scattered various “27s” across our programs. In the spirit of imaginative play, rather than spell ing everything out, here are some clues to what you’ll hear this June.

TEDDY TALKS. Just change the motto “ideas worth spreading” to “music worth hearing” and you have our modus operandi. In this case, we have all sorts of Teddies talking to us through their music: I wonder what they’ll say.

AMERICAN GIRLS. Proud and multi-ethnic, they have been coming on strong as composers for a hundred years, and here’s the proof!

PLAY DO(H). C Major is the most malleable of keys.

GI JOE. War is no game, but it has inspired some seriously imaginative music.

RUBBER DUCKY, YOU’RE THE ONE. Sesame Street’s beloved Ernie adored his bath toy: see who else jumps into the tub.

TRANSFORMERS. I’m amazed how a couple of twists and turns can transform a few unassuming blocks into something breathtakingly complex.

“Join us June 8-24 for TOY STORIES in Madison, Stoughton, and Spring Green. We’ll play together with some irresistible toys and have ourselves some serious fun.

“With a bang!”

For the schedule of performances, with times and places, go to: http://bachdancing.org

For the full programs, including the many new or neglected composers and works to be performed, go to: http://bachdancing.org/concerts/festival-concerts/

For a complete list of performing and helping personnel, go to:

http://bachdancing.org/concerts/cast-crew/

And for a complete and impressive list of BDDS repertoire throughout the years, listed in alphabetical order by the composer’s last name, go to:

http://bachdancing.org/about/repertoire-through-the-seasons/


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Classical music: Madison Opera’s “Florencia en el Amazonas” took listeners on an enchanting and moving voyage into love and fine singing of Puccini-like lyricism

May 1, 2018
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By Jacob Stockinger

Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the Madison Opera and filed this review, with photos by James Gill:

By Larry Wells

I looked forward enough to Madison Opera’s premiere production of Daniel Catán’s Spanish-languageFlorencia en el Amazonas” that I attended both performances at Overture Hall this past weekend.

Based on repeated hearings of the recording and numerous favorable reviews of other productions, I was fairly certain that I would be in for a treat. I was not disappointed.

The action takes place on a boat on the Amazon heading for Manaus where the title character Florenica (below), an opera singer of high repute, is to perform.

Other passengers (below), unaware of her presence onboard, also have the opera house as their destination in order to hear her sing.

Rosalba, her unauthorized biographer, and Paula and Alvaro, a bickering older couple, are joined onboard by the Captain, his nephew Arcadio, and a Puckish character Riolobo, who acts as narrator and supervises the magic in this tale of magical realism.

Below, starting at the top and moving clockwise, are: Kanopy Dancers, Ashraf Sewailam (The Captain), Mackenzie Whitney (Arcadio), Rachel Sterrenberg (Rosalba), Elizabeth Caballero (Florencia Grimaldi), Adriana Zabala (Paula), Levi Hernandez (Alvaro) and Nmon Ford (Riolobo)

The boat (our life) floats along the Amazon (life itself) in this parable of longing, regret, the fickleness of love, love lost and regained, and transformation.

Aiding in the unfolding of the tale are water sprites, referred to at times as Amazons. Six willowy dancers from the Kanopy troupe did not seem particularly Amazonian, but their waving of billowy fabric evoked the river and their retrieving twice from the water careless Rosalba’s precious manuscript added to the magic.

Riolobo and the sprites also bring Alvaro back to life after he appears to drown during a storm.  (We should be attentive to water sprites since Dvorak’s “Rusalka,” which also features these denizens, is on the schedule for next year’s season.)

And, in the end, just when you think that all conflicts have been resolved and love is at hand, the boat reaches Manaus only to find it impossible to make landfall due not only to cholera but also to rabies, scurvy, leprosy and beriberi. Florencia’s transformation into a butterfly (below) ends the voyage.

This odd but magical plot is a vehicle for lush, rhapsodic music by a Mexican composer whose life ended too soon. The orchestral and vocal writing featured soaring melodies, which at times reminded me of Puccini had his life extended further into the 20th century. The orchestral writing continually evokes the river and flowing water, reminding me of music of the Impressionists.

John DeMain ably led the wonderfully sounding Madison Symphony Orchestra.  He once again proved himself to be a master of pacing, tempo and dynamics.

The opera was very evenly cast. Nmon Ford (below top on right), as Riolobo, had a rich baritone voice and an impressive physicality. His transformation at the end of the first act into a feather-clad river spirit (below bottom) was hypnotic.

As Rosalba, Rachel Sterrenberg (below, top right), who made a memorable appearance last season as the wife Chan in “Charlie Parker’s Yardbird,” was a soprano of great flexibility who rendered her character’s opulent melodic lines with mounting ecstasy. Hers was a thrilling performance.

Her foil, full-voiced tenor Mackenzie Whitney (below, bottom left) as Arcadio, produced some of the most Puccini-like moments of sheer soaring lyricism.

Their duets, including a rather dark anti-love duet, were  highlights of the work. Catán’s writing for mixed voices is inspired, and all of the ensemble numbers – duets, a quintet, a septet – are entrancing.

Baritone Levi Hernandez as Alvaro and mezzo-soprano Adriana Zabala as his wife, Paula, had moments of bickering and moments of tenderness. His robust vocalization perfectly complemented the creamy richness of hers. Zabala’s second act lament was very touching.

Bass Ashraf Sewailam, in his debut appearance with Madison Opera, produced some of the best singing of the show. He was both profound and lyrical with a total lack of affectation. His acting was subtle, and his outstanding performance demands his return.

Elizabeth Caballero as the diva Florencia Grimaldi was impassioned, focused yet fluid, sumptuous and rapturous. Her ravishing singing, particularly during her metamorphosis — heard in another production in the YouTube video at the bottom — was truly moving.

The set, lighting, projections and costumes were all understated and perfectly blended. The only false step was what appeared to be coffins flying through the air out of Manaus. It took me a moment to realize they were intended to be floating in the river.

The audience seemed enchanted and moved by the opera. I was, too. Let’s have more works like this.


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Classical music: Kyle Knox is the new music director of the Wisconsin Youth Symphony Orchestras

April 29, 2018
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By Jacob Stockinger

Kyle Knox has been named the new music director of the Wisconsin Youth Symphony Orchestras (WYSO).

Knox (below), who was a clarinetist with the Milwaukee Symphony Orchestras and then studied conducting as a doctoral student at the University of Wisconsin-Madison’s Mead Witter School of Music, will assume his duties on July 1.

Knox, will also conduct the Youth Orchestra (below), the most senior performing group in WYSO.

The move is likely to please many disappointed fans of Knox, who has won praise for conducting the UW Symphony Orchestra, the Madison Opera, the University Opera and the Middleton Community Orchestra but who was passed over as the successor to UW Professor James Smith (below) when Smith retired.

Smith was also the acclaimed longtime music director of WYSO. For the past year Randal Swiggum (below), the music director of the Elgin Youth Symphony Orchestra, has been the interim music director of WYSO and conductor of the Youth Orchestra.

In the latest WYSO newsletter, Knox, a longtime Madison resident who is married to Madison Symphony Orchestra concertmaster Naha Greenholtz, writes:

“I am so looking forward to my first year as Music Director at WYSO, beginning July 1, 1918. Even in the short time I’ve spent at Saturday rehearsals, it is clear this is a first-rate youth orchestra program. Top to bottom, each ensemble offers a special opportunity for music-making and artistic growth. I am lucky to be joining such a vibrant artistic and administrative team.

“Our 2018-2019 season will feature great orchestral and chamber works from all eras. In addition to our stellar roster of sectional and chamber music coaches, the students may have the opportunity to work with world-class guest artists and soloists. It should be an exciting season of music-making.

“As a teenager, music had a transformational effect on my life. I owe much of my personal and professional development to my time playing in youth orchestra and the many wonderful teachers I met as a result.

“Even now, almost 20 years later, the relationships I formed during those years continue to be among the most meaningful in my life. Something about sharing a stage with other people, working toward a collective goal, leaves a special imprint on my mind. (Below is Kyle Knox conducting the UW Symphony Orchestra.)

“For the students, I hope that your time at WYSO is enriching and helps add meaning to your lives, both as artists and people. It is an honor for me to be a small part of that journey.

“I look forward to getting to know everyone in the WYSO family over the coming months.”

For more background and information about WYSO, which is more than 50 years old and has reached thousands of students from more than a hundred communities in south-central Wisconsin, and about the upcoming spring concerts in May, go to:

https://www.wysomusic.org


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
2 Comments

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: Fresco Opera Theatre premiers its original prequel to Mozart’s “The Magic Flute” this Thursday though Sunday

April 4, 2018
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ALERT: UW-Madison clarinetist Alicia Lee (below) will perform a FREE faculty recital this Thursday night at 7:30 p.m. in Mills Hall. She will be joined by two fellow faculty members: collaborative pianist Martha Fischer and violist Sally Chisholm of the Pro Arte Quartet.

The program includes sonatas by Johannes Brahms and 20th-century Russian composer Edison Denisov as well as four Bagatelles by contemporary German composer Matthias Pintscher and the “Kegelstatt” Trio by Wolfgang Amadeus Mozart. For more information about he program and the performers, go to:

https://www.music.wisc.edu/event/faculty-concert-alicia-lee-clarinet/

By Jacob Stockinger

The Ear has received the following announcement about a production that promises to be one of the most original musical events in Madison in a long time, something that sounds like a cross between Broom Street Theater and the Madison Opera.

This is especially true since The Queen of the Night in this production is sung by Caitlin Cisler (seen below by herself and  rehearsing with Jonathan Ten Brink), who also played the Queen of the Night is last year’s production of “The Magic Flute” by the Madison Opera. (You can hear the famously virtuosic aria sung by The Queen of the Night in the YouTube video at the bottom.)

Folks –

I am extremely proud of Fresco’s next production “The Queen Of The Night,” which is our original prequel to Mozart’s “The Magic Flute.”

This is a new production from the ground up! New music. New story. New songs.

The music is by Jordan Jenkins, and the libretto-story is by Andrew Ravenscroft and Amy Quan Barry.

It is a world premiere opera called, “The Queen of the Night.” Mozart was given a gift from the immortals to bestow the world with “The Magic Flute,” and now it’s up to us to tell the untold story that has been hidden in secret for over 200 years. The opera is steeped in Masonic symbolism, secret rituals and lush musical melodies.

Using the characters from “The Magic Flute,” “Queen of the Night” tells the background story of the Queen and her struggle between darkness and light.

Here is a synopsis:

The Queen of the Night lives in the Realm of Night, a place of perpetual darkness. Sarastro, a sorcerer priest from the Realm of Day, enters her world and they fall in love.

Their children, Papageno, Pamina and The Three Ladies, are born from the shadows. They are stalked by Apophis the Serpent, an ancient denizen of the night who hates Day, and is jealous of the QUEEN’s feelings for Sarastro, and wants to destroy him.

Apophis persuades a young prince from the borderlands named TAMINO to enter the Realm of Night on the promise of a reward if he will destroy Sarastro.

Night and Day are at odds with each other and a storm of black magic awaits anyone that gets in the way of the Queen’s happiness

This production has musical virtuosity and is visually stunning. I am confident that Mozart would approve of what we have created.

We are performing in the legendary Madison Masonic Center, 301 Wisconsin Avenue, a beautiful performing space (below) that allows us to stretch out in a way no other space can.

If that doesn’t pique your interest, I don’t know what will.

Do come see “Queen of the Night.” We will not disappoint! It is a fantastic show, and you will be supporting LOCAL artists!

There will be four performances: Thursday night at 7 p.m.; Friday and Saturday night at 8 p.m.; and Sunday afternoon at 2 p.m.

Tickets cost $10-$75.

For complete information about the cast as well as how to order advance tickets, go to:

https://www.brownpapertickets.com/event/3320280

As we approach 10 years at Fresco, I can’t think of a more appropriate way to usher in that milestone than with “The Queen Of The Night.” It is new and fresh, but rooted in tradition.

See you at the Masonic Center!

Jeff Turk, Emeritus President, Board of Directors

www.frescooperatheatre.com

https://www.facebook.com/frescoopera

Melanie Cain, Artistic Director

Frank Cain, Executive Director


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
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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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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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