By Jacob Stockinger
The Ear has received the following announcement from UW Opera Props, the support organization for University Opera at the University of Wisconsin-Madison School of Music.
We invite you to attend a benefit concert showcasing the University of Wisconsin-Madison opera program’s talented students, along with special guest artist, distinguished alumna and mezzo-soprano, Lindsay Metzger (below top) who will be accompanied by pianist Daniel Fung (below bottom).
Please join us for a program of songs and arias, followed by a reception. Enjoy conversation with the singers, faculty and other musical friends, along with light refreshments including artisanal cheeses, fruit, wine, juices and chocolatier Gail Ambrosius’s delicious creations.
The concert is this Sunday, Sept. 18, at 3 p.m. followed by light refreshments and conversation. Sorry, no word about the composers or works to be sung.
The concert will take place in the Landmark Auditorium at the Frank Lloyd Wright-designed First Unitarian Society of Madison Meeting House, 900 University Bay Drive, Madison
Admission is a contribution of $25 in advance ($30 at the door), and $10 for students. All proceeds go to UW Opera student scholarships.
For more information, visit:
Lindsay Metzger (below) hails from Mundelein, Illinois. She spent two summers as an apprentice artist with Des Moines Metro Opera and was a studio artist in 2014-15 with Milwaukee’s Florentine Opera (Gannett in Donizetti’s L’elisir d’amore).
Among her other recent portrayals have been Daphne/Marc-Antoine Charpentier’s La descente d’Orphée aux enfers (Chicago’s Haymarket Opera Company), Cherubino in Mozart’s Le nozze di Figaro (La Musica Lirica in Novafeltria, Italy), Nella in Puccini’s Gianni Schicchi (DuPage Opera Theatre), the title role in Handel’s Ariodante, Béatrice in Berlioz’ Béatrice et Bénédict, and Beppe in Mascagni’s L’amico Fritz (all at the University of Wisconsin-Madison).
With Lyric Unlimited’s community-engagement program “Opera in the Neighborhoods,” Metzger was heard in the title role in Rossini’s La Cenerentola.
A soloist featured frequently in numerous Chicago-area venues, Metzger debuted with the Grant Park Symphony singing the soprano solo in Gabriel Fauré’s Requiem.
She was awarded the Paul Collins Fellowship from University of Wisconsin-Madison, the Virginia Cooper Meier Award from the Musicians’ Club of Women, and an Encouragement Award from the Metropolitan Opera National Council District Auditions.
Metzger is an alumna of the University of Wisconsin-Madison and DePaul University. Last season at Lyric she was featured in Mozart’s Le nozze di Figaro (debut) and Richard Strauss’ Der Rosenkavalier. In the 2016-17 season the mezzo-soprano will perform in Massenet’s Don Quichotte and Bizet’s Carmen.
By Jacob Stockinger
On this Wednesday night, Feb. 24, the mostly amateur and very accomplished Middleton Community Orchestra (below top) will present the Winter Concert of its fifth anniversary season.
The concert will feature cellist Andrew Briggs (below) as soloist in the famously tuneful and dramatic Cello Concerto by Antonin Dvorak. (You can hear the opening that hooks you at once, played by superstar cellist Yo-Yo Ma, in a YouTube video at the bottom.)
Also on the program, to be conducted by Steve Kurr (below) are two works by Felix Mendelssohn: the Hebrides Overture and the Symphony No. 3 “Scottish.”
The concert is at 7:30 p.m. in the Middleton Performing Arts Center (below) that is attached to Middleton High School, 2100 Bristol Street. General admission is $10. All students are admitted free of charge. The box office and doors open at 7 p.m. For information call 608 212-8690.
A meet-and-greet informal reception (below) for the public and the musicians takes place after the concert.
For more information about the Middleton Community Orchestra and its remaining concerts this season as well as how to join it – there are openings now in the string section — and support it, visit:
Here is some biographical information about the talented local soloist:
Cellist Andrew Briggs performs on an international scale, from giving recitals in his native Colorado to performing concerts in Italy and the UK. His travels have taken him to a growing list of prestigious music festivals, including the International Holland Music Sessions (NL), the Abbey Fontfroide Masterclasses (FR), and as a Fellow of the Aspen Music Festival (US).
Briggs’ 2015-2016 season includes both solo and chamber engagements. Recent recitals include solo programs at the Remonstranse Kerke in Alkmaar, Netherlands; the Abbey Fontfroide in Narbonne, France; Morphy Hall at the University of Wisconsin, Madison; and on the Sunday Recital Series at West Middleton Lutheran Church in Wisconsin.
Briggs is also a part of UW-Madison’s Hunt Quartet, a graduate string quartet that will give a recital in early March.
A dedicated performer of all eras of music, Briggs plays music from Baroque to contemporary. Studying Baroque cello with Phoebe Carrai at the Juilliard School, Andrew most recently performed with the Madison Bach Musicians and as a continuo cellist for University of Wisconsin-Madison’s opera production of Wolfgang Amadeus Mozart’s Le Nozze di Figaro (The Marriage of Figaro).
Briggs also enjoys playing music of contemporary composers, most recently playing with New Muse Ensemble and Domaine Musicale of Madison, Wisconsin. At Juilliard, he performed chamber music works of contemporary composers in the FOCUS! Contemporary Music Festival, ChamberFest, and with Axiom Ensemble.
You can learn more by visiting:
By Jacob Stockinger
Loyal readers of this blog know very well the name of Mikko Rankin Utevsky. The young violist, baritone and conductor is a senior at the University of Wisconsin-Madison School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and conductor James Smith, plays in the UW Symphony Orchestra, and sings with the University Opera.
Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra (MAYCO – www.MAYCO.org), which will perform its sixth season this summer. He also directs a local community orchestra, The Studio Orchestra (www.disso.org).
You can check out his many honors and projects by typing his name into the search engine on this blog site.
I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.
Also, his latest venture was the successful recent launch of the Impresario Student Opera at the UW-Madison.
Here is the review by Mikko Utevsky (below) with production photos by James Gill for the Madison Opera:
By Mikko Rankin Utevsky
A great opera can be memorable in many ways. You might remember how you felt at the climaxes of the music, or walk out humming the Big Tune from the showstopper aria, or leave with an image fixed in your mind’s eye of the most dramatic moment in the first-act finale.
In an opera by Wolfgang Amadeus Mozart or Giuseppe Verdi or Giacomo Puccini, you might remember all of these. But in American composer Mark Adamo’s debut opera, “Little Women,” there’s nothing to remember — no great moving moments, no thrilling stage pictures, no hummable tunes.
There are motifs, certainly, and recurring lines. But “Things change, Jo” (song by acclaimed mezzo-soprano Joyce DiDonato in the YouTube video at the bottom) can hardly hold a candle to “O soave fanciulla” in Puccini’s “La Bohème,” the first-act Trio in Mozart’s “Figaro,” the parents’ sextet in Jake Heggie‘s “Dead Man Walking,” or the quartet from Verdi’s “Rigoletto.”
It’s all technically correct, but it’s not great opera — neither great storytelling nor great music.
I left the Sunday performance by Madison Opera with the unshakeable feeling that Adamo’s score had been performed far better than it deserved.
Part of the problem is that Mark Adamo (below) is too clever for his own good. The libretto, from the classic 19th-century American novel by Louisa May Alcott, is stronger than the music — never quite moving, but full of evocative and witty phrases.
The music displays a clear command of naturalistic settings of the text, rising to peaks when it should and creating compelling atmosphere. But it always seems to pull back just when a lyrical melody might break forth, or when an emotional climax draws near.
Several times he uses the gambit of two conversations on stage at the same time, talking about the same things. But the pacing is never quite right, and the unison lines are predictable and trite rather than powerful. He lacks the confidence to let people talk over one another unless we’ve already heard half of the lines. (Whether the lack of trust is in the audience or stems from his own compositional skill is a matter of conjecture.)
The dramatic and musical tricks are all “correct” — Adamo knows his business — but none of them make an emotional impact, a point driven home by their success in last season’s “Dead Man Walking,” which employs all the same devices to far greater effect. When the opening scene came back at the end of the show, I was ready to walk out. Enough already!
It is a sad fact that the most moving part of the whole affair was only half Adamo’s — a setting of Goethe’s “Kennst du das Land” (Do You Know the Land) thrown into the second act that almost approached melody, and tugged at the heartstrings in a way no other scene of the opera managed to do.
Beth’s death scene – below top with Chelsea Morris Shephard as Beth (left) and Heather Johnson as Jo — was a close second, admittedly.
And the lovely wedding vow — below bottom with, from left, Alexander Elliott as John Brooke; Courtney Miller as Meg; Rick Henslin as Gideon March; Elizabeth Hagedorn as Alma March — was marred only by Rick Henslin’s intonation.
The minimal set cheated the opera out of the lush visual setting it deserved. If the realism of the story had been played up, with painted walls and structures, the human elements of the story might have been more believable in a setting that doesn’t feel as though a strong wind might knock it all down.
Instead, a few flown-in flats with cheap-looking projections stood in for the occasional wall, and some rather cool shifting images on the scrim in front of the orchestra highlighted the apparent supernatural elements of the story — not that I thought there were supposed to be any in “Little Women.”
This is not to say the visuals were all misses — costumes, wigs, and makeup (Karen Brown-Larimore and Jan Ross) were excellent, particularly in establishing distinctive characterizations for the four sisters, who could easily have been hard to tell apart in a less careful production.
The ghostly vocal quartet that opens the opera — and haunts various scenes in the middle, although I’m told they were intended to be offstage — felt like nothing so much as discount Eric Whitacre: cascading clusters and whole-tone scales with no particular narrative purpose, illuminating nothing about the plot. I did find myself wondering if we were supposed to think Jo had gone insane, between that and the drifting projections on the set, but I’m sure that wasn’t the intended effect.
Despite all this, the voices themselves were superb, and married to strong acting skills to boot. Time and again Madison Opera has shown a knack for finding up-and-coming young singers with tremendous talent, and this cast was no exception.
The four Little Women themselves (below, from left, with Eric Neuville as Laurie; Courtney Miller as Meg, Heather Johnson as Jo; Chelsea Morris Shephard as Beth; Jeni Houser as Amy), aided by sure-handed direction from Candace Evans, mustered warm, credible camaraderie and sisterly love.
They, and their paramours, baritone Alexander Elliot and tenor Eric Neuville, all displayed rich and even vocalism, with clear and precise English diction rendering the supertitles mostly superfluous.
As the aloof Aunt March and the mother Alma, Brenda Harris and UW-Madison guest professor Elizabeth Hagedorn were secure and confident in their roles as well.
As the German teacher Friedrich Bhaer (below left, with Heather Johnson as Jo), Craig Verm’s accent faded in and out, but his aria, the aforementioned setting of Goethe’s famous “Kennst du das Land,” was the highlight of the show despite this.
Guest conductor Kyle Knox (below), a graduate student at the UW-Madison, led musicians of the Madison Symphony Orchestra capably through a score mired in complexity and made the result sound natural — not an easy feat.
I admire general director Katherine Smith (below) and the Madison Opera for taking a chance on contemporary American opera, and I dearly hope they do so again next season, and the season after that.
In a tremendously conservative industry, it takes guts to put on something by a living composer when everyone else is picking the safe options to sell out the house. And I’d rather see a contemporary opera and hate it than sit through a mediocre “Bohème” (though this fall’s “Bohème” by the Madison Opera was quite excellent).
Modern opera is a gamble, both for the box office and for the musicians. Sometimes you find “Dead Man Walking.” And sometimes you don’t. I hope the next contemporary piece to grace the Capitol Theater stage is one for the ages, even if this one, well, wasn’t.
NOTE: For purposes of comparison, here are links to two other reviews of the Madison Opera’s production of “Little Women”:
This is the review John W. Barker wrote for Isthmus:
And this is the review by Greg Hettmansberger, who writes for Madison Magazine and now has his own blog WhatGregSays as well as monthly appearances on WISC-TV:
And here is a link to an interview with Mark Adamo:
By Jacob Stockinger
Students in the University Opera program at the University of Wisconsin-Madison School of Music will perform a concert of songs and arias on this Sunday afternoon, Jan. 17, at 3:30 p.m. in the Landmark Auditorium of the First Unitarian Society of Madison 900 University Bay Drive.
The concert will feature currently enrolled students as well as a 2008 alumnus, Christiaan Smith-Kotlarek(below), who is at the Overture Center this week through Sunday playing the role of Gaston in a national tour of Disney’s “Beauty and the Beast.”
A reception will follow this Opera Props benefit concert that is intended to help support University Opera.
Admission is $25 per person with a $10 charge for students.
Several of the UW-Madison student singers have already been featured in October’s production of The Marriage of Figaro (below in photo by Michael R. Anderson ) by Wolfgang Amadeus Mozart and some will appear in March’s University Opera production of Transformations, by Conrad Susa and poet Anne Sexton.
The singers will be accompanied by pianist Chan Mi Jean.
Joining the students will be Broadway star and distinguished University of Wisconsin-Madison graduate, baritone Christiaan Smith-Kotlarek, who praises his operatic training for enabling him to sing as many as three performances a day on this demanding tour.
Recently appointed to “barihunk” status by one blog (below), he is something of a crossover singer too, singing romantic ballads while playing his guitar. These multiple talents provide the young singer with a busy career.
Chacun à son gout (Die Fledermaus by Johann Strauss Jr.) – Meghan Hilker; Bella siccome un angelo (Don Pasquale by Gaetano Donizetti) – Gavin Waid; Ici-bas (Gabriel Fauré) and Der Blumenstrauss (Felix Mendelssohn) – Talia Engstrom; Tu che di gel (Turandot by Giacomo Puccini) – Anna Polum; Mon coeur s’ouvre à ta voix (Samson et Dalila by Camille Saint-Saens) – Rebecca Buechel; Largo al factotum (Il Barbiere di Siviglia by Gioachino Rossini) – Christiaan Smith-Kotlarek; Sous le dôme épais (Lakme by Leo Delibes) – Tyana O’Connor (below) and Meghan Hilker; Emily’s Aria (Our Town – Ned Rorem) – Nicole Heinen; On the Street Where You Live (My Fair Lady – Lerner and Lowe) – William Ottow; Ah, non credea mirarti (La Sonnambula by Vincenzo Bellini) – Tyana O’Connor; Love’s Philosophy (Roger Quilter) – Anna Polum; The Lady is a Tramp (Rodgers and Hart) – Rebecca Buechel; Au fond du temple saint (Les Pêcheurs de Perles by Georges Bizet, sung by tenor Roberto Alagna and bass-baritone Bryn Terfel at the bottom in a YouTube video) – William Ottow (below) and Christiaan Smith-Kotlarek.
EDITOR’S NOTE: An earlier version of this post made the error of calling Will LIVERMAN by the wrong name of Livermore. I apologize for the inaccuracy.
By Jacob Stockinger
For the first time in 12 years and the first time in Overture Hall, the Madison Opera will present “The Barber of Seville” by Gioachino Rossini (below) at 8 p.m. on this Friday, April 24, and at 2:30 p.m. on this Sunday, April 26, in Overture Hall.
The opera will be sung in Italian with English surtitles.
Tickets are $18-$125. Student and group discounts are available. For tickets and more information, call the Overture Center box office at 201 State St., Madison, at (608) 258-4141 or go to www.madisonopera.org
One of the earliest romantic comedies, “The Barber of Seville” tells how Figaro, the title character, helps Count Almaviva and Rosina outwit the latter’s guardian, bringing about a wedding in the final scene.
Multiple disguises, love notes passed in secret, and even a music lesson are used to bring the young couple together. Since its first performance in 1816, Barber has been an international hit, with Figaro’s aria “Largo al factotum” becoming perhaps the most famous opera aria of all time.
“The Barber of Seville” was one of the first operas I fell in love with,” says Kathryn Smith (below, in a photo by James Gill), general director of the Madison Opera. “Rossini’s musical brilliance is unique, and the way the music literally sparkles is one of its most enduring characteristics. It’s a genuine pleasure to share one of the all-time great operas with our community.”
This will be the first time John DeMain, the artistic director of the Madison Opera and music director of the Madison Symphony Orchestra, has conducted “The Barber of Seville” in Madison, and he considers it a perfect conclusion to the company’s 10th anniversary in Overture Hall.
“The effervescent strains of Rossini’s scintillating score should be especially vibrant in the glorious acoustics of Overture Hall,” says DeMain (below in a photo by Prasad). “It will be like drinking musical champagne.”
A dynamic young cast brings this witty comedy to life. Emily Fons, a Wisconsin native who debuted with Madison Opera at Opera in the Park 2012, returns for her first main stage role with the company. These will be her first performances of Rosina, a role she sings later this summer at Opera Theatre of St. Louis and next season at Pittsburgh Opera.
Making his debut opposite Fons is tenor John Irvin, a recent graduate of the Ryan Opera Center at Lyric Opera of Chicago — which is now headed by former UW-Madison School of Music professor and professional soprano Julia Faulkner. Irwin also sang Count Almaviva for Lyric Opera’s family performance.
Another recent Ryan Opera Center graduate, baritone Will Liverman, makes his Madison Opera debut as the illustrious barber Figaro, a role he has previously sung at the Utah Opera and in Lyric Opera of Chicago’s family performance.
Two Madison Opera favorites return in key roles. Alan Dunbar, whose most recent appearances were in “Dead Man Walking” (below, third from right) and the Overture 10th Anniversary Celebration, sings Rosina’s guardian, Dr. Bartolo. Thomas Forde, who sang Judge Turpin in Madison Opera’s recent “Sweeney Todd,” sings Don Basilio, the music teacher and purveyor of gossip.
Madison Opera Studio Artist soprano Chelsea Morris (below) sings her first principal role as Berta, and baritone Trevor Martin makes his debut as Fiorello. Directing this traditional staging is Doug Scholz-Carlson, who directed “The Tender Land” and “The Turn of the Screw” for Madison Opera.
“I am thrilled with this cast,” says Smith. “Rossini requires a lot of vocal teamwork, and it’s exciting to produce the opera with singers who are perfectly matched to their roles and to each other.”
Will Liverman (below) recently agreed to a Q&A with The Ear:
Can you briefly introduce yourself to readers?
My name is Will Liverman, and I hail from beautiful Virginia Beach, Virginia. I graduated from Wheaton College in Illinois for my undergraduate degree and finished with a Master’s degree at the Juilliard School. I recently completed the Ryan Opera Center program at the Lyric Opera of Chicago.
Have you sung the role of Figaro before? How have you changed or developed it? If the role is new to you, what do you find most appealing and most challenging about it?
I have only sung this role twice before. The more that I sit with this role, the more that I think it’s imperative to show that Figaro is a man with a good heart. There’s more to Figaro than just wanting money from the Count Almaviva and only looking after himself. I think he really enjoys helping people and he takes pride in that.
Is it fun to play Figaro?
Figaro is a TON of fun. First of all, comedy is my favorite thing to do onstage and The Barber of Seville is the essence of an opera comedy. It’s fun because there are so many different comedic bits to play in each scene. The music is exciting to sing, and it’s a satisfying show to perform.
What do you think explains the popularity and longevity of Rossini’s opera ever since it was first performed in 1816 in Rome? Why should the public today go see and hear it?
Each production has the potential to be something completely different in terms of how it’s staged and who’s singing in the cast. That can be said about other operas as well but The Barber of Seville is essentially a showcase for singers and you get to laugh out of your chair while you’re at it! In addition to Barber being one of the most well-known operas to the general public, it has endless amounts of comedic moments that a director can use.
In your interpretation, what aspects of Figaro’s character do you emphasize and why?
Figaro is three steps ahead of everyone in this piece and in Mozart’s Le Nozze di Figaro. It’s important that comes through in every way, because being a cunning man with a plan is simply what he does and how he is able to help everyone.
What would you like to say about the famous showstopping “Largo al factotum” aria in terms of singing it and its universal appeal? (NOTE: You can hear it sung by Dmitri Hvorostovsky with Charles Dutoit conducting the Montreal Symphony in a popular YouTube video at the bottom.)
There isn’t much to be said about it. The aria speaks for itself, and it’s the most famous aria tune out there. My job is to not mess it up and at the same time make it my own!
What else would you like to say about your role, about the opera or about this production?
This production is going to be fantastic! I say that because when you’re able to laugh a lot in rehearsal at how funny the staging is -– and you’re one of the folks performing –- you know the audience is going to enjoy it even more. At least, I hope they do!
By Jacob Stockinger
Political prisoners and prisoners of conscience are the hot topics of an old opera that is celebrating its bicentennial this year.
When you look around the world and see the struggle in fighting terrorism, religious intolerance and political tyranny as well as the difficult and thwarted stirrings of democracy in the Middle East, Africa and Asia, “Fidelio” — the only opera composed by Ludwig van Beethoven (below) — seems a timely and even inspired choice to stage.
That is exactly what the Madison Opera will do in Overture Hall of the Overture Center this Friday night at 8 p.m. and Sunday afternoon at 2:30 p.m. The opera will be sung in German with English supertitles.
Single tickets are $18-$125. Call (608) 258-4141 or visit the Overture Center box office.
A Madison Opera staged premiere, “Fidelio” is “a passionate ode to freedom, and the triumph of love over tyranny,” according to a press release from the Madison Opera.
“To rescue her husband, a political prisoner, the noblewoman Leonore (below, played by Alexandra LoBianco) disguises herself as a man and works at the prison where she believes her husband is held. Beethoven contrasts the evil of Don Pizarro, who has ordered his enemy imprisoned and starved, with the inner strength and bravery that enables Leonore to rescue her husband.
“Ranging from breathtaking arias to stunning choral music, Beethoven’s score is truly sublime, with an ever-building dramatic intensity that leaves audiences exhilarated. The famous “Prisoners’ Chorus” is one of the most beautiful choral tributes to freedom ever written, and one of the reasons Fidelio has resonated across the centuries.
“Madison Opera performed Fidelio in concert in November 1986, but this is the first time the company has presented the opera fully-staged. Sung in German with German dialogue and projected English translations, Fidelio is the only opera Beethoven ever wrote, premiering in its final form in 1814.
“Fidelio is a truly great opera,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s General Director. “It has both light and dark moments, with real emotion underlying the intense drama. Above all, the score is a masterpiece from one of classical music’s greatest composers.”
“Fidelio” also marks the start of Madison Opera’s 10th season in Overture Hall, whose exceptional acoustics have been a primary factor in the company’s growth and success.
“It is absolutely thrilling for me to finally have a chance to conduct Beethoven’s operatic masterpiece,” says John DeMain (below, in a photo by Prasad), the Madison Opera’s Artistic Director and conductor who is also the music director of the Madison Symphony Orchestra. “I have loved this music passionately for years, and can’t wait to perform this great work in the acoustic splendor of Overture Hall. We have a thrilling cast of singers, the Madison Opera Chorus and the Madison Symphony Orchestra, all up to the demands of the mighty Beethoven.”
Pre-opera talks will be hosted by Kathryn Smith one hour prior to each performance.
Here is a background story, with more interviews, written by Mike Muckian that appeared in the Wisconsin Gazette.
And here is an email Q&A that stage director that Tara Faircloth (below), who is making her Madison Opera debut, granted to The Ear:
Can you briefly introduce yourself, with some background and current activities as well as future projects and plans?
A Georgia native, I make my home in Houston, Texas, in a 1935 Art & Crafts bungalow that I am slowly renovating and restoring. I work primarily in opera, and take special pleasure in my work with young people: I am a semi-regular director at Wolf Trap Opera, and the dramatic coach for the fine singers in the Houston Grand Opera Studio.
Some of my most beloved projects have been a beautiful (if I do say so!) production of Igor Stravinsky’s The Rake’s Progress at Wolf Trap, a Dido & Aeneas with Houston’s Mercury Baroque in collaboration with the Dominic Walsh Dance Theater, and a very recent production of Claudio Monteverdi’s Il Ritorno di Ulisse at Rice University. I am very much looking forward to a new production of Peter Ilyich Tchaikovsky’s Eugene Onegin at the Arizona Opera, and my first Le Nozze di Figaro, by Wolfgang Amadeus Mozart, at the Atlanta Opera.
I like to create productions that are whimsical and humorous with intense moments of emotional connection.
How do you situate Beethoven’s “Fidelio” among other major opera and opera composers? What makes it special?
Fidelio is Beethoven’s only opera, a work that he re-wrote three times. It has been called a “secular oratorio,” and it is full of the passion that typifies so much of Beethoven’s work.
When listening to Beethoven’s music, I personally feel as if the score can barely contain all of the emotion he is trying to express, that it is stretched to its absolute limit, and somehow there is an underlying tension, a sense that if it were possible, he would want you to feel even more than he has been able to write down.
What is your overall concept of the opera? Do you see it as having to do with the Enlightenment and political movement toward democracy?
Fidelio has been subject to a multitude of interpretations since its inception. In many ways, the score is a blank slate: the characters are not described in great detail, there is no mention in the score of the exact political situation at hand, and even Florestan’s “crime” against Pizarro is not identified explicitly. Instead we have a story of brutal revenge versus great love: a universally appealing theme.
With its dream of a government free of tyranny, and the inherent worth of the individual man, Fidelio certainly has a very healthy dose of Enlightenment principles.
However, in many ways it may be seen as ushering in Romantic era ideals. It is full of sweeping emotional moments: perhaps the most famous is the Prisoners’ Chorus “O welche Lust” (at bottom in a YouTube video), which begins with an ecstatic appreciation of the beauty of a single breath of fresh air.
The fact that Beethoven gave the most beautiful music in the entire opera to a chorus of common prisoners shows us, I think, his belief that our connection to a higher power and our longing for freedom is inherent and universal to every man.
Does Beethoven’s opera hold lessons for today about current events?
As a director, I am not really one to look for lessons in our literature. Instead, I hope to engage our audience in a very human drama, to make them FEEL something and to connect with them. I think that experiencing music and drama in this way makes us more empathetic and open to other human beings, and that can only make the world a better place.
This is your debut in Madison. Do have impressions of the city, the opera and orchestra, either firsthand or through others?
I travel a lot for my work, and every time I have mentioned I will be in Madison, people simply gush about what a lovely place it is. In addition to the charming beauty of the city, I’ve noticed there seems to be a big focus on beer and cheese. So, basically it is heaven.
What you would you like to add or say?
Fidelio is an opera that is rarely performed. It takes massive forces: large orchestra, large chorus, and very large voices. I think we have quite a group assembled here, and hope your reading audience will take advantage of the opportunity to hear the work of one of the world’s most beloved composers.
ALERTS: French pianist Philippe Bianconi (below in a photo by Bernard Martinez), who is in town this weekend to play three performances of the Brahms Piano Concerto No. 2 with the Madison Symphony Orchestra under the baton of John DeMain, will be the guest on Norman Gilliland’s “The Midday” program on THURSDAY from noon to 1 p.m on Wisconsin Public Radio WERN 88.7 FM in the Madison area. And on Friday from 12:15 to 1 p.m., guitarist Steven Waugh plays Johann Sebastian Bach, John Dowland, Isaac Albeniz, Charlie Parker, Errol Garner and more for the First Unitarian Society’s weekly FREE FRIDAY Noon Musicale at 900 University Bay Drive.
By Jacob Stockinger
Three years ago, University of Wisconsin-Madison tenor James Doing (below) launched an ambitious and much appreciated project that helps to acquaint classical music fans – especially fans of singing – with some basic and well-known repertoire and basic vocal techniques. The format is much like a master class to acquaint the general public with the music from the inside and to help non-musicians understand the process of learning how to sing.
The second installment of the series of four recitals will be this Saturday night at 8 p.m. in Mills Hall. Admission is FREE and open to the public.
Here is how Doing recently explained the special concert to Kathy Esposito for “Fanfare,” the terrific new blog at the University of Wisconsin School of Music.
It is the kind of reinventing of the classical music recital that The Ear thinks should be done more often to attract new audiences, younger audiences and non-specialty audiences. I was there and it was terrific. It was especially moving to see teacher and students sing together as partners, which is in fact what they: master and apprentice. It is the oldest educational method in the world — and it still works.
Here is a letter that Doing has sent out via email to his many friends and fans and to The Ear:
“Three years ago I presented a “Teaching Favorites for the Voice Studio” recital complete with program notes about vocal technique, diction and so on, and it was well received. (A YouTube video with a lovely sampling from that first concert, of James Doing singing Reynaldo Hahn’s song, is at the bottom.)
Jacob Stockinger had some nice things to say in his blog The Well-Tempered Ear: https://welltempered.wordpress.com/2010/02/16/classical-music-review-uw-tenor-james-doing-successfully-reinvents-the-art-song-recital/
The songs I sang on that recital are posted on my YouTube Channel, which has a link at the bottom.
On this Saturday night, Oct. 19, at 8 p.m. in Mills Hall, my students and I are going to be singing another “Teaching Favorites for the Voice Studio.” The pianist will be UW professor Martha Fischer (below, in a photo by Katrin Talbot).
Admission is FREE. And I would love to have many singers and teachers from the community come and share the evening with me and my students.
I’ll be performing 18 songs and five of my female voice students will assist by singing eight selections. (The students are: CatieLeigh Laszewski, Jenny Marsland, Olivia Pogodzinski, Melanie Traeger and Sheila Wilhelmi.)
The generous and varied program of English, Italian, German and French art songs and opera arias includes:
“Strike the Viol” by Henry Purcell (1659?-1695) from “Come, ye Sons of Art”; “Se Florinda è fedele” by Alessandro Scarlatti (1660-1725) from “La donna ancora è fedele”; “Total eclipse” by George Frideric Handel (1685-1759) from “Samson” and “V’adoro pupille” from “Giulio Cesare”, with CatieLeigh Laszewski, soprano; “Sebben, crudele” by Antonio Caldara (1670?-1736) from “La costanza in amor vince l’inganno”; “Và godendo” by George Frideric Handel (below) from “Serse” (Xerxes) with Melanie Traeger, soprano; “An die Musik” by Franz Schubert (1797-1828); “Das Veilchen” (The Violet) by Wolfgang Amadeus Mozart (1756-1791); “Du bist wie eine Blume” (You Are Like a Flower) by Robert Schumann (1810-1856); “Sonntag” (Sunday) by Johannes Brahms (1833-1897); “Auch kleine Dinge” (And Small Things) by Hugo Wolf (1860-1903); “Ständchen” (Serenade) with Olivia Pogodzinski, soprano, by Richard Strauss (1864-1949).
And that is just before intermission. Then comes the second half.
The second half features: “Plaisir d’amour” by Johann-Paul Martini (1741-1816); “Lydia” by Gabriel Fauré (1845-1924); “Claire de lune” and “L’heure exquise” by Reynaldo Hahn (1874-1947); “Si mes vers avaient des ailes” (If mY Word Had Wings) and “Les Papillons” by Ernest Chausson (1855-1899); and “Apparition” with Olivia Pogodzinski, soprano, by Claude Debussy (1862-1918); from “Le Nozze di Figaro” by Wolfgang Amadeus Mozart (1756-1791), “Giùnse alfin il momento . . . Deh vieni, non tardar” with CatieLeigh Laszewski, soprano, and “Voi, che sapete” with Sheila Wilhelmi, mezzo-soprano; “Go, lovely rose” by Roger Quilter (1877-1953); “The Green Dog” with Jenny Marsland, soprano, by Herbert Kingsley (1858-1937 … I think!); “Love’s Philosophy” with Olivia Pogodzinski, soprano, by Roger Quilter; “At St. Patrick’s Purgatory” from “Hermit Songs” by Samuel Barber (below, 1910-1981); and “When I have sung my songs” by Ernest Charles (1895-1984).
Historical notes are being provided by Chelsie Propst (below), a fine young soprano who completed her Masters of Music in voice with Paul Rowe and is now a PhD candidate in Musicology. I add some Performance Notes/Suggestions and Diction pointers.
For this concert of 26 songs we will provide the full notes on about 10 songs and I will provide my own translations and International Phonetic Alphabet (IPA) transcriptions for all of them (except the final set of English songs).
This concert is the second in a series of four with number three taking place April 3, 2014 in Mills Hall and number four taking place during the 2014-15 school year.
The goal or plan at this point is to eventually complete a book tentatively entitled 100 Teaching Favorites for the Voice Studio. The book will begin with some chapters on vocal pedagogy, diction, ornamentation, and other issues followed by the 100 songs. Each song will have historical background written by Ms. Propst, followed by performance and diction pointers, translations and IPA.
Would you be so kind as to spread the word and announce this concert at your choir rehearsal?
Thank you so much. If you are able to attend please come and say hello after the performance.
Feel free to forward this e-mail to anyone you like:)
All the best,
Jim Doing, Tenor, Professor of Voice, University of Wisconsin School of Music, NATS National Voice Science Advisory Committee