The Well-Tempered Ear
Classical music: Here’s how to apply Madison Symphony Orchestra cancellation refunds to a subscription ticket for next season. Plus, the Oakwood Chamber Players cancel two concerts in May
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ALERT: In accordance with the state’s Stay at Home order, concerts by the Oakwood Chamber Players (below) that were scheduled for Saturday night, May 16, and Sunday afternoon, May 17, at Oakwood Village University Woods, on the far west side, have been CANCELED.
By Jacob Stockinger
Now that the Madison Symphony Orchestra (below in a photo by Peter Rodgers) has canceled the rest of its current season, The Ear and others have wondered how to apply refunds to a subscription ticket for the MSO’s 2020-21 season, with the theme of “Ode to Joy: Beethoven and Beyond.” (See the YouTube promotional video at the bottom.)
The MSO recently announced cancellations because of the COVID-19 pandemic and closing of the Overture Center with detailed descriptions of how you could donate the tickets to benefit musicians or exchange them for vouchers to one concert in the next season.
But missing was the possibility of applying the cost of tickets to this season’s cancellations to a subscription ticket for next year.
So The Ear called Peter Rodgers, the marketing director for the MSO, to get a clarification.
It turns out that the MSO administrative staff met with representatives of the box office at the Overture Center to discuss various refund options.
Rodgers said the box office is very busy handling refunds from other events that have been canceled. That has made for complex mechanical or technical difficulties in applying one season’s subscription tickets to another.
It is true that you can apply this season’s ticket or tickets to one subscription concert next season, but there is no guarantee of securing your current seat preference, according to Rodgers.
If you want apply this season’s refunds and keep your seat for all the concerts or selected one next season, Rodgers said that the best solution is to ask for the refund and then pay in full for the next season’s subscription tickets.
Here is a link to more information about the MSO’s next season with performers and programs: https://madisonsymphony.org/concerts-events/2020-2021-symphony-season-concerts/
Single tickets go on sale Aug. 15.
You can renew online, by mail and by calling (608) 257-3734. The deadline for subscription renewals or new subscriptions, with a discount of up to 50 percent, is Thursday, May 7.
Here is a link to the page for online renewals or new subscriptions: https://madisonsymphony.org/concerts-events/subscribe-now/
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Classical music: What happens when Shakespeare and Benjamin Britten meet Andy Warhol and The Factory? The University Opera explores a new spin on an old tale
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ALERT: At 7:30 p.m. this Thursday night, Nov. 14 — the night before it opens the opera production below — the UW-Madison Symphony Orchestra, under conductor Oriol Sans, will perform a FREE concert in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art. The program offers Darius Milhaud’s “The Creation of the World,” Maurice Ravel’s “Mother Goose Suite” and Franz Joseph Haydn’s Symphony No. 101 “The Clock.”
By Jacob Stockinger
The Big Event in classical music this week in Madison is the production by the University Opera of Benjamin Britten’s “A Midsummer Night’s Dream.”
It is a chance to see what happens when Shakespeare (below top) meets Britten (below bottom) through the lens of the Pop art icon Andy Warhol.
The three-hour production – with student singers and the UW-Madison Symphony Orchestra under conductor Oriol Sans — will have three performances in Music Hall, at the foot of Bascom Hill: this Friday night, Nov. 15, at 7:30; Sunday afternoon, Nov. 17, at 2 p.m.; and Tuesday night, Nov. 19, at 7:30 p.m.
Tickets are $25 for the general public; $20 for seniors; and $10 for students.
For more information about the production and how to obtain tickets, go to: https://www.music.wisc.edu/event/university-opera-a-midsummer-nights-dream/2019-11-15/
For more information about the performers, the alternating student cast and a pre-performance panel discussion on Sunday, go to: https://www.music.wisc.edu/wp-content/uploads/2019/10/A-Midsummer-Nights-Dream-Media-release.pdf
And here are notes by director David Ronis (below, in a photo by Luke Delalio) about the concept behind this novel production:
“When the artistic team for A Midsummer Night’s Dream met last spring, none of us expected that we would set Britten’s opera at The Factory, Andy Warhol’s workspace-cum-playspace.
“For my part, I wanted to find a way to tell this wonderful story that would be novel, engaging, entertaining, and thought-provoking.
“I only had one wish: that we did a production that did not feature fairies sporting wings – a representation that, to me, just seemed old-fashioned and, frankly, tired.
“As we worked on the concept, we found that The Factory setting allowed us to see the show in a new, compelling light and truly evoked its spirit and themes. The elements of this “translation” easily and happily fell into place and now, six months later, here we are!
“A Midsummer Night’s Dream tells the intersecting stories of three groups of characters – Fairies, Lovers and Rustics – and its traditional locale is that of a forest, the domain of Oberon, the Fairy King. (You can hear the Act 1 “Welcome, Wanderer” duet with Puck and Oberon, played by countertenor David Daniels, in the YouTube video at the bottom.)
“In our production, the proverbial forest becomes The Factory, where our Oberon, inspired by Andy Warhol (below, in a photo from the Andy Warhol Museum), rules the roost. He oversees his world – his art, his business, and “his people.” He is part participant in his own story, as he plots to get even with Tytania, his queen and with whom he is at odds; and part voyeur-meddler, as he attempts to engineer the realignment of affections among the Lovers.
“Tytania, in our production, is loosely modeled on Warhol’s muse, Edie Sedgwick (below top), and Puck resembles Ondine (below bottom), one of the Warhol Superstars.
The Fairies become young women in the fashion or entertainment industries, regulars at The Factory; the Lovers, people who are employed there; and the Rustics, or “Rude Mechanicals,” blue-collar workers by day, who come together after hours to form an avant-garde theater troupe seeking their 15 minutes of fame.
“For all these people, The Factory (below, in a photo by Nat Finkelstein) is the center of the universe. They all gravitate there and finally assemble for the wedding of Theseus and Hippolyta – in this setting, a rich art collector and his trophy girlfriend.
“Magic is an important element in Midsummer. In the realm of the fairies, Oberon makes frequent use of magical herbs and potions to achieve his objectives. In the celebrity art world of mid-1960s New York City, those translate into recreational drugs.
“The people who work in and gather at The Factory are also are involved in what could be called a type of magic – making art and surrounding themselves in it. They take photographs, create silk screen images, hang and arrange Pop art, and party at The Factory.
“Not only does this world of creative magic provide us with a beautiful way to tell the story of Midsummer, but it also becomes a metaphor for the “theatrical magic” created by Shakespeare and Britten, and integral to every production.
“We hope you enjoy taking this journey with us, seeing A Midsummer Night’s Dream in perhaps a new way that will entertain and delight your senses and, perhaps, challenge your brain a bit.”
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Classical music: This Sunday afternoon brings percussion music from Clocks in Motion and a performance by the Edgewood Chamber Orchestra.
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By Jacob Stockinger
This Sunday afternoon brings two noteworthy concerts: a selection of percussion music from Clocks in Motion and a performance of classic composers by the Edgewood Chamber Orchestra.
Here are the details:
CLOCKS IN MOTION
This Sunday afternoon at 2 p.m., the local percussion group Clocks in Motion will perform at its Rehearsal Facility, located at 126 West Fulton Street in Edgerton, Wisconsin.
Members of Clocks in Motion (below, performing in 2017) are Matthew Coley, Chris Jones, Sean Kleve and Andrew Veit.
Admission to the limited seating is $10, with donations accepted.
For more information, tickets and driving directions, go to:
https://www.artful.ly/store/events/15960
Presenting music never before heard in Wisconsin, Clocks in Motion Percussion will be performing classic repertoire and local premieres in this special event.
Here is the complete program: *”Gravity” by Marc Melltis; *Atomic Atomic” by Andrew Rindfleisch (below and heard in the YouTube video at the bottom); “Third Construction” by John Cage; selections from “Threads” by Paul Lansky; “Mechanical Ballet” by Anders Koppel; “Fantezie” by Sergiu Cretu; and “Glitz!” Bejorn Berkhout
*Denotes this piece was written specifically for Clocks in Motion.
Hailed as “nothing short of remarkable” (ClevelandClassical.com) and “the most exciting addition to Madison’s classical music scene” (Isthmus), Clocks in Motion is a percussion quartet that performs new music, builds many of its own instruments, and breaks down the boundaries of the traditional concert program.
Formed in 2011, Clocks in Motion is quickly becoming a major artistic force in today’s contemporary music scene. Among its many recent and upcoming engagements, the group served as performers at the Interlochen Arts Academy in Michigan; The Stone in New York City; The Overture Center for the Arts; Casper College in Wyoming; the University of Michigan;, Baldwin-Wallace University in Ohio; the University of North Carolina-Pembroke; and the Ewell Concert Series in Virginia.
EDGEWOOD CHAMBER ORCHESTRA
The Edgewood Chamber Orchestra will give a concert on this Sunday afternoon at 2:30 p.m. in the newly remodeled St. Joseph Chapel, 1000 Edgewood College Drive.
The orchestra will perform under the baton of Blake Walter (below).
The program features three arrangements of piano works by Claude Debussy; Arabesques 1 and2, arranged by Henri Mouton, and the seldom-performed Sarabande, arranged by Maurice Ravel.
Other works to be performed include Luigi Cherubini’s Overture to the opera Medea, and Symphony No. 59, subtitled “Fire,” by Franz Joseph Haydn.
Admission is $5 for the general public, free with Edgewood College ID.
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Classical music: It’s easy but wrong to underestimate Offenbach’s “Tales of Hoffmann.” It is literally fantastic but NOT light. It will be performed by Madison Opera on Friday night and Sunday afternoon. Part 2 of 2.
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ALERT: This week’s FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. in the historic Landmark Auditorium of the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison, 900 University Bay Drive, will feature music for baroque and modern flute and strings with Iva Ugrcic, Thalia Combs, Biffa Kwok, Joshua Dierigner, Mikko Rankin Utevsky, Andrew Briggs and Satoko Hayami. They will play music by Georg Philipp Telemann, Wolfgang Amadeus Mozart, Carl Philipp Emmanuel Bach, Salvatore Sciarrino and Andre Jolivet.
By Jacob Stockinger
As The Ear posted yesterday, the Madison Opera will present Jacques Offenbach’s “The Tales of Hoffmann” this weekend.
The production will be performed twice in Overture Hall of the Overture Center: on Friday at 8 p.m.; and on Sunday at 2:30 p.m. It will be sung in French with projected English translations
Tickets are $18-$129. Student and group discounts are available. Tickets can be purchased at the Overture Box Office, 201 State St., Madison, and by calling (608) 258-4141 or visiting www.madisonopera.org
For more information, here is a link to yesterday’s post with a plot synopsis and information about the cast:
Today, The Ear asked the same questions to the two main figures in the production: Artistic and music director John DeMain and guest stage director Kristine McIntyre.
Here are their answers:
JOHN DeMAIN (below)
“Tales of Hoffmann” has the reputation of being a “lighter” opera. How justified and accurate is that opinion in your view, and what do you think explains it?
Hoffmann is Offenbach’s grand opus. I’ve never thought of this work as a light opera. To me, light opera has spoken dialogue and the music is distinctly lighter in nature, like operetta.
Where the confusion lies here is, for me, no different than with George Gershwin’s Porgy and Bess. Both composers use popular resources, at times, to tell the story.
Hoffmann is a serious themed piece. Two people are literally murdered, and the mechanical doll is also destroyed. Hoffmann’s soul is condemned to hell, as his pursuit of love is rebuffed at every term. The devil is present throughout as well.
What Hoffmann is, however, is highly theatrical. Magic is present, as well as the supernatural. It is at times ghoulish and macabre, but always entertaining. The Olympia scene with party guests and a mechanical doll — at bottom in a YouTube video — is the lightest scene in nature, as Hoffmann is being duped at a social gathering.
Move into Antonia, and from the beginning the music is serious and profound with two thrilling trios. Giulietta, which has always been the sketchiest act, because of missing music and an incomplete libretto, nevertheless is thrillingly operatic in scope.
Hoffmann is very much like Giuseppe Verdi’s La Traviata in design, particularly in the progression of Hoffmann’s loves, as embodied in the sopranos who sings all four roles. Olympia is coloratura, just like Violetta in the first act singing “Sempre libera.” Antonia is lyric, corresponding to Violetta in the second act, and Giulietta is the most dramatic, just as in the third act of the Verdi.
The beautiful final ensemble at the end of the Epilogue is also not the stuff of light opera. Offenbach, as a composer, is true to his musical style, but achieves the greatest depth of his writing in this wonderful grand opera.
What would you like the public to know about the opera and about the musical aspects of the Madison Opera production including the singers, the orchestra and the score?
The orchestra highlights the drama at every given turn, literally changing tempos on a dime. Leitmotifs are used throughout the piece.
The music is wonderfully melodic, with the entire cast having beautiful arias, duets and trios. It has long been a favorite opera of mine because it so accurately portrays the story in vivid and unmistakable musical terms.
KRISTINE MCINTYRE (below)
Jacques Offenbach’s “Tales of Hoffmann” has the reputation of being a “lighter” opera? How justified and accurate is that opinion in your view, and what do you think explains it?
Well, “lighter” compared to what? Than Jake Heggie’s Dead Man Walking or Leos Janacek’s Jenufa, certainly. But it’s not a comedy either, and certainly any of the classic operatic comedies, such as Gioacchino Rossini‘s The Barber of Seville, feels perfectly frothy in comparison.
I think this is an easy opera to underestimate because the piece is so theatrical in its storytelling. But Offenbach (below) is actually exploring some very dark themes, as was E.T.A. Hoffmann before him.
E.T.A. Hoffmann’s original tales are fantastical and highly imaginative, but they are also vivid and insightful examinations of human psychology. He exposes our darkest fears and how that darkness intrudes into our everyday lives and our attempts to find love and happiness. I think E.T.A. Hoffmann is particularly insightful at revealing the fragility of his male protagonists and their insecurities where women and love are concerned.
The Olympia act, for instance, is really about a young man’s fear that he has been deceived, that he’s been made a fool of — that he can’t trust the girl he loves and doesn’t know what’s real or what’s not.
The story on which it is based, “The Sandman,” is even more horrifying than Offenbach’s setting: the young man simply can’t get over having fallen in love with the automaton, believes his very human fiancée is actually a machine, tries to kill her and eventually commits suicide by throwing himself from a balcony.
So one should not confuse creativity in storytelling with a lack of seriousness. There is a great tradition, stretching back to the early 19th century, of writers of fantastical literature and science fiction asking some of the hardest questions about human nature and providing some of the most compelling insights.
That tradition now extends to film and we’ve spent some time in rehearsal talking about how movies like Blade Runner and Ex Machina explore some of the same issues.
Offenbach is a man of the theater and gives us music that is just as compelling and theatrical as the tales themselves. This music is fun to stage and listen to, but while Offenbach is entertaining us with his delightful French melodies, his main character, Hoffmann, has his heart broken three times, causes the death of his fiancée, becomes an alcoholic, murders a rival and loses his soul. So the opera definitely has its tragic side.
And we shouldn’t forget that Offenbach balances the fantasy of the tales with the framework of the Prologue and Epilogue and the completely recognizable, human story of Hoffmann’s doomed relationship with his girlfriend Stella. They’ve had a fight and he’s terrified of losing her. In the tales, he is actually telling us Stella’s story over and over again as he tries to make sense of what has happened.
The opera could easily end in tragedy and despair, but instead Offenbach offers us a glass of champagne and a balm for the human condition. (Below is the Roaring 20s set.)
What would you like the public to know about the opera and about the theatrical aspects of the Madison Opera production including acting, costumes, sets, etc.?
Almost everyone in our cast is doing their roles for the first time, so we’re having a great time in rehearsal exploring every moment of the piece.
This will be a very high-energy, inventive and creative telling of the opera. The production is updated to the 1920s, which is great fun – beautiful costumes and lots of wonderful inspiration from art and cinema of the period.
For instance, we’ve been looking at the paintings of Otto Dix, which capture the élan and decadence of the 1920s, and classic horror films like The Cabinet of Dr. Caligari and Nosferatu to find the darker side of things for the Antonia act. It’s a very rich period visually and offers us a great deal of style as well as the chance to make something that feels very alive and fresh.
I think it will be very entertaining and also very moving.
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The Well-Tempered Ear 