The Well-Tempered Ear
Classical music: Meet Conor Nelson, the new flute professor at the UW-Madison
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By Jacob Stockinger
The UW-Madison’s Mead Witter School of Music has a new flute professor who follows Timothy Hagen in taking the place of retired longtime predecessor Stephanie Jutt, who continues to perform locally with the Madison Symphony Orchestra and the Bach Dancing and Dynamite Society..
He is Conor Nelson (below) and he starts later this month at the UW-Madison’s Mead Witter School of Music.
Here is the biography — impressive for both his performing and his teaching –that the university released:
“Praised for his “long-breathed phrases and luscious tone” by the Minneapolis Star Tribune, Canadian flutist Conor Nelson is established as a leading flutist and pedagogue of his generation.
“Since his New York recital debut at Carnegie Hall’s Weill Recital Hall, he has frequently appeared as soloist and recitalist throughout the United States and abroad.
“Solo engagements include concertos with the Minnesota Orchestra, the Toronto Symphony Orchestra, the Flint Symphony, and numerous other orchestras.
“In addition to being the only wind player to win the Grand Prize at the WAMSO (Minnesota Orchestra) Young Artist Competition, he won first prize at the William C. Byrd Young Artist Competition. He also received top prizes at the New York Flute Club Young Artist Competition, the Haynes International Flute Competition as well as the Fischoff, Coleman and Yellow Springs chamber music competitions. (Editor’s note: In the YouTube video at the bottom, you can hear Conor Nelson perform the second and third movements of the Flute Sonata by French composer Francis Poulenc.)
“With percussionist Ayano Kataoka (below left, with Nelson), he performed at Merkin Concert Hall, Tokyo Bunka Kaikan Hall and Izumi Hall. A recital at the Tokyo Opera City Hall received numerous broadcasts on NHK Television. Their CD entitled, “Breaking Training” was released on New Focus Recordings (NYC). His second CD, “Nataraja,” with pianist Thomas Rosenkranz, is also available on New Focus.
“He has collaborated with pianist Claude Frank on the Schneider concert series in New York City and appeared at numerous chamber music festivals across the country including the OK Mozart, Bennington, Skaneateles, Yellow Barn, Cooperstown, Salt Bay, Look and Listen (NYC), Norfolk (Yale), Green Mountain, Chesapeake, and the Chamber Music Quad Cities series.
“He is the Principal Flutist of the New Orchestra of Washington in Washington, D.C., and has performed with the Detroit, Toledo and Tulsa Symphony Orchestras. He also performed as guest principal with A Far Cry, Orquesta Filarmónica de Jalisco, and the Conceirtos de la Villa de Santo Domingo.
“A respected pedagogue, Dr. Nelson has given master classes at over 100 colleges, universities and conservatories.
“Prior to his appointment at UW-Madison, he served as the flute professor at Bowling Green State University for nine years and as the Assistant Professor of Flute at Oklahoma State University from 2007-2011.
“His recent residencies include Yonsei University in Seoul, Korea; the Sichuan Conservatory in Chengdu, China; the Conservatorio de Musica de Puerto Rico; and the Associacao Brasileira de Flautistas in Sao Paulo.
“He is also a regular guest of the Texas Summer Flute Symposium and has been the featured guest artist for 11 flute associations across the country. His former students can be found performing in orchestras, as well as teaching at colleges, universities and public schools nationwide. They have also amassed over 60 prizes in young artist competitions, concerto competitions and flute association competitions.
“Nelson received degrees from the Manhattan School of Music, Yale University and Stony Brook University where he was the winner of the school-wide concerto competitions at all three institutions. He is also a recipient of the Thomas Nyfenger Prize, the Samuel Baron Prize and the Presser Award.
“His principal teachers include Carol Wincenc, Ransom Wilson, Linda Chesis, Susan Hoeppner and Amy Hamilton. Nelson is a Powell Flutes artist and is the Assistant Professor of Flute at UW-Madison where he performs with the Wingra Wind Quintet.”
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Classical music: Today is the Fourth of July. Here are two extended playlists of American masterpieces
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By Jacob Stockinger
Today is Independence Day – the Fourth of July holiday.
It is a good occasion to listen to classical music by American composers (below), which you can hear much of the day on Wisconsin Public Radio.
But here are two other extended playlists of American classical music:
Here, thanks to a California radio station, is a list with complete performances of some of the best American masterpieces, including the “New World” Symphony by Antonin Dvorak, the “Afro-American” Symphony by William Grant Still (below), “Rhapsody in Blue” by George Gershwin and “Symphonic Dances from West Side Story” by Leonard Bernstein:
And thanks to Minnesota Public Radio, here are four hours of patriotic music for the holiday: https://www.classicalmpr.org/story/2018/06/29/celebrate-the-fourth-of-july-with-our-4hour-patriotic-classical-playlist
Finally, in the YouTube at the bottom is the “American” String Quartet by Antonin Dvorak (below), who summered in Spillville, Iowa. He loved hearing and tried to capture sounds of nature, including bird songs, traditional Black spirituals and music by Native Americans.
The Ear especially likes it because it is proof that just as Americans have been influenced by European composers, European composers, European composers have been influenced by American composers.
Do you have a special or favorite piece of classical music to help celebrate the Fourth of July?
What do you like about it?
Leave a comment with a YouTube link if possible?
The Ear wants to hear.
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Classical music: The Virtual Bach Around the Clock 2020 festival ends today. Here’s how to catch up on the 10 days of making Baroque music
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By Jacob Stockinger
If you recall, this year’s 12-hour Bach Around the Clock festival – a platform for students, amateurs and professional musicians to celebrate the birthday of Johann Sebastian Bach (below) — was scheduled to take place at St. Andrew’s Episcopal Church on Saturday, March 28.
Faced with cancellation of the annual free event because of the public health dangers posed by the COVID-19 pandemic and the need for social distancing, the organizers decided to try going virtual and hold the festival online by asking performers to send in short videos made at home.
And it worked.
“From what we have heard, it has been a very rewarding experience for both the performers who sent in videos and for the people who watched and listened to them,” says violist and BATC artistic director Marika Fischer Hoyt (below).
The cost of going virtual was not great, but it took lot of time and hard work, admits Fischer Hoyt, who says she spent between 7 and 10 hours a day to post each day’s Bach video.
It was hard especially at the beginning, she notes, when she had to learn how to use software programs, such as iMovie, to make and then upload and post the videos.
She didn’t just organize the online festival. She also performed and provided gracious introductions to the program for each day.
Lately, the videos average about 20 minutes – your Daily Minimum Requirement of Bach, as the witty Wisconsin Public Radio host Anders Yocom would say. But they were longer at the beginning when more videos were sent in. Towards the end, the festival even used some photos and audio recordings from past years to round out programs.
But the reach of the virtual festival, intended to be local, was wider than Fischer Hoyt had expected. Musicians replied and participated from Florida, Minnesota and – as you can hear today – from Costa Rica.
All the effort worked.
In one of the major victories against all the coronavirus cancellations and postponements in the Madison music scene, the Virtual Bach Around the Clock 2020 brought the public beautiful Baroque music by voices, strings, keyboards and winds in cantatas, partitas, preludes and fugues, sonatas and suites.
Listening to just one a day would be a good way to spread out and savor the joy of the festival for 10 days while you self-isolate and shelter in place at home.
You can find the videos on YouTube. In the search bar, just type in Virtual Bach Around the Clock 2020, Madison, Wisconsin.
But a much easier and more organized way can be found here on the festival’s home website, which lists the videos in chronological order and links to them: https://bachclock.com/audience-listening-viewing
Try listening to them and tell us what you think about the individual videos and performances — do you have a favorite? — and about mounting the virtual festival.
And, if you like, leave a note of thanks in the Comment section.
The Ear wants to hear.
Here is Day 5:
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Classical music: Acclaimed local soprano Sarah Brailey explains why performing artists and presenters need help during the COVID-19 pandemic
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By Jacob Stockinger
Sarah Brailey (below) is worried.
And with good reason.
Chances are good that you have seen the local soprano or heard her sing.
She is the artistic director of the Handel Aria Competition, which she herself won in 2015. (In the YouTube video at the bottom, you can hear Brailey sing the aria “Will the Sun Forget to Streak” from Handel’s oratorio “Solomon,” with the Trinity Baroque Orchestra under conductor Julian Wachner, in the St. Paul Chapel in New York City.)
Brailey is a co-founder of and participant in the monthly free Just Bach concerts here. In addition, while pursuing graduate studies at the UW-Madison, she is a concert artist with a budding international career. For more about her, including a rave review from The New York Times and sample videos, go to: https://sarahbrailey.com
But right now the Wisconsin native is especially concerned about the lasting impact that the Coronavirus pandemic will have on her own career as well as on the careers of others like her and on the well-being of arts presenters.
Brailey (below, in photo by Miranda Loud) sent The Ear the following essay:
By Sarah Brailey
This is a scary time for everyone, but particularly for anyone who works as an independent contractor.
I am a freelance classical soprano based in Madison. I maintain a very active performing career, traveling all over the globe, and I am also a doctoral student at the UW-Madison Mead Witter School of Music.
When COVID-19 hit the United States, presenting organizations on the east and west coasts started canceling concerts to comply with social distancing recommendations.
I initially thought I was lucky to be living in the middle of the country where our lesser population density might save us. Plus, I am a Teaching Assistant at the UW right now, so I will still be getting my stipend — although teaching virtual voice lessons will be its own special challenge!
But many of my colleagues are not so lucky and are facing bankruptcy. If the government doesn’t include independent contractors in its relief packages, a lot of people are going to be insolvent.
And I myself am not immune. As the seriousness of the situation became clear, all my concerts in the next two months soon disappeared one by one.
While not being able to perform is emotionally devastating, these cancellations are also financially devastating.
There exists a clause in every standard performance contract called “force majeure” (superior force), which is idiomatically referred to as, “an act of God.” This clause excuses a party from not honoring its contractual obligations that becomes impossible or impracticable, due to an event or effect that the parties could not have anticipated or controlled.
This can come in handy for a presenter if there is, say, a blizzard that necessitates the cancellation of a concert. (This happened to me a few seasons ago with the Boston Symphony.) If the presenter will not make any money on ticket sales, they are not then further injured by having to pay the musicians for the canceled concert. (Below, Brailey sings Samuel Barber’s “Knoxville: Summer of 1915” with the Colorado Symphony.)
The ramifications of this pandemic are unprecedented. Every freelance musician I know is suddenly out of work. The current conventions put all of the upfront financial burden on the artists. We are paid in one lump sum at the end of a project. We do not get a fee for the countless hours of preparation.
We often book travel and lodging on our own dime, and are not reimbursed until the end of the gig. We pay for our own health insurance, and we cannot file for unemployment because our work is paid via IRS Form 1099 and not W2s. The abrupt work stoppage caused by this pandemic means insolvency – or even bankruptcy — for many artists. (Below, Brailey sings Handel’s “Messiah” at the famed Trinity Church on Wall Street in New York City.)
Many institutions — and, unfortunately, many of the bigger players like The Metropolitan Opera — are invoking force majeure without much regard for how their artists are struggling.
My colleague, tenor Zach Finkelstein, is covering this in great detail on his blog The Middle Class Artist, as is Alex Ross, the prize-winning music critic for The New Yorker. Read his piece on force majeure here.
However, there are also thankfully some good stories to tell. The Bach Society of Minnesota reimbursed all my travel expenses and is paying 75 percent of my fee, as is the Lyra Baroque Orchestra.
I am helping Zach keep track of the organizations that are helping their artists in this time of need. (Read about them here. Madison Opera is on the list.)
The arts are not just cultural enrichment; they are an essential part of our economy. In 2017, the industry contributed $877.8 billion, or 4.5 percent, to U.S. Gross Domestic Product (GDP) and employed over 5 million workers. We cannot afford to let this industry disappear. I fear that many individual artists and arts organizations will not recover from this. (Below, Brailey sings Johann Sebastian Bach’s “Magnificat” at the Bucknell Bach Festival.)
While we wait out this storm, I implore you to donate to a Madison arts organization. Here is a short list of recommendations along with some national relief funds for artists.
Local Arts Organizations
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Classical music: The second LunART Festival will spotlight women in the performing and creative arts. Here is Part 2 of 2 with more about new music, comedy and a full schedule
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ALERT: The second Van Cliburn Junior Piano Competition resumes today — Monday, June 3 — in Dallas at 2:20 p.m. CDT. The young players range from 13 to 17 and come from around the world, and they are terrific. Plus the quality of the live streaming is outstanding, especially for the camera work of the keyboard. It’s all FREE. If you want to see it, here is a link: https://www.cliburn.org. You might also be interested to know that among the jurors are Alessio Bax, who has performed in Madison at Farley’s House of Pianos, and Philippe Bianconi, who has soloed several times with the Madison Symphony Orchestra. All that and you get to vote for the Audience Award too!
By Jacob Stockinger
The Ear has received a long and detailed announcement about the upcoming second LunART Festival. Here is Part 2 of two parts with more information about new music, comedy and a schedule of events. Yesterday was Part 1 — a link is below — with background and participants.
The LunART Festival, co-founded and co-directed by Iva Ugrcic and Laura Medisky, is back for its second season from this Wednesday, June 5, through Sunday, June 9, and will continue its mission of supporting, inspiring, promoting and celebrating women in the arts.
The 2019 season brings 10 events to eight venues in the Madison area, providing accessible, high-quality, engaging concerts and events with diverse programming from various arts fields.
The festival will showcase over 100 artists this season, including many familiar local artists and performers as well as guest artists hailing from Missouri to Texas, Minnesota to Florida and as far away as Peru.
LunART’s 2019 call for scores was open to women composers of all ages and nationalities, and received an impressive 98 applicants from around the globe. Scores were evaluated by a committee of 17 LunART Festival musicians and directors, and three works were selected to be performed at each of the Gala concerts.
The winning composers are Eunike Tanzil (below top), Edna Alejandra Longoria (below middle) and Kirsten Volness (below bottom). All three will be in attendance at the festival. (In the YouTube video at the bottom, you can hear a piece for cello and piano, with the composer playing the piano, by Eunike Tanzil.)
The “From Page to Stage: Emerging Composers” educational program also returns, bringing six composers to Madison to work with flutist and composer-in-residence Valerie Coleman (below).
During the festival she will mentor participants in developing practical skills to express their creative ideas, cultivate relationships with performers and master the art of collaboration. The program culminates with a free public concert featuring their music on Saturday, June 8, at 2 p.m. in the Capitol Lakes Grand Hall, 333 West Main street, downtown and two blocks from the Capitol Square.
On Friday, June 7 at Overture Center in Promenade Hall, Meaghan Heinrich (below) presents her pre-concert lecture, “Portrait of the Artist as a Young Woman,” which explores what it means to be a woman artist in the 21st century, and how women’s experiences shape their artistic expressions.
Following the Friday gala concert is “Holding Court,” this season’s Starry Night event at Robinia Courtyard. This all-women comedy show features Midwestern comics Vanessa Tortolano (below top), Chastity Washington (below bottom), Vickie Lynn, Samara Suomi and Cynthia Marie who are blazing a trail of funny that will leave you gasping in their wake.
“The Multi-faceted Artist” panel discussion is for anyone interested in the ongoing trend and need for artists to wear multiple hats to succeed and thrive.
Coleman (composer and flutist) and Dr. Linda DiRaimondo (psychiatrist and aerial dancer, below top on top) serve as panelists along with Katrin Talbot (violist, poet and photographer, below bottom in a photo by Isabel Karp), and will lead the discussion on Saturday, June 8, at the downtown Madison Public Library’s Bubbler Room.
The festival wraps up on Sunday, June 9, from 10 a.m. to noon at Common Ground, 2644 Branch Street in Middleton, with “Mooning Around” poetry reading and artist mixer, featuring a performance of “One for Mileva Maric (Einstein)” by Andrea Musher, with special guests Sarah Whelan and Jackie Bradley, and poetry readings by The Line-Breakers: Andrea Potos (below), Eve Robillard, Rosemary Zurlo-Cuva and Katrin Talbot.
Everyone is welcome to come enjoy their morning coffee and pastries while making creative connections with other artists.
LunART Festival is supported by Dane Arts, the Madison Arts Commission, the Wisconsin Arts Board and the Open Meadows Foundation; it also won first place at the 2018 National Flute Association C.R.E.A.T.E. Project Competition and second prize at the 2018 UW Arts Business Competition.
Schedule of 2019 Festival events:
Wednesday, June 5
- 6-8 p.m.: “Women Against Hate United by Love” exhibition opening reception @ Rotunda Stage, Overture Center for the Arts (free event)
Thursday, June 6
- 9 a.m.-Noon From Page to Stage composition master class with Valerie Coleman @ First United Methodist Church (free event)
- 7 p.m.: Opening Gala Concert @ Maiahaus (402 E. Mifflin St.) (Tickets: $20 general/$10 students)
Friday, June 7
- 6 p.m.: “Portrait of the Artist as a Young Woman” pre-concert lecture by Meaghan Heinrich (free event)
- 7 p.m.: “Portraits of Josephine” Gala Concert @ Promenade Hall, Overture Center for the Arts (Tickets: $20 general/$10 students)
- 9 p.m.: Starry Night: “Holding Court” All-Women Comedy Show @ Robinia Courtyard (Tickets: $7 in advance/$10 at the door)
Saturday, June 8
- 10 a.m.-Noon: “The Multi-faceted Artist” Panel Discussion @ Madison Public Library Bubbler Room (free event)
- 2 p.m.: From Page To Stage: Emerging Composers Concert @ Capitol Lakes Grand Hall (free event)
- 7 p.m.: “Gaia” Closing Gala Concert @ First Unitarian Society of Madison Atrium Auditorium (Tickets: $20 general/$10 students)
Sunday, June 9
- 10 a.m.-Noon: “Mooning Around” poetry reading and artist mixer @ Common Ground, 2644 Branch St., Middleton (free event)
More information can be found at lunartfestival.org
video
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Classical music: Starting Wednesday, the second LunART Festival will again spotlight women in the performing and creative arts. Here is the first of a two-part preview
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By Jacob Stockinger
The Ear has received a long and detailed announcement about the upcoming second LunART Festival. Here is Part 1 with background and participants. Tomorrow will be Part 2 with more information about new music and a schedule of events.
The LunART Festival is back for its second season from this Wednesday, June 5, through Sunday, June 9, and will continue its mission of supporting, inspiring, promoting and celebrating women in the arts.
The 2019 season brings 10 events to eight venues in the Madison area, providing accessible, high-quality, engaging concerts and events with diverse programming from various arts fields.
The festival will showcase over 100 artists this season, including many familiar local artists and performers as well as guest artists hailing from Missouri to Texas, Minnesota to Florida and as far away as Peru.
LunART’s inaugural 2018 season was a success on numerous fronts. From showcasing a wide variety of artists and arts disciplines to building lasting relationships and collaborations, LunART has distinguished itself from other arts events in Madison.
Both artists and audiences have commented that the LunART atmosphere is one of camaraderie, love and acceptance. Festival directors Iva Ugrcic and Laura Medisky (below right and left, respectively) have set this season to come back even stronger, with expanded dates and more diverse programming.
Like last year, the three ticketed evening gala concerts are centered on classical chamber music. Other art forms — including contemporary and aerial dance, poetry, spoken word and visual arts — are interwoven throughout the programs to create a unique atmosphere for performers, artists and audiences.
This year’s Grammy-nominated composer-in-residence is flutist Valerie Coleman (below), a former member of Imani Winds, who was described as one of the “Top 35 Female Composers in Classical Music” by The Washington Post.
Coleman embodies LunART’s vision by challenging norms and being a strong advocate for diversity in the arts. Her rich compositional output infuses elements of jazz and African secular music into the Western classical tradition, creating a soundscape that honors both worlds. (In the YouTube video at the bottom, you can hear Valerie Coleman playing her own composition “Fanmi Imen” at the 2018 convention of the National Flute Association.)
Coleman’s music will be featured throughout the festival among the works of other remarkable women who shaped music history, from Baroque composer Barbara Strozzi to Romantic composer Clara Schumann to living composer Missy Mazzoli.
Drawing from Madison’s rich arts scene and community, LunART 2019 features local artists including: former Madison poet laureate Andrea Musher (below); actor and theater artist Deborah Hearst; choreographers and dancers Liz Sexe and Kimi Evelyn; and aerial dancer Linda DiRaimondo.
Also featured are musicians from arts organizations such as Madison Symphony Orchestra, Wisconsin Chamber Orchestra, Fresco Opera Theatre, Arbor Ensemble, Madison New Music Ensemble and Sound Out Loud Contemporary Music Collective. Under the direction of Edgewood College professor Kathleen Otterson, Madison’s only women’s choir ARTemis Ensemble returns in greater numbers and will present a work by LunART 2018 “From Page to Stage” alum Meg Huskin among others.
Visual art will have a stronger presence in the 2019 Festival. From May 11-July 7, Overture’s Playhouse Gallery will house “Women Against Hate United by Love,” a collaborative, traveling art exhibition and multi-step “anti-hate” campaign united against bigotry, intolerance and racism, created by J. Leigh Garcia (below), Rachael Griffin and Kelly Parks Snider.
A gallery reception on Wednesday, June 5, serves as LunART’s opening event, in which Snider will give a talk about the exhibit and her use of art to educate communities about targeted issues in the hopes of shaking up the status quo. This engaging and thought-provoking exhibit is meant to provide a meaningful and hopeful community experience for all who attend.
In collaboration with Studio 84 and ArtWorking, two nonprofit art studios specializing in the creative development of people with disabilities, the final Gala concert at First Unitarian Society of Madison, 900 University Bay Drive, on Saturday, June 8, will showcase 40 artworks. This exhibit will feature 20 women artists whose works will be displayed, flanking the Atrium Auditorium stage as well as in the lobby.
Tomorrow: New music to be premiered, comedy and the full schedule of events
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Classical music: The Madison Opera stages its first-ever production of Dvorak’s fairy tale opera “Rusalka” next Friday night and Sunday afternoon. A preview roundtable is this Sunday afternoon
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By Jacob Stockinger
The Madison Opera will stage its production of Antonin Dvorak’s luxurious masterpiece Rusalka on Friday night, April 26, at 8 p.m. and Sunday afternoon, April 28, at 2:30 p.m. in Overture Hall at the Overture Center, 201 State Street.
Running time is 3 hours with two intermissions, and will feature projected supertitles with English translations of the original Czech that will be sung.
Tickets are $18-$131 with discounts available for students and groups. Go to: https://www.madisonopera.org/tickets/
Inspired by the classic fairy tale The Little Mermaid, the story travels from a mythical forest to a palace and back again. Its lush score includes the famous “Song to the Moon.” (You can hear Renée Fleming sing”Song to the Moon” in the YouTube video at the bottom.)
Set in a mythical realm, Rusalka is about a water nymph who falls in love with a human prince. She tells her father Vodnik that she wishes to become human and live with the Prince on land. Horrified, Vodnik tells her that humans are full of sin, but reluctantly suggests she enlist the help of Jezibaba, a witch. Jezibaba agrees to make her human, but cautions that Rusalka will lose her power of speech. Further, if the Prince betrays her, she will be cursed forever.
The Prince falls in love with Rusalka and plans to marry her, but her silence unnerves him, and a Foreign Princess interrupts the wedding festivities with evil intent. Rusalka returns to the lake as a spirit that lures men to their death – and the Prince follows her.
“Rusalka is one of the most gorgeous operas in the repertoire,” says Kathryn Smith, Madison Opera’s general director (below, in a photo by James Gill). “I fell in love with it when I first saw it over 20 years ago, and listening to the score is a pure pleasure. I am so delighted to share this opera with Madison, so that everyone can learn how brilliant an operatic composer Dvorak was, and experience an opera that is justifiably popular around the world.”
Rusalka’s story was inspired by multiple sources, including Slavic mythology and the fairy tales of Karel Jaromir Erben, Hans Christian Andersen, and Friedrich de la Motte Fouqué.
The opera premiered on March 31, 1901 in Prague and quickly became a massive success, hailed as Dvorak’s masterpiece.
But it was not initially widely performed outside of Czech territories; the first U.S. performance was in 1975. But in recent decades, the opera by Dvorak (below) has become a regular part of the opera repertoire, due to its beautiful music and lovely story.
This production is not only a Madison Opera premiere, but also the company’s first-ever opera in Czech.
Madison Opera’s cast features both returning artists and debuts.
Soprano Emily Birsan (below) returns to Madison Opera in the title role, following successes here as Gounod’s Juliet and Musetta in Puccini’s La Bohème. Last month, she sang Violetta in Verdi’s La Traviata at the Lyric Opera of Chicago. The Chicago Tribune has praised her singing for her “amazing clarity of diction, accuracy of intonation and fineness of expression.”
Tenor John Lindsey (below) returns to Madison Opera as The Prince, after singing in last summer’s Opera in the Park.
Making their debuts with Madison Opera are soprano Karin Wolverton as the Foreign Princess, contralto Lindsay Amman as the witch Jezibaba and bass William Meinert as Rusalka’s father, Vodnik. Emily Secor, Saira Frank and Kirsten Larson play the three wood sprites; Benjamin Liupaogo sings the Hunter.
The Madison Opera Chorus and Madison Symphony Orchestra round out the musical forces, all under the baton of John DeMain (below, in a photo by Greg Anderson), Madison Opera’s artistic director.
Keturah Stickann (below) directs her first opera for Madison Opera; she has directed both traditional and contemporary repertoire across all of the U.S., most recently for San Francisco Opera and Washington National Opera.
This production originated at Minnesota Opera and features projections (below) by Wendall K. Harrington, who has been described as “the godmother of modern projection design.”
In reviewing the Minnesota production, theTwin Cities Arts Reader praised “the stunning visuals on display, which only serve to enhance and elaborate on the action and the music.”
Madison Opera’s production of “Rusalka” is sponsored by the National Endowment for the Arts, Kay & Martin Barrett, Millie & Marshall Osborn, Sally & Mike Miley, Kato Perlman, Charles & Martha Casey, John Lemke & Pam Oliver, and The Ann Stanke Fund.
RELATED EVENTS
You can learn more about “Rusalka” at the events leading up to the performances.
Opera Up Close will take place this Sunday, April 21, 1-3 p.m. at the Margaret C. Winston Opera Center (below) 335 West Mifflin Street, $20 general admission; free for full-season subscribers; $10 for two-show subscribers.
This event features a multimedia behind-the-scenes preview of Rusalka. General director Kathryn Smith will discuss Antonin Dvorak and the history of his fairy-tale opera. Principal artists, stage director Keturah Stickann and conductor John DeMain will participate in a roundtable discussion about Madison’s production and their own takes on this masterpiece.
Pre-Show Talks by Kathryn Smith take place on Friday, April 26, at 7 p.m. and Sunday, April 28, at 1:30 p.m. at Wisconsin Studio at Overture Center, and are free to ticket holders.
Post-Opera Q&A’s are on Friday, April 26, and Sunday, April 28, immediately following the opera in the Wisconsin Studio at Overture Center, and are free to ticket holders.
More information — including cast biographies and a blog with Q&A interviews with some cast members — is available at https://www.madisonopera.org and https://www.madisonopera.org/2018-2019-season/rusalka/.
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Classical music: The world premiere of John Harbison’s Sonata for Viola and Piano this Sunday night headlines a busy weekend at the UW that includes wind music and band music
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By Jacob Stockinger
This is a big and busy weekend at the University of Wisconsin-Madison’s Mead Witter School of Music.
The most publicized event this week, justifiably, is the world premiere of a new Sonata for Viola and Piano by composer John Harbison, who has won many awards and honors including a Pulitzer Prize and a MacArthur “genius” Fellowship. The guest pianist, from Minnesota, is Timothy Lovelace.
The premiere takes place in Mills Hall on Sunday night at 7:30 p.m. The Pro Arte Quartet will also play the “Sunrise” Quartet by Franz Joseph Haydn and “Four Encores for Stan” by Harbison. Pro Arte violist Sally Chisholm (below, in a photo by Rick Langer) will perform the new work that was written for her. It was commissioned by an anonymous patron to mark the composer’s 80th birthday.
For more information about the concert, the piece and tickets, go to: https://www.music.wisc.edu/2018/12/17/world-premiere-of-john-harbisons-viola-sonata/
In addition, Harbison (below) will give a free and public master class on Monday, Feb. 18, from noon to 1:30 p.m. in the Mills Music Library Seminar Room (Room B162G in the Memorial Library).
But that is far from the only important or noteworthy event going on.
Here is a day-by-day schedule, not including the concert by the Wisconsin Youth Symphony Orchestras’ Youth Orchestra with guest clarinetist Amitai Vardi that takes place TODAY in Mills Hall at 4 p.m. Here is a link to more about the WYSO concert:
TODAY
At 3 p.m. in Morphy Hall, the winners’ FREE concert of the Irving Shain Woodwind-Piano Duo Competition will take place. To see the four winners and their complete programs, go to: https://www.music.wisc.edu/event/irving-shain-woodwind-piano-duo-competition-winners-recital-2/
At 7:30 p.m., faculty member bassoonist Marc Vallon (below, in a photo by James Gill), who plays with the Wingra Wind Quintet, and friends will give a FREE concert. Music to be performed includes works by Robert Schumann, John Harbison, Ida Gotkowsky, Emmanuel Chabrier, Georges Bizet, Jules Massenet and Marc Vallon, although specific titles are not listed. For more information, go to: https://www.music.wisc.edu/event/faculty-recital-marc-vallon-bassoon-2/
SUNDAY
At 2 p.m. in Mills Hall, a FREE concert will be the inaugural Wind Ensemble Concerto Competition and its winner Midori Samson (below). Scott Teeple is the faculty conductor, and Cole Hairston and Ross Wolf are graduate student conductors. The concert will be STREAMED LIVE. Here is a link to the streaming portal, which also has an archive of other streamed concerts: https://www.music.wisc.edu/video/
At 4 p.m. in Mills Hall, the UW Concert Band will perform a FREE concert under the baton of its retiring director Mike Leckrone (below).
The program, subject to change, include: “Nessum Dorma” by Giacomo Puccini; “Universal Judgment” by Camille de Nardis; “Psalm for Band” by Vincent Persichetti; “La Boutique Fantastique” by Gioacchino Rossini, arranged by Ottorino Respighi; and “Nobles of the Mystic Shrine” by John Philip Sousa.
Here is a link to the program: https://www.music.wisc.edu/event/uw-concert-band/
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Classical music: Wisconsin Youth Symphony Orchestras perform the Evelyn Steenbock fall concerts TODAY and next Friday night. The Edgewood Chamber Orchestra performs this Sunday afternoon
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ALERT: This Sunday afternoon, Nov. 11, at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, the Edgewood Chamber Orchestra will give its fall concert. Conducted by Blake Walter, the chamber orchestra will play Franz Joseph Haydn’s “The Word on the Moon” Overture, Arthur Honegger’s Pastorale D’été (Summer Pastoral) and Symphony No. 1 in C minor by Felix Mendelssohn. Tickets are $5 for general admission, free with Edgewood College ID.
By Jacob Stockinger
The Wisconsin Youth Symphony Orchestras (WYSO, below) will present their first concert series of the 2018-19 season, the Evelyn Steenbock Fall Concerts TODAY, Saturday, Nov. 10, and next Friday, Nov. 16.
WYSO orchestras will perform works by Igor Stravinsky, Aram Khachaturian, Soon Hee Newbold and more. The Youth Orchestra concert will include a performance of Tchaikovsky’s “Rococo” Variations with special guest cellist Joseph Johnson.
“Joseph Johnson is an extraordinary artist and person and it will be a treat for us all to hear and collaborate with someone of his stature,” says Youth Orchestra Conductor Kyle Knox (below).
Johnson has been heard throughout the world as a soloist, chamber musician and educator. Principal cellist of the Toronto Symphony Orchestra since the 2009-10 season, he previously held the same position with the Milwaukee Symphony Orchestra. (You can hear an interview with Joseph Johnson in the YouTube video at the bottom.)
He also serves as principal cellist of the Santa Fe Opera, and during the 2008-2009 season was acting principal cellist of the Honolulu Symphony Orchestra. Prior to his Milwaukee appointment, Johnson was a member of the Minnesota Orchestra cello section for 11 years.
“The Youth Orchestra couldn’t be more excited to present a program of all-Russian music for our first concert of the season,” Knox says. “We will begin with a rarely performed gem by 20th-century composer Igor Stravinsky, followed by one of the great solo works in the cello repertoire, the “Rococo” Variations by Tchaikovsky. Finally, we will finish the evening with the mighty Symphony No. 4 by Tchaikovsky, one of the most famous orchestral works in history, which features all sections of the orchestra.”
TODAY’S concerts begin at 11:30 a.m. in Mills Hall at the UW-Madison’s Mead Witter School of Music, 455 North Park Street, Madison.
The Nov. 16 Youth Orchestra concert with guest soloist Joseph Johnson begins at 7:30 p.m. at the Middleton Performing Arts Center, 2100 Bristol Street, next to Middleton High School, with a reception to follow.
WYSO students travel from communities throughout southern Wisconsin and northern Illinois each weekend throughout the concert season to rehearse on the UW-Madison campus.
Each orchestra performs three concerts per season, with additional performance opportunities available to students, including ensembles and chamber groups.
Concert admission is $10 for adults, and $5 for youth 18 and under, with tickets available at the door.
Full concert repertoire is available at https://www.wysomusic.org/evelyn-steenbock-fall-concerts-repertoire/
To learn more about Joseph Johnson, go to: www.joecello.com.
Evelyn Steenbock Fall Concerts
Saturday, Nov. 10, Mills Concert Hall
11:30 a.m. Opus One and Sinfonietta
1:30 p.m. Harp Ensemble & Concert Orchestra
4 p.m. Percussion Ensemble (below) and Philharmonia Orchestra
Friday, Nov. 16, Middleton Performing Arts Center
7:30 p.m. Youth Orchestra, reception to follow
With guest artist Joseph Johnson, cello
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The Well-Tempered Ear 
Critics for The New York Times name their Top 10 online classical concerts for May
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By Jacob Stockinger
Even as we wait to see whether concerts in the next season will be mostly streamed or live, the critics for The New York Times have named their Top 10 classical concerts to stream and hear online in May.
The Times critics have been doing this during the pandemic year. So perhaps if and when they stop, it will be a sign of returning to concert life before the pandemic.
Then again, maybe not, since The Ear suspects that many listeners have liked the online format, at least for some of the times and for certain events. So maybe there will be a hybrid format with both live and online attendance.
As the same critics have done before, they mix an attention to contemporary composers, world premieres and up-and-coming performers, including the Finnish conductor Susanna Maliki (below top) in a photo by Hiroyuki Ito for The New York Times).
In a welcome development, the recommendations for this month also seem to mention more Black composers, performers and pieces than usual, including the rising star bass-baritone Davon Tines (below, in a photo by Vincent Tullo for The New York Times).
But you will also find many of the “usual suspects,” including Haydn, Mozart, Schubert, Bartok, Benjamin Britten, Olivier Messiaen and Shostakovich. (On the play list is Schubert’s last song, “The Shepherd on the Rock,” which you can hear in the YouTube video at the bottom.)
You will also find dates and times (all are Eastern), links to the event and some short commentaries about what makes the concerts, programs and the performers noteworthy.
Here is a link to the story: https://www.nytimes.com/2021/04/29/arts/music/classical-music-streaming.html
Do you know of local, regional, national or international online concerts that you recommend? Leave word with relevant information in the Comment section.
Happy Listening!
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