The Well-Tempered Ear

Classical music: Madison Opera’s virtual Opera in the Park goes online for FREE this Saturday night and stays up until Aug. 25. Listen to it indoors or outdoors

July 23, 2020
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By Jacob Stockinger

Madison Opera’s Opera in the Park isn’t in a park this year — as it has been in past years (below) — but it will be available for people to enjoy for free in their backyards, in their living rooms or anywhere else with an internet connection.

The digital concert will be released on this Saturday, July 25, at 8 p.m. CDT, and can be watched on Madison Opera’s website, www.madisonopera.org/digital, where you can find complete information and, soon, a complete program to download.

The annual free concert has moved online in response to the COVID-19 pandemic, with a newly created program of opera arias and more.

Digital Opera in the Park features: soprano Jasmine Habersham; soprano Karen Slack; tenor Andres Acosta; and baritone Weston Hurt. (The last two will sing the justly famous baritone-tenor duet “Au fond du temple saint” from Bizet’s “The Pearl Fishers,” which you can hear in the YouTube video at the bottom.)

Habersham (below) makes her Madison Opera debut with this unique performance, and will sing Susanna in the company’s production of Mozart’s The Marriage of Figaro next April.

Slack (below) debuted with the company in Jake Heggie’s Dead Man Walking, and will be part of the company’s digital fall season.

Acosta (below) sang Timothy Laughlin in Gregory Spears’ Fellow Travelers with Madison Opera this past February.

Hurt (below) debuted as Germont in Verdi’s La Traviata last season and is part of the company’s digital fall season.

The four singers will be joined by several important local artists. They include violinist Suzanne Beia, the assistant concertmaster of the Madison Symphony Orchestra, the concertmaster of the Wisconsin Chamber Orchestra and the second violin of the UW-Madison’s Pro Arte Quartet.

There will also be a fleet of eight pianists. They include MSO music director and Madison Opera’s artist director John DeMain (below top, in a photo by Prasad) and the UW-Madison graduate and composer Scott Gendel (below bottom). The two will play multiple numbers, including DeMain accompanying Beia on the beautiful “Meditation” from Thaïs.

Each singer recorded their arias with an accompanist in their home cities, and chorusmaster Anthony Cao (below top) both accompanies and conducts the Madison Opera Chorus (below bottom) in a virtual “Anvil Chorus” from Il Trovatore.

The evening will be hosted by Madison Opera’s General Director Kathryn Smith and by WKOW TV’s Channel 27 News co-anchor George Smith.

“Reimagining Opera in the Park in the pandemic era has been a challenge, but one we have happily embraced,” says Smith (below in a photo by James Gill). “Our wonderful artists were game to record themselves in their home towns, to sing duets with each other through headphones, and to share their artistry with our community in a new way. Over 40 choristers joined a Zoom call to get instructions, and then they recorded their parts of the ‘Anvil Chorus.’”

“While in some ways this concert has required more work than our live Opera in the Park in Garner Park, it is always a pleasure to present beautiful music for everyone to enjoy.”

Digital Opera in the Park features music from Verdi’s Il Trovatore, now canceled in live performance but originally slated to open Madison Opera’s 2020-21 season; Jerry Bock’s She Loves Me, which the company performs in January; and Mozart’s The Marriage of Figaro, which will be performed in April.

The program also includes selections from Bizet’s The Pearl Fishers, Richard Strauss’ Arabella, Verdi’s Don Pasquale, Puccini’s Tosca, Massenet’s Hérodiade and Thaïs, Rossini’s William Tell, Pablo Sarozabal’s zarzuela La Tabernera del Puerto, Rodgers and Hammerstein’s South Pacific, and more.

The concert will be available beginning at 8 p.m. CDT on this Saturday night, July 25, and will remain online until Aug. 25, allowing for both repeated viewing and flexibility for people who are unable to watch on the first night.

While Digital Opera in the Park will be free to watch, it would not be possible without the generous support of many foundations, corporations and individuals who believe in the importance of music. Madison Opera is grateful to the sponsors of Opera in the Park 2020:

  • Presenting Sponsor: the Berbeewalsh Foundation
  • Sponsors: the John and Carolyn Peterson Charitable Foundation, Full Compass Systems, the Raymond B. Preston Family Foundation, University Research Park, Colony Brands, Johnson Financial Group, MGE Foundation, National Guardian Life, Wisconsin Arts Board, Dane Arts and the Madison Arts Commission.
  • Media Sponsors: WKOW, Madison Magazine, Wisconsin Public Radio, Magic 98, and La Movida.

RELATED EVENTS include:

OPERA ON THE WALL | JULY 25, 2020 | ONLINE

Madison artists Liubov Swazko (known as Triangulador) and Mike Lroy have created artwork around our community, including beautiful murals on State Street storefronts.

In an act of artistic cross-pollination, they will create an artwork that comes from their personal response to Digital Opera in the Park, offering a rare glimpse of visual artists responding to musical artists. Their creative process will be filmed in the Madison Opera Center, and shared online starting on July 25.

The finished artwork will be displayed in the Madison Opera Center. Go to Swazko’s website at triangulador.com (one work is below) and Lroy’s website at mikelroy.com to see their past work.

POST-SHOW Q&A | JULY 25, 2020, IMMEDIATELY FOLLOWING THE INITIAL STREAM

Join Kathryn Smith and the Digital Opera in the Park artists for a post-concert discussion, including an opportunity to ask questions. Details on format and platform will be available closer to the date.

 


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Classical music: The University of Wisconsin Choral Union says goodbye to Madison architect and longtime member Rick Levin with Rachmaninoff’s “Vespers.” A memorial for Levin will be held May 18.

May 3, 2014
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By Jacob Stockinger

Gradually The Ear is catching up with reviews of local concerts.

April has been such a busy month for music, that I have given priority, as usual, to previews and advance features. They better serve not only the performers and presenters, but also the public.

But here is one review — really more of an appreciation than a review — that I wanted to include before it was too late.

A week today, last Saturday night, April 26, we said good-bye to Richard “Rick” Levin (below), a local architect, an avid baseball fan and a devoted chorister.

rick levin 2014

We said that good-bye through the University of Wisconsin-Madison Choral Union, in which Rick Levin (pronounced le-VINN) sang bass for 20 years or so.

But last year Rick was diagnosed with a form of oral cancer. He fought valiantly, with good humor and with hope, and many of us thought he would definitely make it.

Sadly, he did not.

He died on March 3.

So the UW Choral Union dedicated its one-night only performance of Sergei Rachmaninoff’s a cappella Vespers of “All-Night Vigil,” Op. 37, based on the Russian Orthodox liturgy, to Levin, who had started rehearsing the work at the beginning of the semester.

Rick was Jewish, the work’s liturgy was Christian; but it was the music by the Russian neo-Romantic composer Sergei Rachmaninoff (below), not the religion, that mattered.

Rachmaninoffold

Here is a link to some background, provided in a Q&A by the two leaders of the performance, conductors Beverly Taylor and Adam Kluck:

https://welltempered.wordpress.com/2014/04/21/classical-music-qa-co-conductors-beverly-taylor-and-adam-kluck-explain-the-appeal-of-sergei-rachmaninoffs-vespers-and-why-they-are-hard-to-perform-and-exotic-to-hear-f/

The performance proved a moving experience.

It is not a concert I really want to review artistically. I leave that task to this blog’s sometime guest critic John W. Barker, who usually writes for Isthmus.

Barker (below) knows the liturgical and religious aspects, the musical score, the Church Slavonic language and the dynamics of choral singing much better than I do. So I defer to Barker’s judgment and his review, which you can find a link to lower down on this posting.

John Barker

But I do feel capable of making some general observations.

This is the second time – the first was about 10 years ago — that conductor Beverly Taylor, the director of the choral department at the University of Wisconsin-Madison School of Music and the assistant conductor to music director John DeMain of the Madison Symphony Orchestra, had conducted the relatively neglected work and brought it to the Madison public. She also shared her conducting duties with graduate student conductor Adam Kluck.

The two switched on and off with great continuity, and both seemed in command of the score and the style.

Beverly Taylor MSO portrait COLOR USE

Adam Kluck conducting

The chorus sang the difficult a cappella work, without accompaniment, with heart.

The singers changed their usually standing position on risers, and sat in a horse shoe-like semi-circle, which added to the intimacy. It almost felt like a comforting religious set-up, suggesting a surrounding circle of friends, the kind you might find in some church, synagogue or congregation.

Vespers seating UW Choral Union

Adding to the atmosphere of the work were some paintings of angels, mural-like or mosaic-like such as you might find in a Eastern Orthodox church

Vespers 1

Vespers angel 2

There were some red candles in golden church brass holders, forming an altar next to the conductor’s podium, where even an icon of the Madonna and Child had been placed on the stage.

Vespers podium and altar

Vespers stage icon5

In addition, the Vespers opened with Father Michael, of Madison’s Assumption Greek Orthodox Church, holding aloft a candle as an invocation.

Vespers Father Michael

The Choral Union did everything to create an atmosphere that would make this concert seem unusual, special and less concert-like, more intimate, if you will.

And it worked.

I sat in the audience with Rick’s wife and several friends.

We were all moved, especially, I thought, by the many verses about redemption and salvation. Unbeliever that I am, I ask: How else does one move forward from such loss of love and the grief that accompanies it?

The texture of the vocal sound enveloped us. The chorus seemed to sing with precise attacks and releases, and with good balances that shifted emphasis from section to section. Rachmaninoff’s rich sense of harmony and of melodic line showed through.

But a higher purpose than turning in an outstanding artistic performance was served, at least for some of us.

We all sat moved –- by the testimony of a great composer, unafraid of emotion, and by the many musicians paying tribute to one of their own. Such is the Brotherhood and Sisterhood of Art and, for The Ear, especially of music.

It was a fine evening of fine music that served a fine purpose. I think Rick Levin would have been very pleased.

Is there more to say? Not for me, not now.

Except perhaps that a celebration or memorial gathering for Rick Levin will be held in two weeks, on Sunday, May 18, from 1:30 to 3:30 p.m., in the shelter in Warner Park (below) on Madison’s far east side.

Warner Park shelter

If you feel close enough to Rick and his wife Judy to join in the words and music, the ballpark franks and food that Rick so loved from his childhood in Chicago, where he was a Chicago Cubs fan and regularly went to Wright Field (below), I am told you are welcome and even invited to attend. As for memorials, Rick Levin modestly asked only that contributions be made to Wisconsin Public Radio.

Wrigley Field

Here is a link to Rick Levin’s obituary:

http://host.madison.com/news/local/obituaries/levin-richard-rick/article_9282977f-eb94-52f7-8e76-ded2b25864d2.html

And here is the link to the review of the UW Choral Union’s performance of Rachmaninoff’s “Vespers,” done by retired UW-Madison history professor John W. Barker, that I referred to above:

http://www.thedailypage.com/daily/article.php?article=42618&sid=1d5a87b16b85286f287599373df2f6be

Finally, here in its entirety is the beautiful and mysterious “Vespers” from a live performance in a popular YouTube video. Even just the opening will, I expect, move you:

 

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