The Well-Tempered Ear

Classical music: You can celebrate Valentine’s Day this Thursday, Feb. 14, with live concerts of new music or old music in a large hall or a small cafe

February 10, 2019
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By Jacob Stockinger

If you are looking to celebrate Valentine’s Day on this coming Thursday, Feb. 14, with live classical music, there are at least two excellent choices facing you.

The larger event is a FREE concert at 7:30 p.m. in Mills Hall by the UW Symphony Orchestra (below top) under the award-winning conductor and professor Chad Hutchinson (below bottom) and two graduate student conductors, Michael Dolan and Ji Hyun Yim.

The program features the “Valse Triste” (Sad Waltz) by Finnish composer Jean Sibelius and the Symphony No. 39 in E-flat Major, K. 543, by Wolfgang Amadeus Mozart.

But the main focus will be on two works by the living American composer Augusta Read Thomas (below), who lives in Chicago and whose music is widely performed because of its accessible style.

The two works by Thomas are “Of Paradise and Light” and “Prayer and Celebration.”

Thomas, who this week will be doing a residency at the UW-Madison’s Mead Witter School of Music, will also hold a free and open master class in Music Hall, at the base of Bascom Hill, from 2 to 5 p.m. that same day. (You can listen to her discuss how she composes in the YouTube video at the bottom.)

For more information about the concert, the program and especially about Thomas – including an audio sample — go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra/

A BAROQUE VALENTINE’S DAY

On Valentine’s Day, baroque chamber music enthusiasts can hear the music of the Kim-Kielson Duo as they perform a program on period instruments, titled Canons, Chaconnes and Chocolate!

Longtime friends and performers, baroque violinist Kangwon Lee Kim and recorder player Lisette Kielson (below top, right and left respectively) will be joined by viola da gambist James Waldo (below bottom).

The concert is on this Thursday, Feb. 14, at 7 p.m. at Chocolaterian Cafe, 6637 University Ave., in Middleton.

You can name your own ticket price — $20-$35 per person is suggested, payable in either cash or check.

There also will be Special Valentine’s Day Chocolate available for purchase.

The program celebrates the popular baroque forms of the canon and chaconne as composed by Italian, German and French masters.

The duo will perform three chaconnes by Tarquinio Merula, Antonio Bertali and Marin Marais plus canonic duos by Georg Philipp Telemann as well as an arrangement of canons from The Art of Fugue, BWV 1080, by Johann Sebastian Bach.

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Classical music: This weekend also brings holiday brass music, string music and new chamber music with voice to the UW. Plus, live radio broadcasts from the Metropolitan Opera start this Saturday on Wisconsin Public Radio

November 30, 2018
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ALERT: This Saturday, Dec. 1, sees the start of the “Live From the Met” opera broadcasts on Wisconsin Public Radio with Arrigo Boito’s opera “Mefistofole.” The weekly series, now in its 88th year, will continue through May 11. Starting time is usually noon. Here is a link to the radio broadcast season: https://www.wpr.org/metropolitan-opera-begins-its-88th-season

By Jacob Stockinger

As usually happens towards the end of the semester, concerts are backing up, especially on the weekends.

Yesterday, information about the two performances of the annual UW-Madison Winter Choral Concert on Sunday afternoon was posted. Here is a link: https://welltempered.wordpress.com/2018/11/29/classical-music-two-performances-of-the-uw-madisons-popular-winter-choral-concert-takes-place-this-sunday-afternoon/

But much more is going on.

Take a look and listen:

SATURDAY

Non-music majors, take heart. If you attend the University of Wisconsin-Madison, you can still play and perform while pursuing other studies.

At 4 p.m. in Mills Hall, the All-University Strings (AUS) will perform a FREE concert that is open to the public.

The group (below, in a photo by Jeff Miller for the UW-Madison) is comprised of two non-major string orchestras (named Orchestra One and Orchestra Too), and is open to all interested string players. No audition is required, seating order is voluntary, and there is no ranking within the sections.

The AUS program endeavors to be a true learning community, serving students from virtually every department and major with the goal of nurturing lifelong engagement in music and the arts.

Pedro Oviedo is the conductor, and the guest artists are The Hunt Quartet. (The string quartet is made up of graduate students at the UW-Madison’s Mead Witter School of Music: Chang En Lu and Ava Shadmani, violins; Fabio Saggin, viola; and Alex Chambers-Ozasky, cello. They will be joined by Max Herteen, double bass.)

The appealing program includes:

Norman Leyden: Serenade for Strings

Karl Jenkins: Allegretto from “Palladio” (A neo-Baroque piece you might recognize from a De Beers “Diamonds Are Forever” ad. Listen to it in the YouTube video at the bottom.)

Eric WhitacreOctober

Modest Mussorgsky, orchestrated by Maurice Ravel: “The Hut on Fowl’s Legs (Baba Yaga)” and “The Great Gate of Kiev” from Pictures at an Exhibition

Astor PiazzollaLa muerte del angel (The Death of the Angel)

Ralph Vaughan Williams: Concerto Grosso

SUNDAY

At 12:30 p.m. the UW Horn Choir (below) will present its annual holiday concert at the Chazen Music of Art as part of the Sunday Afternoon Live at the Chazen series.

The FREE and public concert, directed and conducted by horn Professor Daniel Grabois, takes place in Brittingham Gallery No. 3.

The event will also be streamed live. Here is a link to the streaming portal as well as information about the program, which includes Bach and Mahler, the players and how to reserve seats:

https://www.chazen.wisc.edu/about/news/in-the-news/sunday-afternoon-live-with-the-uw-horn-choir/

At 8 p.m. in Morphy Hall, a FREE concert of chamber music by distinguished guest artists will be held.

The Brooklyn-based soprano-violin duo Cipher Duo (below top, Justine Aronson and Sarah Goldfeather) will team up with cellist Nicholas Photinos(below bottom), a member of the Grammy-winning chamber music ensemble eighth blackbird, for an evening-length performance of both new and reimagined music.

The program will include works by Sarah Goldfeather, Amy Beth Kirsten, David T Little, Dolly Parton and more.

On Monday, the performers will also give public master classes:

The Cello Master Class is Monday, Dec. 3, 12:15-2:15 p.m. in Morphy Hall.

The Violin-Voice Master Class: Monday, Dec. 3, 1:15-3:15 p.m. in Music Hall.

For more information about the program and performers, go to: https://www.music.wisc.edu/event/guest-artists-nicholas-photinos-cello-and-cipher-duo-voice-and-violin/


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Classical music: University Opera’s “Poppea” proves engaging, satisfying and timely. Performances remain this afternoon at 2 and Tuesday night at 7:30 

November 18, 2018
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By Jacob Stockinger

Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the University Opera and filed this review, with rehearsal photos of students, who alternate roles in different performances, by Michael R. Anderson.

By Larry Wells

The only other time I attended a performance of Claudio Monteverdi’s “The Coronation of Poppea” (1643) was in the early 1980s at The San Francisco Opera. Despite the appearance of Tatiana Troyanos as Poppea, I remember being baffled by both the static nature of the music and the grandness of the production of what seemed should be an intimate opera.

That memory, in addition to my being a fan of 20th-century music, made attending the opening performance of University Opera’s performance Friday evening fraught with foreboding.

Despite the production being a lengthy three hours, I must praise the ensemble and director David Ronis — who never disappoints — for keeping my attention throughout the evening as I witnessed an intimate retelling of the passion between Nero and Poppea (portrayed below by Benjamin Hopkins and Anja Pustaver).

The opera was staged in Music Hall on a semicircular platform with the small instrumental ensemble directly to the front side of the audience. Stunning lighting and beautiful costumes made up for the minimal set. I was seated in the center of the first row of the balcony and must say that the sightlines and the sound were superb, even though it was very hot up there. (Below is the coronation scene with Hopkins and Pustaver in the center.)

The ensemble was conducted by Chad Hutchinson (below) whom I had heard conduct the UW Symphony Orchestra the night before in a rousing Tchaikovsky’s Fifth Symphony. The plucked instruments – harp, guitars, theorbo (I had to look it up, too) and harpsichords – were the backbone of the accompaniment. Strings and recorders completed the orchestra, and they were a delight to the ear – totally delicate and restrained.

The plot of the opera involves love triangles and political intrigue. The supertitles created by David Ronis (below, in a photo by Luke Dalalio) were amusing and colloquial. So much of the political posturing by Nero, whose main motivation is consistently self-interest, seemed to be pertinent to our time.

Nero was sung by countertenor Thomas Aláan who has a voice of great agility and expressiveness. His lover, Poppea, who yearns to be his empress, was sung by Talia Engstrom. Hers is a voice of great suppleness and flexibility. Throughout the evening she acted and sang with great subtlety, and I admired her performance very much.

I had been primed for the opera’s very final duet (heard in the YouTube video at the bottom) to be the most sublime moment of the opera, but I was much more aroused by the farewell duet between Nero and Poppea toward the end of the first act. It was highly charged vocally and erotic in its beauty and delivery.

Other characters included Seneca, portrayed by bass Benjamin Galvin (below left front, surrounded, from left to right, by Eliav Goldman, Jack Innes, Jiabao Zhang, Jake Elfner and Noah Bossert.) The lower range of his voice is profound and impressive.

Kevin Green (below right with Pustaver) portrayed the hapless Ottone, and his baritone voice shows promise.

It was, however, a night for the female singers. Cayla Rosché’s Ottavia was beautifully sung. She was completely believable as the spurned wife of Nero. Likewise Kelsey Wang’s Drusilla, Ottone’s second choice, was also wonderfully sung.

In the first scene we were introduced to Fortuna, Virtù and Amore who shone vocally. Throughout the remainder of the opera they silently hovered in the background as visual reminders of the forces driving the plots. Love, portrayed by Emily Vandenberg, eventually triumphed and got to sing a bit more.

There were moments of humor sprinkled throughout the production. I do not know how historically informed they were, but they did help to lighten the heaviness of the political intrigue and amorous complexities.

Some were perhaps unintentional – particularly the absurdly amusing wig that Fortuna wore. But Professor Mimmi Fulmer, in the small role as Nutrice, had a moment of complete hilarity. Her performance – both vocally and as an actress – underlined the contrast between earnestly serious, focused students and a relaxed, confident professional. (Below is the final scene with Nero and Poppea).

Altogether, it was a surprisingly engaging evening. There remain chances to see it this afternoon and Tuesday evening. It is not a brief or light evening of entertainment, but it is wholly engaging, thought provoking, timely and certainly something out of the ordinary.

Two more performances take place in Music Hall: today at 2 p.m. and Tuesday night at 7:30 p.m. For more information including how to get tickets – adults are $25, seniors are $20 and students are $10 — go to: https://www.music.wisc.edu/event/university-opera-monteverdis-the-coronation-of-poppea/


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Classical music: A busy week at the UW-Madison brings an early opera and an all-Bernstein brass and winds program plus orchestral and choral concerts that will be LIVE-STREAMED

November 14, 2018
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By Jacob Stockinger

A busy week brings an early opera plus orchestral and choral concerts with live streaming to the UW-Madison’s Mead Witter School of Music.

Here are details:

On Thursday and Saturday nights, the UW-Madison Mead Witter School of Music will LIVE STREAM concerts by the UW Symphony Orchestra and the UW Concert Choir.

“We plan to do more live streaming of ensemble groups,  especially large ones, and of non-ticketed events,” says concert manager Katherine Esposito. “It is more and more becoming the norm for music schools.”

Here is the all-purpose Live Streaming link where you can see what events will be live-streamed: https://www.music.wisc.edu/video/

At 7:30 p.m. on Thursday night, Nov. 15, in Mills Hall, the UW Symphony Orchestra (below top) will perform a FREE concert under director Chad Hutchinson (below bottom).

The program is American composer Jennifer Higdon’s “Blue Cathedral” and the Symphony No. 5 by Peter Ilyich Tchaikovsky.

For information about the program and the concert, go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-2/

On Saturday night, Nov. 17,  at 8 p.m. in Mills Hall, the Concert Choir (below) will perform a FREE concert featuring the “Hymn to St. Cecilia” by British composer Benjamin Britten and “Lamentations of the Prophet Jeremiah” by Argentinian composer Alberto Ginastera as well as works by several other composers.

Conductors will be Beverly Taylor (below), the director of choral activities at the UW-Madison, and graduate student Michael Johnson.

For details about the program and individual performers, go to: https://www.music.wisc.edu/event/uw-concert-choir-2/

On Friday night, Nov. 16, at 7:30 p.m. in Music Hall there is the first of three performances by the University Opera of Italian baroque composer Claudio Monteverdi’s “The Coronation of Poppea,” directed by David Ronis (below, in a photo by Luke Delalio).

Other performances are on Sunday afternoon, Nov. 18,  at 2 p.m. and Tuesday night, Nov. 20, at 7:30 in Music Hall. (Sorry, no photos of the UW production. But you can hear a famous duet from another professional production in the YouTube video below.)

Tickets are $25 for adults, $20 for seniors and $10 for students.

Chad Hutchinson will conduct the orchestra.

For more information about the plot of the opera, comments by the two singers playing Emperor Nero, the production and tickets, go to: https://www.music.wisc.edu/event/university-opera-monteverdis-the-coronation-of-poppea/

And here is a link to a press release about the opera: https://www.music.wisc.edu/2018/10/09/university-opera-poppea2018/

On Sunday night, Nov. 18, at 7 p.m. in Mills Hall, the UW Brass Ensemble and the Winds of Wisconsin join forces under conductor Scott Teeple for an FREE all-Leonard Bernstein (below) program. For details, go to: https://www.music.wisc.edu/event/uw-wind-ensemble-and-winds-of-wisconsin-joint-concert/


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Classical music: A curmudgeon vents his complaints concerning the music scene in Madison, Plus, this Sunday Afternoon the Pro Arte Quartet plays Haydn and Dvorak in a FREE concert at the Chazen Museum of Art that will be streamed live

November 4, 2017
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ALERT: The UW’s acclaimed Pro Arte Quartet will perform a FREE concert tomorrow, Sunday, Nov. 5, at 12:30 p.m., at the Chazen Museum of Art in Brittingham Gallery No. 3. The program features the String Quartet in E Major, Op. 53, No 3, by Franz Joseph Haydn and the String Quartet in A Minor, Op. 16, by Antonin Dvorak. The “Sunday Afternoon Live at the Chazen” concert will also be streamed live. Here is a link:

https://www.chazen.wisc.edu/about/news/in-the-news/sunday-afternoon-live-with-pro-arte-quartet-november-5/

By Jacob Stockinger

Here is an essay by Larry Wells, a guest reviewer and a frequent concertgoer. He writes:

“As I have aged, I have become more of a curmudgeon. (My friends and family will readily attest to this.) It is in that spirit that I address some annoyances I have been experiencing over the past few years while attending musical events in Madison.

“I will start with a recent experience, attending University Opera’s performances of “A Kurt Weill Cabaret” at Music Hall (below). The two arms of any seat in the hall have two different numbers. Unless the guest was paying attention as he entered the row, it is unclear which number belongs to which seat. After attending a few shows there, I have figured it out. But I don’t believe I have ever been to a performance there when there hasn’t been confusion about which seat is which. I have routinely heard people asking others (who are generally equally clueless), and I have routinely seen blocks of people shift over one seat. You would think that someone at a great educational institution could figure out a way to make the seating less baffling.

“An equally annoying phenomenon occurs regularly at Mills Hall, also on campus. I discovered that, for choral concerts particularly, the sound in the balcony is far better than the sound on the main floor. However, the doors of the balcony are often locked and the ushers regularly say that the balcony is not open. Upon making further insistent inquiries, I usually manage to get someone to unlock the balcony, but I wonder why it is felt that unlocking it routinely is such an onerous task.

“I will also mention that, regardless of one’s seat location in Mills Hall, it is difficult not to notice that the sound clouds over the stage are in sore need of a dusting and cleaning.

Stephen Sondheim wrote a wonderfully amusing song for “The Frogs” called “Invocation and Instructions to the Audience.” In it the audience is reminded not to talk, cough, fart and so on. (You can hear the piece in the YouTube video at the bottom.)

“At the aforementioned performances in the Music Hall (I went twice), I saw people texting and video recording the performance even though the program has, in very small print, an admonishment not to photograph or film. At a recent choral concert in Mills Hall, texting was rampant during the performance, and there was no mention about turning off cell phones in the program. The bright screens immediately draw the eye away from the stage. I find it extremely distracting.

“At performances given by the UW Dance Department, a loud and forceful announcement at the beginning of each performance instructs the audience to turn off cell phones, no texting, no photos, etc. A similar announcement takes place not only at the beginning of the concert but also at the end of intermissions for performances at Overture Center. I think it is time for the UW Music Department to address the issue in a similar way.

“Another criticism of the way that things are done by the Music Department: Why is it so hard to find out what is being performed at a recital or concert? The Music Department has a good website with a calendar that lists the performances being given on any day, but many times the program is not included in that information. I am disinclined to go to a concert when I don’t know what the program is, and I often will go to a performance just to hear one work if it’s one I am anxious to hear. Thus, I often have to go roaming around the Music Building looking for posters or sometimes even going to the person sponsoring the performance to ask what the program is. It shouldn’t be that hard.

“An issue at Overture Center is whispering. I do not understand how people have lived to the ripe old ages that most of the audience members have and not come to realize that whispering is still audible.

“Two seats away from me at Overture Hall for my symphony subscription is a woman who, at every single performance, starts to cough as soon as the music begins, noisily unzips her purse, reaches in and fumbles around until she finds her cough drop, and then noisily unwraps its cellophane cover. Every time. It is a wonderment to me that she has not discovered that she could unwrap the cough drops in advance and have them at the ready.

“When I subscribed to the San Francisco Symphony, there were bowls of wax paper wrapped cough drops at every entrance. Not a bad idea.

“And then there is the seemingly obligatory standing ovation syndrome that has become a standard feature of every performance in Madison. In the rest of the world a standing ovation is reserved for an extraordinary performance deserving special recognition. Here I think of Pavlov’s dog and sheep. The performance ends, one person leaps to his feet (that’s the Pavlov part) and everyone else stands (that’s the sheep). At the same time the sentiment has been lost, and it all seems rather provincial to me.

“I realize that these are all first-world problems of little importance. They are minor annoyances, but that is what a curmudgeon dwells on. And it feels great to vent.”

Do you agree with any of these complaints?

Do you have any major or minor complaints to add?

The Ear wants to hear.


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Classical music: The University Opera performs an unusual and original Kurt Weill cabaret this coming Friday night and Sunday afternoon and next Tuesday night

October 23, 2017
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By Jacob Stockinger

This fall, University Opera is taking a short break from strictly operatic offerings – in the spring it will stage Puccini’s “La Bohème” — as it turns to the music of Kurt Weill (1900-1950).

No ordinary medley, A KURT WEILL CABARET is an organized pastiche of 21 solos and ensembles from many diverse works by Kurt Weill (below, in a photo from the German Federal Archive), and will be presented at Music Hall on the UW-Madison campus at the foot of Bascom Hill.

(One of the most famous and popular Kurt Weill songs to be performed, “Alabama Song,” once covered by the rock band The Doors in the 1960s, can be heard performed by Lotte Lenya in the YouTube video at the bottom.)

Performances are this Friday, Oct. 27, at 7:30 p.m.; this coming Sunday, Oct. 29, at 3 p.m.; and next Tuesday night, Oct. 31, at 7:30 p.m.

University Opera director David Ronis (below, in a photo by Luke Delalio)  will direct the show.

Chad Hutchinson (below), adjunct professor of orchestras, will conduct.

Musical preparation will be by UW-Madison collaborative pianist and vocal coach, Daniel Fung (below bottom).

Tickets are $25 for the general public; $20 for seniors; and $10 for UW students.

Here is a link to a full-length press release from the Mead Witter School of Music at the University of Wisconsin-Madison. It has information about the performers and the program as well as historical background about Kurt Weill and how to purchase tickets.

http://www.music.wisc.edu/2017/09/27/university-opera-presents-a-kurt-weill-cabaret/

For more information in general about University Opera, got to:

http://www.music.wisc.edu/opera/


Classical music: A new early music vocal group — “Voces aestatis” (Summer Voices) — makes its debut this Friday night with early music by Byrd, Palestrina, Lasso and others. Also, the Madison Area Youth Orchestra (MAYCO) performs Barber, Shostakovich and Mozart on Friday night. Plus, the Wisconsin State Music Honors air on Wisconsin Public Television on Thursday night at 7.

August 20, 2014
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ALERT: If you want to hear some wonderful young musicians performing, be sure to tune into the Wisconsin State Music Honors concert, which spotlights young musicians in middle and high school.  The orchestral and vocal performances took place in Overture Hall at the Overture Center for the Arts and will air on Wisconsin Public Television (WPT) this Thursday night, Aug. 21, at 7 p.m.

The Ear promises you: Tune in and listen and you will be impressed. And kudos to WPT for giving student artists the kind of public recognition that is usually lavished on student athletes.

Here is a link to the schedule blurb:

http://wptschedule.org/episodes/44717914/2013-State-Honors-Concerts/

wpt state honors concert 2014

By Jacob Stockinger

The Latin name means “Summer Voices.”

That’s not surprising. The leader of the new early music vocal group “Voces aestatis” (below top) is Ben Luedcke, the church music director who for years has also led the Madison Summer Choir (below bottom), which usually performs later repertoire.

Voces aestratis 1

Summer Choir 2011 orchestraI

Here is an official announcement:

“VOCES AESTATIS” TO GIVE DEBUT CONCERT IN MADISON

Voces Aestatis (pronounced VOH-ches eh-STAH-tees) is a new early music choral ensemble, and Madison’s only professional choir specializing in 16th-century repertoire.

This ensemble features 12 voices, striving for a clarity of tone and pure blending, with expressive singing in an intimate setting.

Director Ben Luedcke (below) has selected several well-known Renaissance favorites for the debut concert, as well as a few surprises.

Ben Luedcke conducts voces aestratis

The first half features sacred pieces exploring Christ’s birth, death and legacy. It features works by William Byrd, Michael Praetorius, Tomas Luis de Victoria, Giovanni da Palestrina, Orlando di Lasso (below), Antonio Lotti, Johannes Ockeghem, Thomas Tallis, Orlando Gibbons, and Heinrich Schütz.

The second half of the concert focuses primarily on the pinnacle genre of secular Renaissance repertoire — Italian and English Madrigals. It features works by Carlo Gesualdo, Claudio Monteverdi, Thomas Weelkes, Michael Cavendish and John Wilbye.

Orlando di Lasso

The one-time-only performance is this Friday night, August 22, at 7:30 p.m. in St. Andrew’s Episcopal Church (below), 1833 Regent Street, on Madison’s near west side near Randall Elementary School.

General admission tickets are $10, and are available at the door.

St. Andrew's Episcopal Madison Front

MAYCO PERFORMS LAST CONCERT THIS SUMMER

“Train wrecks,” as The Wise Critic calls them when he refers to excellent but conflicting events, are happening more and more frequently in classical music around Madison.

Even the summer doesn’t take us away from them.

Take, for one example, the conflict between the closing concert of the Token Creek Chamber Music Festival at 4 p.m. on Sunday afternoon, Aug. 31, and the University of Wisconsin-Madison School of Music memorial for longtime pianist Howard Karp, which is slated for the same approximate time, 3 p.m. to 5 p.m., with a reception following.

Another such “train wreck” is this Friday night.

In addition to the vocal concert previewed above, the Madison Area Youth Chamber Orchestra (MAYCO, below) will perform its second and last concert of this summer.

MAYCO playing

The concert is under the baton of MAYCO’s founder and UW-Madison student violist Mikko Rankin Utevsky (below top), and will take place at 7:30 p.m. in Music Hall (below bottom), on the UW-Madison campus at the foot of Bascom Hill.

Admission is $7; by donation for students.

new Mikko Utevsky baton profile USE

MusicHall2

The program includes: Overture to “The Magic Flute” by Wolfgang Amadeus Mozart; “Knoxville, Summer 1915” (at bottom in a YouTube video with the ravishing voice and clear diction of Dawn Upshaw) by Samuel Barber with text by James Agee, and featuring soprano soloist Caitlin Ruby Miller; and Dmitri Shostakovich’s Symphony No. 9 in E Minor.

caitlin ruby miller

Here is a link to MAYCO’s website and to a previous story and review from earlier this summer:

http://www.madisonareayouthchamberorchestra.org

https://welltempered.wordpress.com/2014/07/28/classical-music-the-ear-does-some-more-catching-up-this-time-he-takes-in-the-madison-area-youth-chamber-orchestra-mayco-plus-here-is-more-news-from-day-4-of-wysos-tour-in-argentina/

 

 

 


Classical music: The Ear does some more catching up. This time he takes in the Madison Area Youth Chamber Orchestra (MAYCO). Plus, here is more news from Day 4 of WYSO’s tour in Argentina.

July 28, 2014
6 Comments

Here is the daily alert for the tour though Aug. 3 by Wisconsin Youth Symphony Orchestras (WYSO) in Argentina. Here is a link to the latest news from Day 4: www.wysotour2014.blogspot.com

WYSO Youth  Orchestra

By Jacob Stockinger

As I said yesterday, The Ear is finally getting a chance to catch up on some old business, now that live concerts have quieted down a bit for a while.

Here is an overdue review.

MADISON AREA YOUTH CHAMBER ORCHESTRA (MAYCO) EXCELS IN OLD MUSIC AND NEW MUSIC

On Friday, July 11, the Madison Area Youth Chamber Orchestra (MAYCO) performed “Triumph and Delight,” the first of its two concerts this summer. This one was at the handsome new Atrium auditorium, with its bright acoustics, of the First Unitarian Society of Madison 900 University Bay Drive.

Founder and conductor Mikko Utevsky (below), who is currently a student at the University of Wisconsin-Madison School of Music, led the group through an intriguing program that include the Piano Concerto No. 11 in D Major, by Franz Joseph Haydn; the “Reformation” Symphony by Felix Mendelssohn; and the world premiere of a “Experiment No. 1” by his fellow student, composer Olivia Zeuske.

Mikko Utevsky with baton

The soloist in the Haydn Piano Concerto was UW-Madison graduate Thomas Kasdorf (below). The Ear recently heard him in the Romantic and evergreen Piano Concerto In A Minor by Edvard Grieg, played with the Middleton Community Orchestra. And the performance was impressive, so expectations were high.

And those expectations were both met and surpassed in the Haydn.

thomas kasdorf 2:jpg

This was not, thank goodness, period Haydn. From what The Ear heard, Kasdorf made no attempt to scale back his part and treat the piano like some Classical-era fortepiano. Instead this was robust and rich Haydn, an interpretation that made Papa Haydn sound more alive than dead. The humor and tunefulness plus the effective, if sparing, use of dissonance, all came through convincingly and in a contemporary way.

Add in the orchestra’s careful attention to part-playing and to dialogue with the piano, and you had a performance that The Ear loved.

Thomas Kasdorf at FUS MAYCO Haydn

The work by Olivia Zeuske (below) proved highly atmospheric –- not exactly 12-tone or atonal, but not exactly not, either. For the most part, The Ear found it appealing, engaging and attractive.

But for The Ear, who admits to being a “tunes” guy, it could have used some kind of melody or motif that was recognizable and repeated. In addition the piece could use more distinctiveness among the three sections, so the structure guides your listening.

True, the very end did seem to build to some kind of climax, and you knew something was about to happen. But a lot of the rest of the piece seemed to have a tad too much lateral drift. A good statement or speech is not made by a series of “um”’s and “you know”’s and similar filler. And it takes more than sound to make music.

Still, The Ear thinks that she has a future and looks forward to hearing more from Olivia Zeuske.

olivia zeuske 2014

The famous and familiar “Reformation” Symphony by Felix Mendelssohn was not weak except by comparison to the other performances. Some of it seemed a bit muddled, and The Ear wondered if it couldn’t have used more rehearsal time, which more likely went to working with the soloist and the world premiere. Still, the music carries itself in a great way.

Plus, it was set off and spotlighted by a stroke of genius and inspiration in programming. Utevsky opened the entire program with the chorale prelude-type arrangement by Johann Sebastian Bach for orchestra of the hymn by Martin Luther “Ein Feste Burg” (A Mighty Fortress is Our God”). (At bottom, you can hear an arrangement by Leopold Stokowski that sounds a bit Wagnerian and even “Parsifal”-like at the end because of the horns.)

That is the same Lutheran hymn that Mendelssohn, a Jew who converted to Christianity but was nonetheless banned from being performed under the Nazis and Adolf Hitler, used in the finale to his irresistible symphony.

Kudos, then, to this fine group of young up-and-coming musicians, who were warmly applauded by a good size audience of more than friends and family members.

Mikko Utevsky and MAYCO at FUS

MAYCO audience at FUS July 2014

It makes one look forward to MAYCO’s next concert at 7:30 p.m. on Friday, Aug. 22. That’s when soprano Caitlin Ruby Miller (below) will join then in Samuel Barber’s “Knoxville, Summer 1915” with words by James Agee and music by Samuel Barber; the Symphony No. 9 in E-Flat Major, Op. 90, by Dmitri Shostakovich; and the Overture to “The Magic Flute” by Wolfgang Amadeus Mozart.

caitlin ruby miller

The advertised venue is Music Hall, though the Atrium auditorium and other venues are still being considered, so stay tuned. Tickets are an affordable $7 with students being asked to donate what they can.

The Ear says: Don’t miss it.

 

 


Classical music: The Ear catches up with the 15th annual Madison Early Music Festival, and takes in the second annual Handel Aria Competition and the All-Festival Concert. Both get big, hearty shout-outs and Hallelujahs. Plus, see how the WYSO tour to Argentina is going.

July 26, 2014
2 Comments

ALERT: If you want to find out the latest news about the tour to Argentina by the Youth Orchestra (below) of the Wisconsin Youth Symphony Orchestras, here is a link to the blog:

www.wysotour2014.blogspot.com

WYSO Youth  Orchestra

By Jacob Stockinger

As you probably already know, The Ear is running a bit behind.

That’s how busy even the summer season has become, when it comes to classical music in the Madison area. And reviews take a second seat to previews and advance Q&A’s that benefit the performers and audiences.

So over the next few days, I want to provide some critiques and reviews, and even more shout-outs, to various events that took place over the past couple of weeks. I hope you will forgive my tardiness.

You should also know that I am not going in chronological order because some things seem more important or more timely, and therefore more overdue, than others.

So, first things first.

As you probably know, this summer marked the 15th anniversary of the annual Madison Early Music Festival that takes place each July at the University of Wisconsin-Madison School of Music.

Here is the official website of the competition with the results plus background and biographies of all the finalists and other information:

www.handelariacompetition.com

memf banner 2014

True, the second annual Handel competition is not strictly speaking a part of MEMF. But it is affiliated with MEMF. And since I have already covered the extraordinary MEMF opening concert “The Leonardo da Vinci  Codex” by the Toronto Consort, I wanted to bring you up to date with the results of the aria competition, which has begun to attract national and even international attention.

Here are the big point to note: What a difference a year makes!

This year there was no unsatisfactory split or disagreement between the four judges and the public, as there was last year. BRAVO!!!!

This year, both the judges and the public — which had some pretty discerning listeners in it — agreed on the winner: She was Chelsea Morris (below), who might be familiar from other appearances in Madison with the Madison Bach Musicians and Trevor Stephenson, who whom she has released a CD of songs by Wolfgang Amadeus Mozart, Franz Joseph Haydn and  Franz Schubert.

Morris met all the criteria that Professor John W. Barker, an insightful critic and devoted Handelian, had outlined in his pre-concert lecture. He emphasized that it was not only about beautiful singing but also capturing the sense of drama in a role, of great diction, of ornamentation, of mastering the Handelian style.

Chelsea Morris did all of them, and the second time proved the charm. (You can hear her entry in last year’s aria competition in a YouTube video at the bottom.) And she is moving from Chicago to Madison as her base, where she will be a Studio Artist with the Madison Opera this coming season  So The Ear hopes to score a Q&A with her soon. She won $1,000 and free tuition (worth just under $500) to next summer’s Madison Early Music Festival.

Morris sang “Svelato il cor ti vedo” and “L’amor que per te sento” from “Alessandro” and “O Sleep, why dost thou leave me?” from “Semele.”

MEMF 2014 Chelsea Morris

Second Prize went to Daniel Moody (below), a countertenor who sang “Pomoe vane do morte! And “Dove aei, amato ben” from the opera “Rodelinda”:

MEMF 2014 Handel Daniel Moody

Third Prize ($500) went to soprano Yukie Sato, a Tokyo native who is now based in Basel, Switzerland where she won a similar competition. With much drama, she sang “A Ruggiero crudel” and “Ombre palle” from “Alcina” and “Rejoice greatly, O daughter of Zion” from the oratorio “Messiah.

MEMF 2014 Yukie Sato

You read me right: Tokyo and Switzerland. This past year, some money had been raised to help pay travel expenses, and that paid off in the quality of singing, which was higher overall.

The applicants this time numbered 60, and they came from around the nation and world. That was whittled down to 30, and then 15 and then, in the end, to seven finalists (below) because the judges couldn’t agree on just six.

Each contestant had to sing one aria in Italian and another in English. The Ear likes that. It helped us in judging diction, and helped you to appreciate the range of Handel’s music. But The Ear wishes that in future competitions they would ban arias from “Messiah” since you hear that music enough already.

MEMF 2014 7 Handel contestants

One downside: Held in Music Hall, the Handel aria smack-down drew an audience about half as big as last year, maybe 250 instead of the 500 in Mills Hall. No doubt that fact that admission this year was $10, while last year it was free, figured in that lower attendance. I would sure like to see it return to free admission, if possible. It is a great way to introduce people to the world of Handel, and draw a general audience –- not just specialists.

But another plus this year was that the singers were accompanied by a small five-person pickup orchestra or consort (below) made up mostly of faculty members and professional instrumentalists from the Madison Early Music Festival. The sound sure added authenticity and helped both the singers and the listeners get into the mood of Handel operas, which have been rediscovered big time. Plus, it was just more fun to listen to with great variety of sound, timbre and tone.

MEMF 2014 Handel consort

This year’s Handel Aria Competition was nothing short of a triumph. The competition is well on its way to becoming an impressive and fun Madison summertime institution. All thanks go, then, to founders and sponsors Dean and Orange Schroeder (below, holding a bust of George Frideric Handel), the business owners of Orange Tree Imports on Monroe Street, who are such reliable and generous supporters of Madison’s classical music scene.

MEMF Handel 2014 Handel Orange and Dean Schroeder

THE ALL-FESTIVAL CONCLUDING CONCERT

A week ago tonight, the Madison Early music held its All-Festival Concert in Luther Memorial Church, 1021 University Avenue. (MEMF had to use Music Hall and Luther Memorial as alternative venues this summer because Mills Hall at the UW-Madison School of Music was undergoing repairs.)

And speaking of triumphs, the thematic program was based on the sonnet cycle of “Triumph” by Petrarch (below), who examined the importance of Love, Chastity, Death, Fame, Time and Eternity. It is a work that both anticipates and sums up the emerging humanism of the Italian Renaissance.

francesco petrarca or petrarch

There are not a lot of specific remarks I can make except that:

The program was well constructed by Grant Herreid (below), who also conducted it.

MEMF 2014 All-Festival Grant Herreid

The orchestra played beautifully and produced big full sound enhanced by the church’s acoustics. Yet a balance was maintained, and vocal and instrumental parts blended.

The various soloists -– and there were many –- were impressive.

Lasting just over an hour, it was a perfect wrap up to a great festival.

MEMF 2014 All-Festival

Co-founders and co-artistic directors UW-Madison baritone Paul Rowe and Cheryl Bensman Rowe, who both sang in the chorus parts, also announced that next year’s theme will be Early Music in Central and Eastern Europe, including Czechoslovakia, Poland and Bohemia.

Sounds great.

Can’t wait.


Classical music: The Madison Early Music Festival turns 15 with a perfect opening concert by the Toronto Consort that explored the Italian Renaissance and the musical legacy of Leonardo da Vinci.

July 15, 2014
1 Comment

By Jacob Stockinger

The Madison Early Music Festival started as an idea.

So, what better way to mark its 15th anniversary than by exploring perhaps history’s greatest Man of Ideas -– Leonardo da Vinci?

Leonardo da Vinci

And that is exactly what happened during the opening concert last Saturday  night by MEMF, which this year is exploring Italian music from 1300 to 1600.

memf banner 2014

The festival — complete with workshops, lectures and concerts -– is held each summer at the University of Wisconsin-Madison School of Music.

It started as a way to help fill the summertime void of classical music. But now summer is its own season when it comes to classical music in Madison, and much of that success is due to MEMF’s success.

Co-founders and co-artistic directors UW-Madison baritone Paul Rowe and his soprano wife Cheryl Bensman Rowe (below) had every reason to be proud and moved -– and they were, visibly and audibly.

Paul Rowe, Cheryl Bensman Rowe MEMF 2014

This summer, because Mills Hall is under construction, MEMF has had to turn to other venues, chiefly the nearby Luther Memorial Church at 1021 University Avenue and Music Hall on Bascom Hill.

The opening concert “The Da Vinci Codex” was held at Luther Memorial, and the church seemed close to full, meaning almost 400 listeners attended. This alternative venue actually seemed an improvement in that it offered a warm and acoustically superior environment with sets and a building that complemented the religious beliefs and art of that era’s music and culture.

MEMF 2014 Luther Memorial

MEMF 2014 Luther Memorial audience

The program was set up by a fine and well-attended lecture and slide show given by UW-Madison art professor Gail Geiger (below). She examined the heretofore underestimated role of music in Leonardo’s life and career as a painter, drawing master, poet, engineer, inventor and all-round genius.

MEMF 2014 Gail Geiger

MEMF Gail Geiger slide show Leonardo

What the audience then heard was a two-hour concert in which no false note was sounded, no false step was taken.

The performer was the Toronto Consort, making its Madison debut. It proved an outstanding and thoroughly professional group of eight persons (below) who are multi-talented in their ability to sing, to play instruments and to recite narration dramatically, expressively and convincingly. They were not afraid to entertain and as well as to inform. (You can hear a sample of similar music performed by the Toronto Consort in a YouTube video at the bottom.)

Toronto Consort MEMF 2014

The Ear was especially impressed by the tightness of the scissors-and-paste presentation and the uncanny way the Toronto Consort spoke to and engaged with the audience, who laughed and applauded thunderously.

MEMF 2014 Luther Memorial audience Toronto Consort

The program’s effectiveness came from the terrifically seamless and smooth narrative thread, the story that centered on the life and works of Leonardo da Vinci. It was unifying and used primary sources (Leonardo’s notebooks and letters) and secondary sources like the proto-art historian Giorgio Vasari’s “Lives” and other historians or critics. (Below is David Fallis, the artistic director, tenor and narrator.)

MEMF 2014 Luther Memorial Toronto Consort David Fallis, artistic director, tenor, narrator

The performers moved easily from historical accounts of Leonardo in Florence, Milan and France to contextual music that illustrated Leonardo –- the ultimate Renaissance Man — from birth to death. And it proved thoroughly enjoyable and often deeply moving. You did not have to be a fan of early music to be taken in by the contagious melodies and harmonies, the catchy inflections and rhythms, the facts of an amazing life and career.

Just watching these complete professionals perform took us into their world because they are full-body performers who used hands, feet and facial expressions to convey the emotional meaning of the music and get the audience to connect with the music and with them. It felt like Renaissance jazz, so free and yet also so disciplined and practiced was the performance. It is what The Ear likes to call “the well-rehearsed surprise” and is a hallmark of all great performances that are virtuosic and make what is hard seem easy or effortless. (Below is Katherine Hall, viola da gamba player and soprano, singing.)

MEMF 2014 Toronto Consort Katherine Hill soprano and viola da gamba

There is much more left of the 15th Madison Early Music Festival to hear, including “Songs of Love” by the instrumentalists and vocal ensemble Ex Umbris in Music Hall tonight at 7:30 p.m. tonight; plus other concerts including the second annual Handel Aria Competition in Music Hall on Thursday night at 7:30 p.m. (NOT 7 p.m., as the MEMF home website mistakenly said at first, and the always impressive All-Festival Concert, which focuses this year on the Trionfi of the poet Petrarch, on Saturday night at 7:30 p.m. in Luther Memorial Church. FREE pre-concert lectures by experts in art, music and history take place at 6:30 p.m.

Here is a link to a schedule and descriptions of events, with times, places and participants:

http://continuingstudies.wisc.edu/conferences/madison-early-music-festival/index.html?source=madisonearlymusic.org

Unlike many of Leonardo’s ideas, which were adventurous and even prophetic if uncompleted, MEMF has moved from idea to reality.

The Ear has no doubt, and every hope, that it is here to stay, and that it will continue to evolve and grow.


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