The Well-Tempered Ear

Classical music: The Met just canceled its entire fall opera season. Can local groups be far behind?

June 3, 2020
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By Jacob Stockinger

The question has weighed on The Ear ever since local groups started announcing their new concert seasons.

Will audiences – especially older and more vulnerable ones — be ready to risk venturing into crowds of 500, 1,000 or 2,000 people without an effective treatment or vaccine for global pandemic of the coronavirus (below) and the growing number of deaths from COVID-19?

Now such suspicions have been supported or even confirmed by news that the world-famous Metropolitan Opera (below), at Lincoln Center in New York City, has just canceled all of its live fall productions.

It cited concerns about the safety of both the public and the performers. And its reasoning makes sense — even though it is estimated that the Met will lose up to $100 million. It is hard or impossible in concert halls and on stages (below is a photo of the Met’s stage) to use masks and maintain social distancing.

All in all, it sounds all too familiar, similar to the reasons given for cancellations this past winter and spring, and even this summer.

Here’s a link about the Met cancellation, with lots of details and quotes, in The New York Times: https://www.nytimes.com/2020/06/01/arts/music/metropolitan-opera-cancels-season-virus.html

Locally, it seemed like the show might go on when many groups – despite the public health crisis growing worse — went ahead and started announcing their fall seasons or even an event this summer, as in the case of the Wisconsin Chamber Orchestra’s Concerts on the Square, which were postponed by a month.

After all, the Madison Symphony Orchestra (below, in a photo by Greg Anderson), the Madison Opera, the Wisconsin Chamber Orchestra, the Wisconsin Union Theater, the Middleton Community Orchestra and the Madison Bach Musicians have all announced new seasons — as did the Chicago Symphony Orchestra and the Milwaukee Symphony Orchestra. (You can hear about the Madison Symphony Orchestra’s new “Ode to Joy” season in the YouTube video at the bottom.)

The UW-Madison – the biggest presenter of live concerts in the Madison area with some 300 events a year – has wisely not yet announced its concert season, let alone how it will hold lessons and classes.

The Ear suspects that more cancellations are in the making, especially when it comes to mass gatherings such as concerts, movies, plays and sports events.

Indeed, it seems like many of the groups even took possible cancellations into consideration when it came to planning programs; cutting back on expenses and staffing; and using local or regional guest artists, who might be less expensive and less difficult to cancel, rather than long-distance imported ones.

Even if a vaccine is perfected by Jan. 1, it will take a while to produce enough of it, then to administer it and then to have it take effect.

But perhaps those suspicions and speculations are overly cautious or too pessimistic.

What do you think will happen to the fall concert season?

Will going online and streaming new or past concerts once again be a substitution?

Has the pandemic changed your own habits — perhaps waiting to purchase single tickets rather than renew a season subscription? Or your plans for the fall season, perhaps even the entire season?

The Ear wants to hear.


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Classical music: What will the fall concert season will look like? And what will the post-pandemic concert world be like?

May 18, 2020
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By Jacob Stockinger

This past week, The Ear listened to and read a lot of news about COVID-19 and the arts.

And it got him thinking: What will happen this fall with the new concert season? And even later, what will a post-pandemic concert world look like? (Below is the Madison Symphony Orchestra in a photo by Peter Rodgers.)

As you may have heard, the Tanglewood Festival, the summer home of the Boston Symphony Orchestra, has been canceled this year. So too has the Ravinia Festival, the summer home of the Chicago Symphony Orchestra.

Locally, American Players Theatre in Spring Green also just canceled its summer season.

So far, the summer season seems to be one big cancellation for the performing arts.

True, there are some exceptions.

The Token Creek Chamber Music Festival has yet to announce its plans for August.

One also has to wonder if crowds of up to 20,000 will feel safe enough to attend the Concerts on the Square (below), now postponed until late July and August, by the Wisconsin Chamber Orchestra?

Will people still want to attend the postponed Handel Aria Competition on Aug. 21 in Collins Recital Hall at the UW-Madison’s new Hamel Music Center, assuming the hall is open?

Fall events seem increasingly in question.

Last night on CBS’ “60 Minutes,” Jerome Powell, chairman of the Federal Reserve, said that sports events and concerts will be among the last mass gatherings to take place safely, probably not until next spring or summer or even later, depending on when a vaccine becomes available.

Some public health experts also offer dire predictions about how easing up lockdown restrictions too soon might lead to an even worse second wave of the coronavirus virus pandemic this autumn and winter, despite all the happy talk and blame-shifting by Team Trump.

So, what do you think will happen beyond summer?

The Ear wonders what the fallout will be from so many music groups and opera companies turning to free online performances by solo artists, symphony orchestras and chamber music ensembles.

Will season-opening concerts be canceled or postponed? What should they be? Will you go if they are held?

Will at-home listening and viewing become more popular than before?

Will the advances that were made in using streaming and online technology (below) during the lockdown be incorporated by local groups — the UW-Madison especially comes to mind — or expected by audiences?

In short, what will concert life be like post-pandemic and especially until a vaccine is widely available and a large part of the population feels safe, especially the older at-risk audiences that attend classical music events?

Will larger groups such as symphony orchestras follow the example of the downsized Berlin Philharmonic (below, in a photo from a review by The New York Times) and play to an empty hall with a much smaller group of players, and then stream it?

Will some free streaming sites move to requiring payment as they become more popular?

Live concerts will always remain special. But will subscriptions sales decline because audiences have become more used to free online performances at home?

Will most fall concerts be canceled? Both on stage and in the audience, it seems pretty hard to maintain social distancing (below is a full concert by the Madison Symphony Orchestra). Does that mean the health of both performers – especially orchestras and choral groups – and audiences will be put in jeopardy? Will the threat of illness keep audiences away?

Even when it becomes safe to attend mass gatherings, will ticket prices fall to lure back listeners?

Will programs feature more familiar and reassuring repertoire to potential audiences who have gone for months without attending live concerts?

Will expenses be kept down and budgets cut so that less money is lost in case of cancellation? Will chamber music be more popular? (Below is the UW-Madison’s Pro Arte Quartet during its suspended Beethoven cycle.)

Will fewer players be used to hold down labor costs?

Will imported and expensive guest artists be booked less frequently so that cancellations are less complicated to do? 

Will many guest artists, like much of the public, refrain from flying until it is safer and more flights are available? Will they back out of concerts?

Will all these changes leave more concert programs to be canceled or at least changed?

There are so many possibilities.

Maybe you can think of more.

And maybe you have answers, preferences or at least intuitions about some the questions asked above?

What do you think will happen during the fall and after the pandemic?

What do you intend to do?

Please leave word, with any pertinent music or news link, in the comment section.

The Ear wants to hear.


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Classical music: Do Stephen Sondheim musicals qualify as opera?

February 8, 2019
2 Comments

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By Jacob Stockinger

Do Broadway musicals by Stephen Sondheim (below) qualify as opera?

Granted, putting strict boundaries or criteria on certain musical genres only artificially limit their appeal.

But the question matters since this month will see two local opera companies stage two different works by Sondheim, who got his big break back when he collaborated with Leonard Bernstein on “West Wide Story.”

This Friday night at 8 p.m. and Sunday afternoon at 2:30 p.m., on Feb. 8 and 10 respectively, the Madison Opera will stage its production of the popular “A Little Night Music” – a great offering about many varieties of love so close to Valentine’s Day — in the Capitol Theater at the Overture Center.

For more information about the production (photos of it are by James Gill for Madison Opera) and performances, including ticket sales, go to: https://welltempered.wordpress.com/?s=sondheim

(Below are Charles Eaton and Katherine Pracht.)

Then later in the month, for five performances from Feb. 21 through Feb. 24 in Shannon Hall of the Wisconsin Union Theater, University Opera and University Theatre team up to stage Sondheim’s popular “Into the Woods,” based on classic fairy tales.

Find out more information here: https://union.wisc.edu/events-and-activities/event-calendar/event/into-the-woods/

So, do Stephen Sondheim musicals deserve to be included with operas by Mozart and Verdi, Wagner and Puccini?

The Madison Opera’s general director Kathryn Smith (below, in a photo by James Gill) — a Harvard graduate and an opera veteran who worked at the Lyric Opera of Chicago and the Metropolitan Opera before coming to Madison — agreed to discuss that question as it relates to her company’s production of “A Little Night Music” this weekend.

Smith writes:

A Little Night Music has been performed by opera companies around the world since 1983, so it is a natural part of the repertoire.

Sondheim himself says, “For me, an opera is something that is performed in an opera house in front of an opera audience. The ambience, along with the audience’s expectation, is what flavors the evening.”

A Little Night Music is particularly intriguing because it is a modern operetta; that’s what the New York Times called it when it premiered in 1973.

The costumes and scenery make it look a bit like traditional operettas such as The Merry Widow, but its story and wit are distinctly modern, with a clear-eyed view of the complexities of adult relationships. (Below, from left, are Cassandra Vasta, Benjamin Barlow, Sarah Day, Emily Pulley and Maddie Uphoff.)

Sondheim’s musical sophistication is on brilliant display; the Act I finale (“A Weekend in the Country”) reminds me of the way Mozart or Rossini finales build scene upon scene. (You can hear a concert version of “A Weekend in the Country,” performed at the BBC Proms, in the YouTube video at the bottom.)

I find A Little Night Music compelling for its beauty, style and humanity. The book and lyrics are laced with witty lines, but the underlying relationships are very real, as is the way people stumble on the way towards a happy ending.

It manages the trick of being simultaneously moving and entertaining, with glorious music underscoring it all.


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Classical music: This Saturday the critically acclaimed new production of Francesco Cilea’s “Adriana Lecouvreur” is featured in cinemas in “Live from The Met in HD” satellite broadcasts and on Wisconsin Public Radio. Read a rave review

January 10, 2019
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By Jacob Stockinger

This Saturday afternoon, Jan. 12, brings the fifth production of this season’s “Live From the Met in HD” series: Francesco Cilea’s “Adriana Lecouvreur.”

This 1902 opera – the only well-known one by this Italian composer (1866-1950) — seeks to capture the Baroque era’s richness of Paris and the French court in 1730. It is based on a real-life French actress who captured the public with her on-stage and off-stage passion.

The Metropolitan Opera’s new production, directed by Sir David McVicar, features superstar soprano Anna Netrebko as Adriana while the acclaimed tenor Piotr Beczala plays Maurizio, who is as smitten with Adriana as she is with him. (You can hear their duet from Act I in the YouTube video at the bottom.)

The conductor is the acclaimed and much in-demand Gianandrea Noseda (below), the music director of the National Symphony Orchestra at the Kennedy Center in Washington, D.C., and a frequent conductor at the Met.

Mezzo-soprano Anita Rachvelishvili (below) has also received critical acclaim for her powerful singing in the production.

The hi-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at 11:55 a.m. and runs until 4:15 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)

The encore HD showings are next Wednesday, Jan. 16, at 1 p.m. and 6:30 p.m.

The opera will be sung in Italian with supertitles in English, German, Spanish and Italian.

Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.

The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.

Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:

https://www.movietickets.com/movies

Here is a link to the Metropolitan Opera’s website where you can find the titles, dates, casts, production information and video clips of all 10 productions this season, which includes operas by Bizet, Wagner, Donizetti, Saint-Saens, Puccini, Verdi and Poulenc plus a new work, “Marnie,” by Nico Muhly: https://www.metopera.org/season/in-cinemas/

Here is a rave review of “Adriana Lecouvreur” by senior classical music critic Anthony Tommasini for The New York Times: https://www.nytimes.com/2019/01/01/arts/music/review-adriana-lecouvreur-metropolitan-opera.html

Here is a link to a synopsis and cast list: https://www.metopera.org/globalassets/season/in-cinemas/hd-cast-sheets/adriana_usglobal.pdf?performanceNumber=15136

Here is a link to other information about the production of “Adriana Lecouvreur,” including photos and audiovisual clips: https://www.metopera.org/season/2018-19-season/Adriana-Lecouvreur/

And here is a Wikipedia history of the broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.

https://en.wikipedia.org/wiki/Metropolitan_Opera_Live_in_HD


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Classical music: Gift guide or gift or both? Critics for The New York Times name their top classical recordings of 2018, and so does National Public Radio (NPR)

December 22, 2018
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By Jacob Stockinger

Today is “Panic Saturday” — another, newer theme day on the commerce-driven Holiday Consumer Calendar that goes along with Black Friday, Small Business Saturday, Cyber-Monday and Giving Tuesday. 

In past years, by this time many media outlets would publish the list of the top classical recordings of the past year. And The Ear has offered them as holiday shopping guides with links to the lists.

They seem to be running late this year, probably too late for many shoppers.

But recently the team of critics for The New York Times named their Top 25 classical recordings of 2018 that run from the 15th century to today (sample album covers are below).

This time, the website didn’t just reproduce something that first appeared in the printed edition. And something more than small snippets or excerpts are offered.

This time, the newspaper took full advantage of the electronic possibility of the web and used streaming to add hours of sound samples — some as long as 40 minutes – so you can see what you think of the recordings before you buy them. (Be sure to look at reader reactions and comments.)

It is a new and innovative way to do a Top 25 list – very appealing or entertaining as well as informative. Even if you don’t use it to buy anything for others or yourself, it can provide many minutes of listening pleasure. You can think of it as a gift guide or a gift or both.

Of course, there are also the usual short and very readable, to-the-point narratives or explanations about why the recording stands out and what makes it great music, a great performance or a great interpretation.

So there is a lot to listen to and help you make up your mind. The Ear has enjoyed it and found it helpful, and hopes you do too, whether you agree or disagree with the choice:

Here is a link:

https://www.nytimes.com/2018/12/13/arts/music/best-classical-music-tracks-2018.html

Since this is the last weekend for holiday shopping before Christmas, here is the previous list – notice the duplications in the two lists — posted here, which was of the nominations for the upcoming 2019 Grammy Awards:

https://welltempered.wordpress.com/2018/12/08/classical-music-here-are-the-just-announced-grammy-nominations-for-2019-they-can-serve-as-a-great-holiday-gift-guide/

And here is the Top 10 list, which was chosen by the always discerning Tom Huizenga (below) — who explains the reasons for his choices — and which also offers generous sound samples, from National Public Radio (NPR) and its Deceptive Cadence blog. Also look for duplications:

https://www.npr.org/2018/12/18/677776208/npr-musics-best-classical-albums-of-2018

What recordings would you suggest? 

The Ear wants to hear.


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Classical music: This Saturday’s “Live From the Met in HD” features a new and controversial production of Puccini’s “Tosca.” Here is some background plus a review

January 26, 2018
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By Jacob Stockinger

This Saturday starting at 11:55 a.m., “Live From the Met in HD” will broadcast the Metropolitan Opera’s new production of the popular and classic opera about love and politics, “Tosca” by Puccini.

In Madison, the production will be screened at the Point Cinemas on the far west side and the Marcus Palace Cinemas on the east side in Sun Prairie.

(The recorded encore presentation at both cinemas is next week,  on Wednesday, Jan. 31., at 1 and 6:30 p.m.)

Running time is 3 hours 35 minutes including two intermissions.

Admission is $22, $18 for seniors.

The opera will be sung in Italian with supertitles and subtitles in English, German, Spanish and Italian.

The production — previewed below by the director Sir David McVicar — has been a history of controversy, especially given various cast changes and cancellations.

For this performance, the leads are soprano  Sonya Yoncheva as Tosca (singing the aria “Vissi d’arte” in the YouTube video at the bottom), tenor Vittorio Grigolo as Cavaradossi and baritone Zeljko Lucic as Scarpia.

Here is a link to background provided by the Met:

http://www.metopera.org/Season/2017-18-Season/tosca-puccini-tickets/

Here is a link to a synopsis and cast notes:

http://www.metopera.org/metoperafiles/season/2017-18/operas/tosca/Tosca_HDsynopsis_Global_dates.pdf

The New York Times published a big preview and background story:

https://www.nytimes.com/2017/12/28/arts/music/tosca-met-opera-james-levine.html

And here is a review, also from The New York Times:

https://www.nytimes.com/2018/01/01/arts/music/tosca-metropolitan-opera.html


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