The Well-Tempered Ear

Classical music: We should hear more operas sung in English translation – like Wisconsin Public Radio’s live broadcast TODAY at noon of the Metropolitan Opera’s shortened version of Mozart’s “The Magic Flute”

December 29, 2018
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By Jacob Stockinger

The Ear thinks that we in English-speaking countries should hear more operas sung in our native language.

Yes, sung in English – not the original Italian, French or German.

You can see how you’d like it for yourself if you listen at noon TODAY– Saturday, Dec. 29 — to Wisconsin Public Radio. That’s when you can hear the Metropolitan Opera’s live broadcast of its family-friendly production of Mozart’s “The Magic Flute.”

The Ear did so and – except for deleting the wonderful overture — loved it.

So, apparently, did a lot others. (You can hear Nathan Gunn in a sample in the YouTube video at the bottom.)

After many years, the production has now become a holiday tradition for the Met to offer children while school is out for the holidays.

And one suspects it is developing new audiences – especially with the colorful staging and costumes by Julie Taymor, who won such acclaim for her staging of “The Lion King” on both the stage and film.

Sure, a lot of purists will probably object to substituting English for the original Italian, French, German and Russian. But it is so freeing and feels so good to understand what you are hearing without the distraction of constantly going back and forth trying to look at both the supertitles and the stage.

It also seems worth a try, given the problems that many opera companies are having competing with the “Live from the Met in HD” productions that you can see in movie theaters for far less money, and the decline of both season subscribers and single tickets.

To be honest, of course even in English you will miss some of the words. That’s the nature of singing. But excellent diction helps. And if you are lucky enough to see the production in person, supertitles in Italian, French German and Spanish and, yes, English are still provided.

It is not a completely new idea. After all, Great Britain has the English National Opera, which performs standard operas by Verdi and Puccini, Monteverdi and Handel, Mozart and Wagner, in English. So, many of the very great operas have already been translated into English and could be staged in English elsewhere.

Here are links where you can learn more about the English National Opera:

https://www.eno.org

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

Do you question how the text is hurt in translation?

It’s worth remembering that Mozart himself used the vernacular German instead of his usual opera house Italian so that he would reach the general public. Why not do the same today? Translation could make opera much more accessible, less pretentious and more populist.

The same is true for cutting the show down to 100 minutes from almost 3 hours. Let’s just admit that the attention span of the general public is much shorter than it used to be.

Orchestra and chamber music concerts as well as solo recitals are trimming their running times often down to 90 minutes or less, and meet with great approval from the public. Why not try the same approach with opera? Indeed, both the Madison Opera and the University Opera have limited but successful experiences with editing operas and using English.

It is also worth recalling that in translation we read greater words than an opera libretto. If we can translate Homer and Shakespeare, Dostoevsky and Proust, why can’t we translate opera librettos? One just has to be sure to find a great translator with a sensitive musical ear– such as American poet Richard Wilbur is with his award-winning, rhyming translations of Moliere’s comedies and Racine’s tragedies. Similarly, American poet J.D. McClatchy has done a fine job with The Met’s “Magic Flute.”

Here is a link to more information about the production, including a synopsis:

https://www.metopera.org/season/2018-19-season/the-magic-flute/

And here is a review of the Met’s  “Magic Flute” by Tommasini:

https://www.nytimes.com/2018/12/20/arts/music/review-mozart-magic-flute-met-opera.html

What do you think?

Should more operas be staged in English?

Should long operas be edited?

Why or why not?

The Ear wants to hear.


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Classical music: A ticket to the concert here by the Imani Winds is an ideal gift to mark the African-American holiday Kwanzaa

December 27, 2018
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By Jacob Stockinger

The African-American and Pan-African harvest and heritage holiday of Kwanzaa started Wednesday and runs through Jan. 1.

Many people know the name of the events that mark the African Diaspora.

But do you know more about the holiday itself?

Do you know the seven principles of Kwanzaa?

Do you know the history and person behind the celebration, which started the United States in 1966?

Here is a link to a comprehensive view of Kwanzaa in Wikipedia:

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

If you are looking for a suitable gift to give during Kwanzaa, it would be hard to beat tickets to the concert by the Imani Winds (below) on Friday, Feb. 1, at 7:30 p.m. in Shannon Hall at the Wisconsin Union Theater.

The Imani Winds have been nominated for a Grammy Award, and have established a reputation for world music and commissioning new works.

For more information about the group, the performers, ticket prices and how to buy tickets, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/imani-winds/

The group’s name comes from a principle of Kwanzaa — namely, faith. And one member, Valerie Coleman, composed a signature piece based on the first principle of Kwanzaa – Umoji, or Unity. You can hear that work in the YouTube video at the bottom.

Then in June, from June 6 to June 9, Valerie Coleman (below) returns to Madison as the Composer-in-Residence for the second annual LunArt Festival — a cultural and all-women festival devoted to performers, composers, writers and artists.


Classical music: You be the critic. Was there a specific piece or an entire concert of holiday music that you especially liked – or disliked — this year?

December 26, 2018
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By Jacob Stockinger

Well, Hanukkah, the winter solstice and Christmas are over and we’ve just about made it through another holiday time, with Kwanzaa and New Year’s still to come.

Holiday music, especially choral music, is undeniably popular during holiday season.

Year after year, the Madison Symphony Orchestra’s Christmas program (below is a photo by Peter Rodgers)  – which uses local and ethnically diverse talent and well as imported guest vocal artists — usually comes close to selling out three performances in Overture Hall.

And year after year for a decade, the Wisconsin Chamber Orchestra and Festival Choir plus guest soloists (below) sell out their one performance of “Messiah” at the Blackhawk Church in Middleton.

Plus, there are lots of other holiday events – including the Madison Bach Musicians with Baroque chamber music favorites and the Madison Choral Project with spoken word narration and new music as well as programs of traditional carols and hymns– that drew good crowds or even full houses.

There are so many holiday music events, in fact, that it can often be hard to choose.

So here is what The Ear is asking: You be the critic.

Please tell us if there was a particular piece of music you especially enjoyed – say, Johann Sebastian Bach’s “Christmas Oratorio” or George Frideric Handel’s “Messiah” or violin concertos by Arcangelo Corelli – music you really liked or disliked?

For next year, what do you recommend that people should keep an eye and ear out for, including programs on Wisconsin Public Radio and Wisconsin Public Television as well as on other TV and radio stations?

Similarly, was there a specific program or event – an entire program or concert – that surprised you for better or worse?

Given the limited time that most people have during the holidays, what holiday concerts should people plan on attending or avoid next year?

Often the public trusts other audience members more than they trust professional critics.

So here is a chance for you to be a critic and to direct the public’s attention as well as to thank certain performers and groups for what you see as the Best Holiday Music of 2018.

The Ear wants to hear.


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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: YOU MUST SEE AND HEAR THIS: Tap dancing to Bach’s “Goldberg” Variations

October 7, 2018
2 Comments

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By Jacob Stockinger

The Ear really likes the “Goldberg” Variations by Johann Sebastian Bach (below).

In fast, he probably owns more recordings of that work than of any other.

And The Ear also likes tap dancing – although for his life he could not do even the most basic moves.

But it would never occur to The Ear to combine tap dancing and the “Goldberg” Variations.

But it did occur to tap dancer Caleb Teicher and pianist Conrad Tao (below) who teamed up to do just that — at least for the opening aria and first variation of the epic work.

It’s not profound, but it sure is fun.

And thanks to the Deceptive Cadence blog on National Public Radio, you can see and hear the four-minute video, done at the Steinway Factory and presented by the New York Philharmonic, for yourself.

Here it is.

Enjoy it.

You can find some other tap dancing and other dancing to the Goldbergs on YouTube . But please let The Ear know of any similar combination between other works of classical music and tap dancing that you have seen or heard or thought of and can suggest.

https://www.npr.org/sections/deceptivecadence/2018/10/03/653607213/bach-on-tap-shoes-tiptoeing-through-the-goldberg-variations

The Ear wants to hear.


Classical music: Today is Sept. 11. Here are 10 pieces by 10 different composers inspired by the terrorist attacks of 2001

September 11, 2018
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By Jacob Stockinger

Today is Sept. 11, 2018.

That makes it the 17th anniversary of the terrorist attacks on the U.S.

Two of the attacks took place on the Twin Towers (below) of the World Trade Center in New York City.

One took place on the Pentagon (below) in Washington, D.C.

And one, with an unknown target but perhaps either The White House or The Capitol, was thwarted on board Flight 93 when passengers forced the plane to crash in a field (below) in Shanksville, Pennsylvania.

In past years, The Ear has chosen certain pieces to play or link to.

This year he found a list of 10 pieces of new music, with photos of the composers and short paragraphs of background as a program note, on the website for Classic FM digital radio.

Some of the pieces and the composers he already knows – and suspects you do too. They include John Adams, Steve Reich, Joan Tower, Eric Ewazen, Ned Rorem and John Corigliano.

But there are also quite a few new titles and names, including Robert Moran, Anthony Davis, Howard Goodall and Michael Gordon. (You can hear Howard Goodall’s “Spared” in the YouTube video at the bottom.)

You can find recordings on YouTube.

Here is a link to the story to help you to listen in remembrance – although silence is also perfectly appropriate:

https://www.classicfm.com/discover-music/occasions/memorial/classical-music-inspired-911/

Of course, lots of old music and historic composers can be suitable without being new music directly inspired by 9/11.

So please tell us: What music would you play to mark the occasion?

Leave your choice and the reason for it in the COMMENT section along with, if possible, a link to a YouTube performance.


Classical music: Do you hear “On, Wisconsin” in this piece of classical music? Do you know of others?

September 8, 2018
6 Comments

ALERT: In the era of #MeToo and #Time’sUp, it is hard to think of a better and more appropriate program than the FREE all-female concert at the UW on Sunday afternoon at 3 p.m. in Mills Hall.

That’s when the acclaimed UW faculty violinist Soh-Hyun Park Altino (below) and guest pianist Jeannie Yu will perform works by Amy Beach, Cecile Chaminade, Rebecca Clarke and Lili Boulanger. Sorry, but The Ear can find no mention of specific works on the program.

For more background and biographical information about the performers, go to: https://www.music.wisc.edu/event/faculty-recital-soh-hyun-altino-violin/

By Jacob Stockinger

There he was.

On an ordinary afternoon, The Ear was just sitting at home listening to Wisconsin Public Radio.

On came the rarely heard Sonata for Clarinet by the French composer Camille Saint-Saens (below). It is a late work, Op. 167, written in 1921 and rarely performed.

And right away: BAM!!!

The neglected work sounded familiar.

That’s because the opening theme sure sounds like the University of Wisconsin-Madison’s fight song “On, Wisconsin!” which, with modified lyrics, is also the official state song of Wisconsin.

You can hear the familiar tune in the unfamiliar work’s first movement in the YouTube video at the bottom.

Is its appearance by accident or chance?

Is it a deliberate borrowing?

Today seems like an ideal day for asking the question, listening to the music and then deciding because it is a football Saturday. (The New Mexico Lobos and the Wisconsin Badgers will fight it out starting at 11 a.m. in Camp Randall Stadium (below, in a photo by Jeff Miller for the UW-Madison). It will be televised on BTN or the Big Ten Network).

Maybe history can help answer the question.

Here is the Wikipedia entry for “On, Wisconsin” with the history and lyrics of the song that was composed in 1909 — 11 years before the Saint-Saens clarinet sonata.

https://en.wikipedia.org/wiki/On,_Wisconsin!

The Ear could swear he has heard the same theme in other classical works, maybe even one by Mozart. But he can’t recall the name of that work or others.

Can you?

If you can, please leave the name of the composer and work, with a link to a YouTube video if possible, in the cOMMENT section.

The Ear wants to hear.


Classical music: Happy Birthday to Lenny at 100! Here are some ways to celebrate today’s Bernstein centennial

August 25, 2018
3 Comments

By Jacob Stockinger

One hundred years ago today, the versatile and world-celebrated American musician Leonard Bernstein (below) was born.

For most of his adult life, starting with his meteoric rise after his nationally broadcast debut with the New York Philharmonic, Lenny remained an international star that has continued to shine brightly long after his death at 72 in 1990.

When his father Sam was asked why he wouldn’t pay for young Lenny’s piano lessons and why he resisted the idea of a career in music for his son, he said simply: “I didn’t know he would grow up to be Leonard Bernstein.”

Lenny! The name itself is shorthand for a phenomenon, for musical greatness as a conductor, composer (below, in 1955), pianist, educator, popularizer, advocate, humanitarian and proselytizer, and so much more.

Here is a link to the Wikipedia biography where you can check out the astonishing extent of Lenny’s career and his many firsts, from being the first major American-born and American-trained conductor — he studied at Harvard University and the Curtis Institute of Music — to his revival of Gustav Mahler:

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

You should also view the engaging YouTube video at the bottom.

So eager have the media been to mark the centennial of Leonard Bernstein, one might well ask: “Have you had enough Lenny yet?”

New recordings and compilations of recordings have been issued and reissued.

Numerous books have been published.

Many new photos of the dramatic, expressive and photogenic Lenny (below, by Paul de Hueck) have emerged.

TV stations have discussed him and Turner Classic Movies rebroadcast several of his “Young People’s Concerts.”

For weeks, radio stations have been drowning us with his various performances, especially his performances of his own Overture to “Candide.”

Still, today is the actual Leonard Bernstein centennial and the culmination of the build-up and hype, and if you haven’t paid attention before today, chances are you wind find Encounters with Lenny unavoidable this weekend. 

Yet if you pay attention, you are sure to learn new things about Lenny who seems an inexhaustible supply of insights and interesting information, a man of productive contradictions.

With that in mind, The Ear has just a few suggestions for this weekend, with other tributes coming during the season from the Madison Symphony Orchestra, the University of Wisconsin’s Mead Witter School of Music and other music groups and individuals.

You can start by listening to the radio.

For most of the daytime today Wisconsin Public Radio with pay homage to Lenny. It will start at 10 a.m. with Classics by Request when listeners will ask to hear favorite pieces and offer personal thoughts and memories. After that a couple of more hours of Bernstein’s music will be broadcast on WPR.

Then on Sunday at 2 p.m., WPR host Norman Gilliland (below top) will interview Madison Symphony Orchestra conductor John DeMain (below bottom, by Prasad) about working with Lenny.

Here, thanks to National Public Radio (NPR), is the best short overview that The Ear has heard so far:

https://www.npr.org/sections/deceptivecadence/2018/08/24/641208843/the-complex-life-of-leonard-bernstein-a-once-in-a-century-talent

Want to know more about Lenny the Man as well as Lenny the Musician?

Try this review from The New Yorker  by David Denby of daughter Jamie Bernstein’s book (below) that has juicy anecdotes and new information about growing up with her famous father.

https://www.newyorker.com/magazine/2018/06/25/leonard-bernstein-through-his-daughters-eyes

And here, from Time magazine, is the little known story of how Lenny the Humanitarian conducted an orchestra of Holocaust survivors (below):

http://time.com/5376731/leonard-bernstein-holocaust-survivors-concert/

What is your favorite tribute to Bernstein so far? Leave a link in the COMMENT section if you can.

What is you favorite composition by Bernstein?

What is your favorite performance by Bernstein?

What would you like to say or tell others about Leonard Bernstein?

The Ear wants to hear.


Posted in Classical music
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Classical music: Singer David Daniels is accused of drugging and raping a young opera singer

August 23, 2018
1 Comment

By Jacob Stockinger

More allegations of sexual misconduct and sexual assault keep emerging from the world of classical music, even as the #MeToo movement is again in the headlines with accusations and denials about the movie star Asia Argento having sex with a minor.

The latest allegation is an accusation by a young opera singer who says that in 2010 he was drugged and raped by David Daniels (below), who is world-famous as a countertenor and who teaches at the University of Michigan, where he is now on leave.

Included in the allegation is Daniels’ husband Scott Walters, who is a conductor and who is accused of participating in the drug and rape incident.

Here is a well-researched and well-reported story from National Public Radio (NPR):

https://www.npr.org/2018/08/22/640945881/opera-singer-david-daniels-accused-of-rape

And here is a link to the story in The New York Daily News, the newspaper that first broke the story. That version also has photos of the accuser and Scott Walters.

http://www.nydailynews.com/news/national/ny-news-stasi-singer-claims-rape-classical-music-stars-20180821-story.html


Classical music: Superstar cellist Yo-Yo Ma goes to NPR to perform and talk about spending 58 years learning and playing Bach

August 18, 2018
1 Comment

By Jacob Stockinger

Superstar cellist Yo-Yo Ma has just recorded the six suites for solo cello by Johann Sebastian Bach for the third time.

Ma, now 62, started learning them when he was four years old.

Over so many years, his approach has changed. He says he finds new things in the music as he himself changes and matures, much the way you see different things in the same novel you read at 18 and then again at 55 after you have experienced more of life.

That’s why Ma calls his latest recording “Six Evolutions.” And truth be told, to The Ear his interpretations seem lighter, dancier and more up-tempo while his earlier readings seemed heavier, sometimes even gooey thick.

Anyway, the cellist (below), who has won 19 Grammy Awards and has often performed in Madison at the Wisconsin Union Theater, recently stopped by the studios of National Public Radio (NPR) for a Tiny Desk Concert.

He played three movements, and he talked about his long experience with playing and learning and exploring Bach to students, who loved him.

It is well worth listening to.

Here is a link: https://www.npr.org/2018/08/16/639206471/yo-yo-ma-tiny-desk-concert

What do you think?

Do you have an opinion about Ma’s current readings of solo Bach versus his past ones?

The Ear wants to hear.


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