The Well-Tempered Ear
Classical music: What happens when Shakespeare and Benjamin Britten meet Andy Warhol and The Factory? The University Opera explores a new spin on an old tale
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ALERT: At 7:30 p.m. this Thursday night, Nov. 14 — the night before it opens the opera production below — the UW-Madison Symphony Orchestra, under conductor Oriol Sans, will perform a FREE concert in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art. The program offers Darius Milhaud’s “The Creation of the World,” Maurice Ravel’s “Mother Goose Suite” and Franz Joseph Haydn’s Symphony No. 101 “The Clock.”
By Jacob Stockinger
The Big Event in classical music this week in Madison is the production by the University Opera of Benjamin Britten’s “A Midsummer Night’s Dream.”
It is a chance to see what happens when Shakespeare (below top) meets Britten (below bottom) through the lens of the Pop art icon Andy Warhol.
The three-hour production – with student singers and the UW-Madison Symphony Orchestra under conductor Oriol Sans — will have three performances in Music Hall, at the foot of Bascom Hill: this Friday night, Nov. 15, at 7:30; Sunday afternoon, Nov. 17, at 2 p.m.; and Tuesday night, Nov. 19, at 7:30 p.m.
Tickets are $25 for the general public; $20 for seniors; and $10 for students.
For more information about the production and how to obtain tickets, go to: https://www.music.wisc.edu/event/university-opera-a-midsummer-nights-dream/2019-11-15/
For more information about the performers, the alternating student cast and a pre-performance panel discussion on Sunday, go to: https://www.music.wisc.edu/wp-content/uploads/2019/10/A-Midsummer-Nights-Dream-Media-release.pdf
And here are notes by director David Ronis (below, in a photo by Luke Delalio) about the concept behind this novel production:
“When the artistic team for A Midsummer Night’s Dream met last spring, none of us expected that we would set Britten’s opera at The Factory, Andy Warhol’s workspace-cum-playspace.
“For my part, I wanted to find a way to tell this wonderful story that would be novel, engaging, entertaining, and thought-provoking.
“I only had one wish: that we did a production that did not feature fairies sporting wings – a representation that, to me, just seemed old-fashioned and, frankly, tired.
“As we worked on the concept, we found that The Factory setting allowed us to see the show in a new, compelling light and truly evoked its spirit and themes. The elements of this “translation” easily and happily fell into place and now, six months later, here we are!
“A Midsummer Night’s Dream tells the intersecting stories of three groups of characters – Fairies, Lovers and Rustics – and its traditional locale is that of a forest, the domain of Oberon, the Fairy King. (You can hear the Act 1 “Welcome, Wanderer” duet with Puck and Oberon, played by countertenor David Daniels, in the YouTube video at the bottom.)
“In our production, the proverbial forest becomes The Factory, where our Oberon, inspired by Andy Warhol (below, in a photo from the Andy Warhol Museum), rules the roost. He oversees his world – his art, his business, and “his people.” He is part participant in his own story, as he plots to get even with Tytania, his queen and with whom he is at odds; and part voyeur-meddler, as he attempts to engineer the realignment of affections among the Lovers.
“Tytania, in our production, is loosely modeled on Warhol’s muse, Edie Sedgwick (below top), and Puck resembles Ondine (below bottom), one of the Warhol Superstars.
The Fairies become young women in the fashion or entertainment industries, regulars at The Factory; the Lovers, people who are employed there; and the Rustics, or “Rude Mechanicals,” blue-collar workers by day, who come together after hours to form an avant-garde theater troupe seeking their 15 minutes of fame.
“For all these people, The Factory (below, in a photo by Nat Finkelstein) is the center of the universe. They all gravitate there and finally assemble for the wedding of Theseus and Hippolyta – in this setting, a rich art collector and his trophy girlfriend.
“Magic is an important element in Midsummer. In the realm of the fairies, Oberon makes frequent use of magical herbs and potions to achieve his objectives. In the celebrity art world of mid-1960s New York City, those translate into recreational drugs.
“The people who work in and gather at The Factory are also are involved in what could be called a type of magic – making art and surrounding themselves in it. They take photographs, create silk screen images, hang and arrange Pop art, and party at The Factory.
“Not only does this world of creative magic provide us with a beautiful way to tell the story of Midsummer, but it also becomes a metaphor for the “theatrical magic” created by Shakespeare and Britten, and integral to every production.
“We hope you enjoy taking this journey with us, seeing A Midsummer Night’s Dream in perhaps a new way that will entertain and delight your senses and, perhaps, challenge your brain a bit.”
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Classical music: The new FREE concert brochure for the UW-Madison’s music school is both entertaining and informative — it’s a MUST-GET, MUST-READ and MUST-USE
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By Jacob Stockinger
The new 2018-19 concert season has started. And the Internet makes it very easy to take out your date book and plan out what you want to attend.
If you just use Google to go to home websites, you will find lots of information about the dates and times of performances; cost of tickets; works on the program; biographies of performers; and even notes about the pieces.
That is true for all large and small presenters, including the biggest presenter of all for live classical music events: The University of Wisconsin-Madison’s Mead Witter School of Music. Just click on the Events Calendar when you go to http://www.music.wisc.edu
You can also subscribe to an email newsletter by sending an email to: join-somnews@lists.wisc.edu
And you can also download the helpful mobile app for your smart phone that gives you what is happening today with searches possible for other months and days.
But there is something more old-fashioned that you should not forego: the printed season brochure (below).
It is 8-1/2 by 11 inches big and has 24 pages, and it features numerous color photographs. Along the right hand edge is an easy-to-use calendar of major events for the month.
It is a fun and informative read that gives you even more respect for the School of Music than you already had because it contains a lot of background and human interest stories about students, faculty members, guest artists, alumni and supporters. Editor and Concert Manager Katherine Esposito and her staff of writers and photographers have done an outstanding job.
The brochure also has a lot of news, including updates about the new Hamel Music Center that is being built on the corner of Lake Street and University Avenue and will open in 2019, and about the seat-naming, fundraising campaign ($1,500-plus) that is being used for the new performance center.
A particularly useful page (23) gives you information about ordering tickets (many have increased to $17 this year) either in advance or at the door (for the latter you are asked to show up 30 minutes early to avoid long lines); about finding parking, both free and paid; and about making special arrangements for disability access.
In larger and bolder type, the brochure tells you about stand-out special events: the 100th birthday tribute to Leonard Bernstein being held tonight (Saturday, Sept. 15) at 8 p.m. in Mills Hall; the fifth annual Brass Fest on Sept. 28 and 29; the University Opera’s production of Monteverdi’s “The Coronation of Poppea” on Nov. 16, 18 and 20; the annual Schubertiade on Jan. 27; the world premiere of a viola sonata by John Harbison on Feb. 17; the Choral Union’s joint performance with the Madison Symphony Orchestra of Mahler’s “Symphony of a Thousand” (Symphony No. 8) on May 3, 4 and 5; and much, much more.
In short, the brochure is an impressive publication that also provides many hours of enjoyable browsing while you educate yourself about the state of music education at the UW-Madison.
The only major shortcoming The Ear perceives is that lack of specific programs by some individuals and groups that must surely know what they are going to perform this season but apparently didn’t report it. Maybe that can be remedied, at least in part, next year.
Still, the brochure is successful and popular, which is why the UW sent out 13,000 copies – up from 8,000 last year. If you want to get one, they will be available at concerts until supplies run out. You can also order one to be mailed to you by emailing music@music.wisc.edu
Do you have the UW music brochure?
What do you think of it?
Do you find it useful? Enjoyable?
What do you suggest to improve the brochure, either by adding something or deleting something or doing it differently?
The Ear wants to hear.
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