The Well-Tempered Ear

Classical music: Madison Bach Musicians summer workshops in early music are open to the public. A faculty concert is on Wednesday night and a FREE all-participants concert is on Friday at 12:30 p.m.

July 21, 2019
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REMINDER: Madison Opera’s annual Opera is the Park was cancelled last night because of weather and takes place TONIGHT in Garner Park at 8 p.m. For more information, go to: https://welltempered.wordpress.com/2019/07/15/classical-music-madison-operas-annual-free-opera-in-the-park-returns-this-saturday-night-july-20-in-garner-park-and-celebrates-18-years-in-madison-plus-a-glimpse-of-the-upcoming-season/

By Jacob Stockinger

The fifth annual Madison Bach Musicians Summer Chamber Music Workshop (below,  a cello class from last year) will be held from Monday, July 23, to Friday, July 26, at the West Middleton Lutheran Church, 3763 Pioneer Road, in Verona, Wisconsin.

The workshop is chaired by MBM assistant artistic director and baroque violinist Kangwon Kim (below), who says: “I’m excited to welcome 32 participants, our largest number ever, working in nine chamber groups this summer to share a week of intense music-making and learning.

” We will explore wonderful repertoire from the baroque and early classical periods, both familiar and rarely performed, while working intensely in an encouraging community that will support musical growth.”

Harpsichordist JungHae Kim (below top) from San Francisco and baroque violist Micah Behr from Madison will join returning faculty members recorder player Lisette Kielson, cellist Martha Vallon (below bottom), dance instructor Karen McShane-Hellenbrand, and MBM founder, artistic director and keyboardist Trevor Stephenson.

Musicians who range in age from 13 to older adulthood will receive personalized ensemble coaching in violin, viola, baroque cello, viola da gamba, piano, fortepiano, harpsichord and recorder. (You can sample the Madison Bach Musicians in the YouTube video at the bottom.)

The public is invited to an evening Faculty Concert and various afternoon classes exploring continuo playing, specific instrument master classes, stage presence for musicians, sight-reading, baroque dance, and more.

The Faculty Concert on Wednesday night, July 23, at 7:30 p.m. will feature works by Carl Heinirch Graun (below top), Francesco Turini, Jean-Henri D’Anglebert (below  bottom), Georg Philipp Telemann, Joseph Bodin de Boismortier and Henry Purcell on period instruments. Admission is $15 at the door.

The all-participants final concert of the music from the workshops is on Friday, July 26, at 12:30 p.m. It is FREE and open to the public.

An Auditor’s Pass for afternoon programming for the entire festival — including the Faculty Concert — is $40.

For more information, go to: https://madisonbachmusicians.org/summer-workshop/


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Classical music: Madison Opera’s “Florencia en el Amazonas” took listeners on an enchanting and moving voyage into love and fine singing of Puccini-like lyricism

May 1, 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 Madison Opera and filed this review, with photos by James Gill:

By Larry Wells

I looked forward enough to Madison Opera’s premiere production of Daniel Catán’s Spanish-languageFlorencia en el Amazonas” that I attended both performances at Overture Hall this past weekend.

Based on repeated hearings of the recording and numerous favorable reviews of other productions, I was fairly certain that I would be in for a treat. I was not disappointed.

The action takes place on a boat on the Amazon heading for Manaus where the title character Florenica (below), an opera singer of high repute, is to perform.

Other passengers (below), unaware of her presence onboard, also have the opera house as their destination in order to hear her sing.

Rosalba, her unauthorized biographer, and Paula and Alvaro, a bickering older couple, are joined onboard by the Captain, his nephew Arcadio, and a Puckish character Riolobo, who acts as narrator and supervises the magic in this tale of magical realism.

Below, starting at the top and moving clockwise, are: Kanopy Dancers, Ashraf Sewailam (The Captain), Mackenzie Whitney (Arcadio), Rachel Sterrenberg (Rosalba), Elizabeth Caballero (Florencia Grimaldi), Adriana Zabala (Paula), Levi Hernandez (Alvaro) and Nmon Ford (Riolobo)

The boat (our life) floats along the Amazon (life itself) in this parable of longing, regret, the fickleness of love, love lost and regained, and transformation.

Aiding in the unfolding of the tale are water sprites, referred to at times as Amazons. Six willowy dancers from the Kanopy troupe did not seem particularly Amazonian, but their waving of billowy fabric evoked the river and their retrieving twice from the water careless Rosalba’s precious manuscript added to the magic.

Riolobo and the sprites also bring Alvaro back to life after he appears to drown during a storm.  (We should be attentive to water sprites since Dvorak’s “Rusalka,” which also features these denizens, is on the schedule for next year’s season.)

And, in the end, just when you think that all conflicts have been resolved and love is at hand, the boat reaches Manaus only to find it impossible to make landfall due not only to cholera but also to rabies, scurvy, leprosy and beriberi. Florencia’s transformation into a butterfly (below) ends the voyage.

This odd but magical plot is a vehicle for lush, rhapsodic music by a Mexican composer whose life ended too soon. The orchestral and vocal writing featured soaring melodies, which at times reminded me of Puccini had his life extended further into the 20th century. The orchestral writing continually evokes the river and flowing water, reminding me of music of the Impressionists.

John DeMain ably led the wonderfully sounding Madison Symphony Orchestra.  He once again proved himself to be a master of pacing, tempo and dynamics.

The opera was very evenly cast. Nmon Ford (below top on right), as Riolobo, had a rich baritone voice and an impressive physicality. His transformation at the end of the first act into a feather-clad river spirit (below bottom) was hypnotic.

As Rosalba, Rachel Sterrenberg (below, top right), who made a memorable appearance last season as the wife Chan in “Charlie Parker’s Yardbird,” was a soprano of great flexibility who rendered her character’s opulent melodic lines with mounting ecstasy. Hers was a thrilling performance.

Her foil, full-voiced tenor Mackenzie Whitney (below, bottom left) as Arcadio, produced some of the most Puccini-like moments of sheer soaring lyricism.

Their duets, including a rather dark anti-love duet, were  highlights of the work. Catán’s writing for mixed voices is inspired, and all of the ensemble numbers – duets, a quintet, a septet – are entrancing.

Baritone Levi Hernandez as Alvaro and mezzo-soprano Adriana Zabala as his wife, Paula, had moments of bickering and moments of tenderness. His robust vocalization perfectly complemented the creamy richness of hers. Zabala’s second act lament was very touching.

Bass Ashraf Sewailam, in his debut appearance with Madison Opera, produced some of the best singing of the show. He was both profound and lyrical with a total lack of affectation. His acting was subtle, and his outstanding performance demands his return.

Elizabeth Caballero as the diva Florencia Grimaldi was impassioned, focused yet fluid, sumptuous and rapturous. Her ravishing singing, particularly during her metamorphosis — heard in another production in the YouTube video at the bottom — was truly moving.

The set, lighting, projections and costumes were all understated and perfectly blended. The only false step was what appeared to be coffins flying through the air out of Manaus. It took me a moment to realize they were intended to be floating in the river.

The audience seemed enchanted and moved by the opera. I was, too. Let’s have more works like this.


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Classical music: Want to know about Chinese classical music composers in our time? Read this story about the six-day Juilliard festival that starts today

January 19, 2018
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By Jacob Stockinger

Classical music – like everything else in China – has undergone momentous changes over the past few decades.

The importance of Western classical music in contemporary China is not seen only through the construction of new conservatories and opera houses; or through the many outstanding instrumentalists, especially pianists such as Lang Lang, Yundi Li, Haochen Zhang and Sa Chen, who have won prizes in Western competitions and become major performers.

Chinese composers have also left their mark, as the Juilliard School in New York City will prove over six days, starting today, during this year’s “Focus” festival.

One such older composer is Chou Wen Chung (below, in a photo by Andrew Reneissen for The New York Times).

A much younger composer is Chen Lin (below in a photo by Dawes Li).

You will find some but not a lot of their music on YouTube – yet.

But The Ear bets that many of the 33 Juilliard performances will soon find their way to social media.

Anyway, here is a link to the comprehensive preview in The New York Times, which also features some sound and video samples.

https://www.nytimes.com/2018/01/12/arts/music/juilliard-china-music.html


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