The Well-Tempered Ear

Classical music: Guest music director Grant Harville talks about the Madison Savoyards productions of Gilbert and Sullivan’s “Princess Ida.” The show opens this Friday night and runs for six more performances through Aug. 3.

July 24, 2014
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By Jacob Stockinger

To loyal and even devout fans, they are known simply as “G&S.”

And since 1963, a devoted group of Madison singers, musicians and stage crafters have produced the operettas of Gilbert and Sullivan.

This summer’s production is “Princess Ida,” one of the later G&S shows by the dynamic duo of satirists who were so entertainingly portrayed in the 1999 film “Topsy-Turvy.” “Princess Ida” opens this Friday night at 7:30 p.m. in Music Hall. (It was previously performed by the Savoyards in 1967, 1980 and 1999.)

Savoyards Ida poster

The seven performances, including two SUNDAY (not Saturday, as erroneously first stated) matinees at 3 p.m., take place at the University of Wisconsin-Madison School of Music. The hall is located on the UW-Madison campus at the foot of Bascom Hill.


Here is a link to the home web page of The Madison Savoyards. You can find more information including: directions and connections to purchase tickets; the dates and times of performances; background about the Savoyards and about Gilbert and Sullivan; reviews of past productions; videos and recordings; pre-performance dinners; information about how to support and participate in the group; and even a newsletter.

Tickets for “Princess Ida” can be purchased at the Wisconsin Union Theater Box Office, by phone at (608) 265-ARTS, or online at

The story, adapted from Alfred Lord Tennyson’s epic poem, “The Princess,” is set in Medieval Europe. Princess Ida, betrothed in infancy to Prince Hilarion, has forsworn men and is now head of a women’s school that teaches philosophy, science and the fickleness of men. Intent on winning her heart, Hilarion and his friends set out on a quest that involves sneaking into Ida’s school disguised as women, and culminates in an epic sword-wielding battle.

“It’s just good old Gilbert and Sullivan fun,” says stage director Audrey Lauren Wax (below), who works with StageQ in Madison. “Who doesn’t love the fact that there are three siblings who look nothing alike and the only real connection they have is that it takes three of them to equal one full brain!”

Audrey Lauren Wax

Music director Grant Harville assures audiences that “fans of Sullivan’s contributions to these collaborations will hear exactly the sorts of features that attract them to these works.” Musical numbers run the gamut, from silly patter songs including, “Whene’er I Spoke” and “If You Give Me Your Attention,” to more poignant, lyrical numbers such as, “I Built Upon a Rock.”

Action, plot twists and the generous doses of humor sprinkled throughout Princess Ida will certainly keep audience members on their toes.

The cast includes some veterans of the stage, with Milwaukee native Naiza Delica (below left in a photo by Jane Wegenke) as Princess Ida, Donald Dexter (middle) as King Gama and UW-Madison senior William Ottow (below right) as her romantic counterpart, Prince Hilarion.

Ida preview 2

William Rosholt and Donald Dexter appear as the dueling kings Hildebrand and Gama, and Patrick Chounet and Steven Groth play Hilarion’s two loyal friends, Cyril and Florian.

Gama’s three sons are played by Jim Chiolino, Alec Moeser and Matt White, and Rachel Bishop, Ann Baltes and Tiffany Orr appear as Lady Blanche, Lady Psyche and Melissa.

The cast includes over 30 members from the Madison area, including four families.

Music director Grant Harville (below) agreed to a Q&A with The Ear:

Grant Harville conducting 2

Can you briefly introduce yourself to readers?

I received my doctorate at the UW-Madison School of Music. This is my fourth Madison Savoyards production, and my fifth Gilbert and Sullivan show overall. I’m currently the Music Director and conductor for the Idaho State-Civic Symphony, and I teach at Idaho State University. But my ties to Madison go back a good 20 years now, and The Savoyards have been a rewarding way to stay active during the summer.

How does “Princess Ida” fit into the overall work of Gilbert and Sullivan, especially compared to such famous works as “The Pirates of Penzance,” “The Mikado” and “HMS Pinafore”? What does it share with the others and what separates it from them?

It’s a testament to the astonishing success of Gilbert and Sullivan’s collaboration that “Ida” was considered a failure, running for a “mere” 246 performances.

A lot of the characteristics found in their other projects are present here: punny, silly, clever, occasionally slapstick humor; ridiculous, buffoonish characters; and a lifetime’s worth of good tunes. Some of my favorites from “Ida” are “Gently, Gently,” “I Am a Maiden” and “The World Is But a Broken Toy.” (You can hear the opening of “Princess Ida” in a YouTube video at the bottom.)

Sullivan is — and was in his own day — criticized for writing music that was “beneath him,” but I’ve never found that criticism fair. The melodies are perfectly constructed and brilliantly apt text settings; and there are plenty of traps for the company that underestimates the complexities of these scores.

G&S had a formula, to be sure, but there’s enough generic music out there for us to recognize that this is better than that.  There’s a reason the duo has found a permanent place in the repertory while countless other works have gone by the wayside.

What do you find so appealing about the stream of William Gilbert and Arthur Sullivan (below)? Do you find any relevance in “Princess Ida” to society and politics today? Can you elaborate?

I think what keeps bringing me back as a music director is how much I fall in love with the music each summer.  No matter how good the drama is, or how funny the dialogue is, it’s the music that attracts me.

Because of its parody of feminism, “Ida” is perhaps more controversial than others of the operas. The parody that today’s audiences will recognize most readily is probably Lady Blanche, a university professor whose thinking has become so abstract that it no longer makes any sense.

Gilbert and Sullivan

What would you like the public to know about this particular production -– the cast, the musicians, the sets and costumes, whatever?

The Madison Savoyards expects, though certainly doesn’t require, a very high level of familiarity from some of its audience — to the degree that if a few words are transposed in the dialogue, there are people who will notice.  (Not that such familiarity is required; G&S is extremely accessible.)

Because the company is dedicated to this repertoire, they devote all their resources to making the productions as polished as possible. That means beautiful sets and costumes, full orchestra accompaniment, outstanding staff support.

I’m proud of our cast and crew; they make a remarkable commitment to be in the show, and I think audiences will see it manifested on stage.




Classical music Q&A: The Ear checks in on the Madison Savoyards about the success of this summer’s production of Gilbert and Sullivan’s “Iolanthe” and of the company itself.

July 24, 2013
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By Jacob Stockinger

Starting this Thursday, July 24, the Madison Savoyards will wrap up the final four performances of this summer’s production of Gilbert and Sullivan’sIolanthe.”

Iolanthe poster.web

Performances take place in the University of Wisconsin-Madison’s Music Hall (below) on Bascom Hill — a venue that is more or less historically contemporary with G&S operas — on this Thursday, Friday and Saturday nights at 7:30 p.m.; and on Sunday afternoon at 3 p.m.


For more information, including tickets, here is a link to the Savoyards’ homepage:

I have so far been unable to attend the opera this summer, but here is a link to a very positive review by John W. Barker (below), who often writes for this blog, that appeared in Isthmus:


Here is a link to my earlier post for the first week of the production:

And here is a Q&A that Evan Richards (below), the secretary of the Madison Savoyards’ board of directors as well as the videographer and webmaster, did via email for The Ear.  (Richards also took the photos of the production of “Iolanthe” on today’s post.) And at bottom is a YouTube video of Evan Richards talking in 2011 about the Madison Savoyards.

You might have also heard him last week on Wisconsin Public Radio’s “The Midday” during his very informative and entertaining interview with hosts Norman Gilliland, so here is a link to that interview:

Evan Richards

Why did the Madison Savoyards want to do “Iolanthe” this summer 

2013 marks the beginning of the second 50 years of the Madison Savoyards. The first performance of the Madison Savoyards in 1963 was “Iolanthe,” so we felt it fitting that we begin our second 50 years with the same opera. It was also due to be performed; the last performance was in 2001.

The Savoyards have a plan to produce all the G&S operas at least once between 2007 and 2020.

The more familiar and popular ones tend to be performed more often than the less known ones because it helps keep our bank balance black. But we feel our mission is to perform them all. Sometimes the obscure ones surprise us by drawing a larger audience than we expect, as was the case with

“Utopia Limited” (below)  in 2011, in its second Madison Savoyards production.

Utopia Limited 2

How would you compare “Iolanthe” to other well-known Gilbert and Sullivan operettas such as “The Pirates of Penzance,” H.M.S. Pinafore” and “The Mikado”?

“The Mikado,” “The Pirates of Penzance” and “HMS Pinafore” are the most familiar G&S operas in the USA and receive more performances than the others.

“The Mikado” is the most popular of all, in the US, in the UK, and around the world. The US has had a particular fondness for “The Pirates” since it was first performed here, and that has only increased in recent times with the Joseph Papp production in New York which brought it to the attention of many who were not familiar with G&S. “Iolanthe” came after “Pinafore” and “Pirates” (and “Patience”) and represents a more developed period in the G&S output.

By the time “Iolanthe” came along, both Gilbert and Sullivan (below, with Sullivan on the left)) were rich, having an income over time to rival the Prime Minister’s. Gilbert was building a new mansion with four bathrooms, central heating and a telephone.

The music is more sophisticated, as is the writing. The political satire is particularly sharp and, given the current partisan gridlock in Washington, D.C., particularly timely. One can make a case that it represents a peak of their achievement, but I would admit I would make a similar case for several other of their operas.

Gilbert and Sullivan (left)

What can you tell briefly about the plot and roles of “Iolanthe”?

Very briefly, we are dealing with fairyland, lawyers and the House of Lords (below), all of which are not connected with the real world. The plot is really rather dark and could have easily ended very badly, if it were not for the sudden turn at the end.

The roles are recognizable G&S characters, for example, the Lord Chancellor has the patter song, the famous “Nightmare” song, one of the best of all G&S patter songs.


What would you like to say about the cast, sets, costumes and other aspects of the production?

The sets and costumes are wonderful. The cast has some Savoyard veterans and some who are making their debut with us. It has all come together very well.


What kinds of shape in the Savoyards in after The Great Recession now that recovery is underway? What do future plans include?

Our bank balance is in the black, where we like to keep it. We plan multi-year cycles, so the popular show income can compensate for the obscure show losses. We have a wonderful and loyal band of followers who buy tickets and contribute. We have a board of directors that watches the expenses carefully to get the most out of every penny. So we weathered the storm rather well.

Future plans include performing all of the G&S operas between 2007 and 2020, and we are working on a collaboration with the Madison Ballet to mount “Pineapple Poll” in 2015.

Is there more you would like to say or add?

Don’t miss “Iolanthe” because it is a great show and it has not been seen in Madison for a dozen years. The music is Sullivan at his best, the words are Gilbert at his best, and the combination is better than the sum of each. So don’t miss it.

Classical music: The Madison Savoyards celebrates 50 years of staging Gilbert and Sullivan with an encore production of “Iolanthe” that opens this Friday and Saturday nights at UW-Madison Music Hall.

July 16, 2013
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By Jacob Stockinger

It’s summer, so it must be time for another production of a Gilbert and Sullivan satirical operetta by the Madison Savoyards.

The venerable and veteran local group, which relies on gifted amateur talent, started in 1963 with the operetta “Iolanthe.”

So what better way to make the 50th anniversary, and the 51st season, than by staging another updated production of “Iolanthe.”

Iolanthe poster.web

The production this summer will be staged in Music Hall (below), at the foot of Bascom Hill on the University of Wisconsin-Madison campus – a kind of fitting and time-appropriate setting. It has been the usual venue for the Savoyards since 2002, after the shows moved form the Wisconsin Union Theater.


The production starts this weekend on this coming Friday and Saturday nights at 7:30 p.m. and Sunday afternoon at 3 p.m.; the final four performances with be on Thursday, Friday and Saturday (July 25-28) at 7:30 p.m.; and Sunday July 29 at 3 p.m.

One of the many encouraging things to like about the Madison Savoyards – which seems to have survived the Great Recession in excellent shape — is how organized the troupe (seen below in a recent production of “Utopia Limited”) has become in terms of using electronic media.


The home website is a model of how to be both informative and entertaining. It has links to the Savoyard’s’ YouTube channel that has a lot of video and audio clips, especially from last summer’s acclaimed production of the popular “Pirates of Penzance.”

You will also find links to information about tickets; about reviews and recordings; about the pre-concert dinners on Friday nights; about the history of the Savoyards; and of course about the plot of “Iolanthe.’

Here is a link to the Savoyards’ website:

And here is a link to the Savoyards’ YouTube channel with lots of fine videos:

What is the secret to the perennial popularity of the musical theater created by Gilbert and Sullivan (below) that has survived and prospered ever since the time of Queen Victoria? 

Gilbert and Sullivan (left)

Is it the absurd plots? The generally sympathetic characters with all their human foibles? The clever lyrics, as exemplified in the lickety-split, tongue-twistingly witty patter songs? The tuneful and easy-to-digest music? The trials and tribulations we all eternally endure through bureaucracy and the well-intended mistakes of officialdom? The biting political satire that can be updated, as in the YouTube video at the bottom?

It is probably all of that and more, at least when you look at the wide spectrums of ages and personalities that make up devoted “G&S” fans.

What message do you want to leave the Madison Savoyards on marking 50 years?

Why do you like G&S? And what is your favorite G&S operetta?

The Ear wants to hear.

Classical music: Madison Savoyards marks 50 years of Gilbert and Sullivan with a production of “Pirates of Penzance” that opens this Friday.

July 19, 2012
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By Jacob Stockinger

Well, if you think, as I used to think – and sometimes still do — that the works of Gilbert and Sullivan (below) don’t really count as classical music, but are really closer to Broadway musicals or to light operettas, you should know that you are mistaken. Just as I was and am.

Many informed musicians and music outlets, including acclaimed classical music magazine and web sites, list G&S as opera. It’s that simple — no matter what you think of the pair’s signature patter songs and absurd plots.

So little wonder that I want to alert everyone to the fact that the Madison Savoyards will mark its 50th years of presenting annual summer productions of Gilbert and Sullivan’s operettas with the ever-poplar “Pirates of Penzance.” (The Savoyards started in 1963 at West High School, which in my math adds up to 49 years, I think. But let’s be generous and call it 50 since they do.)

(The photo below, by Jason Chandler, shows, from left to right, soprano Catherine Schweitzer as Mabel, the surprisingly assertive daughter of Major General Stanley and a Ward in Chancery; Anthony Ashley as the Sergeant of Police, all a rather cowardly bunch of bobbies; and J. Adam Shelton as Frederic, lovelorn but duty-bound to continue as a pirate until his leap-year birthday relieves him of his apprenticeship.)

There will be seven performances in Music Hall on the University of Wisconsin-Madison campus, beginning this Friday, July 20, and running through July 29, with both five evening shows and two matinee shows.

You can also join in the official 50th Celebration and Reception, University Club at 5:30 p.m. on Sunday, July 22.

William Farlow of the University Opera is the stage director; Blake Walter, of Edgewood College in the music director of the full orchestra.

The community group now has more than 100 people involved in the productions.

For more information about dates, times, tickets and performers as well as video and audio excerpts from past Savoyard productions, here is a link:

It is also worth nothing that the Savoyards will open the next 50 seasons the same way they opened the first 50 seasons: with a production of “Iolanthe” in 2013. And in future seasons, the Savoyards is likely to present all 13 Gilbert and Sullivan operettas as they have done their beginning.

But for this year, it is the popular “The Pirates of Penzance.” (Below, the photo by Jason Chandler shows soprano Catherine Schweitzer as Mabel and tenor J. Ada, Shelter as Frederic.)

Seven performances of “The Pirates of Penzance” will be held in UW Music Hall at 7:30 p.m. on Friday, July 20, and Saturday, July 21, as well as Thursday, July 26, Friday, July 27 and, Saturday, July 28; and at 3 p.m. on Sundays July 22 and July 29.

Tickets can be bought at the Wisconsin Union Theater Box Office, (608) 262-2201, or through

Prices are: Adult, $30; seniors, $28; students, $15; children under 13, $5; premium seats, (center first 3 rows, $40; economy seats on the balcony side), $20.

Classical music datebook: This is Opera Week in Madison with some fine chamber music, orchestral music and student contest winners thrown into the busy mix.

April 25, 2012

By Jacob Stockinger

After last week — the busiest week EVER in Madison for classical music that I can remember — concerts and events continue to pile up.

Could it be that we are approaching the end of the semester and school year — the last day of classes at the University of Wisconsin is May 12 – and that groups are running out of time to perform?

The BIG event this week is the Madison Opera’s production of Rossini’s comic opera “Cinderella” (below), which has been updated to Hollywood in the 1930s. Here is a link I did to a Q&A with stage director Garnett Bruce that also has more details about the production:

But there is a lot more music – including more opera – going on in Madison this week. Just take a look and then get out your datebook and see what is open.


At 7:30 p.m. in Music Hall, at the foot of Bascom Hill, there is an Opera Workshop with FREE admission.

With piano accompaniments, voice and opera students at the UW School of Music perform scenes from seven operas: “Norma” by Bellini; “Carmen” by Bizet; “Arabella” by Strauss; “The Pirates of Penzance” by Gilbert & Sullivan; “The Marriage of Figaro” by Mozart; “La Gioconda” by Ponchielli; and “Tancredi” by Rossini.

A reception will follow the concert, sponsored by Opera Props.


At 7:30 p.m. in the Sharon Lynne Wilson Center for the Arts in Brookfield, a suburb of Milwaukee, the UW Chamber Orchestra (below) will perform under conductor James Smith and assist conductor David Grandis. The soloist is UW horn professor Daniel Grabois.

The chamber orchestra will perform “Overture to Don Giovanni” by W. A. Mozart, “Concerto for French Horn, No. 2″ by Richard Strauss with faculty guest artist Daniel Grabois and “Symphony No. 3” by Franz Schubert.

Tickets are required and free from the Sharon Lynne Wilson Center box office. Visit or call (262) 781-9520 to reserve your tickets in advance.


Friday’s FREE Noon Musicale, from 12:15 to 1 p.m. in the Landmark Auditorium of the First Unitarian Society Meeting House, 900 University Bay Drive features flutist Dawn Lawler and percussion Tim Patterson in music by Jo Kondom, Astor Piazzolla, Preston Trombly, Lou Harrison and Payton MacDonald. For information, call 608 233-9774 or visit

At 7 p.m. in the Oakwood Village West Auditorium, 6201 Mineral Point Road, on Madison’s far west side, Candid Concert Opera (below) will perform an edited concert dress version, in Italian with English subtitles and narration, of Mozart’s “The Marriage of Figaro.” Free admission. The concert will repeated at the Capitol Lakes Retirement Center, 333 West Main Street, at 7 p.m. on Saturday. For more information about the production, performers and the group, visit:

At 8 p.m. in the Overture Center’s Overture Hall, the Madison Opera performs its production of Rossini’s comic opera “Cinderella,” staged in Depression era Holly wood in the 1930s. It will be sung in Italian with English surtitles. For tickets ($18-$116), call 608 258-4141. Here is a link for more information:

At 8 p.m. in Mills Hall, the UW Chorale performs a FREE concert under conductor Bruce Gladstone (below, in a photo by Katrin Talbot).

The programs includes “That’s All Folksongs,” with music from Nigerian, American, Malay, Norwegian, Mongolian, Jewish, Scottish, Hungarian, Dominican, Cornish, Newfoundland, Brazilian Indian and French traditions. In addition, the choir performs the world premiere of “The Lake Isle of Innisfree” by Liam Moore (to a text by William Butler Yeats).


At noon in Grace Episcopal Church on the Capitol Square, during the Farmers Market, the Mifflin Quartet (below) will perform a FREE and casual concert of Beethoven’s Op. 74 “Harp” Quartet and Dohnanyi’s String Quartet No. 3.

From 2 to 4 p.m. at the Wisconsin Institutes for Discovery (below, in a photo by Jeff Miller for UW-Madison) the Arts Enterprise Alumni Forum will be held. The Artist Alumni Forum is available to everyone who wants to listen to or ask questions of a panel of arts alumni. This forum will also present an opportunity to network with other artists from various disciplines. Visit for a list of panelists and more information.

At 4 p.m. in Mills Hall, the non-music major All-University String Orchestra, under conductor and string pedagogue Janet Jensen (below, in a photo by Katrin Talbot), will perform a FREE concert. The program includes a concerto for three violins by Vivaldi and a work by a student composer.

At 7 p.m. in Capitol Lakes Retirement Center, 333 West Main Street, Candid Concert Opera (below) performs a second FREE performance of Mozart’s “The Marriage of Figaro.” See Friday night above.

At 8 p.m. at First Unitarian Society Meeting House, 900 University Bay Drive, the Trio Invenzione will perform a program of Beethoven, Shostakovich and Suk. Tickets are $15, $12 for students and seniors. (Check and cash accepted; no credit cards.) Performers are Jess Salek, piano; Wes Luke, violin; and Michael Allen, cello.


From 12:30 to 2 p.m. this week’s “Sunday Afternoon Live From the Chazen” moves to the Wisconsin Union Theater for a live performance and live radio broadcast of the winners of Wisconsin Public Radio’s Neale-Silva Young Artists Competition.

The contest was made possible by the late Eduardo Neale-Silva, a native of Chile who was a regular listener of WPR. This award recognizes young Wisconsin performers of classical music who demonstrate an exceptionally high level of artistry.

Chris Peck, for instance, studies cello with Parry Karp at the UW-Madison, while Austin Larson studies at the University of Cincinnati and plays the horn under the direction of Randy Gardner. Rachel Holmes is a native of Madison and studies voice with Julia Faulkner. Cameron Pieper studies piano with Catherine Kautsky at Lawrence University in Appleton, though she originates from Fond Du Lac. And the Woodwind Quintet from Lawrence University includes Kelsey Burk (oboe), Jacob Fisher (bassoon), Kinsey Fournier (clarinet), Samuel Golter (flute) and Emma Richart (horn).

The concert will also be streamed the Wisconsin Public Radio website at, where you can also find more information.

At 2:30 p.m. in Overture Hall, the Madison Opera performs Rossini’s “Cinderella.” See Friday night and the introduction above.

At 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood Drive, at Edgewood College, the Edgewood Chamber Orchestra, under the direction of Blake Walter, will feature violin virtuoso Isabella Lippi (below) – who was a finalist to be the new concertmaster of the Madison Symphony Orchestra — in a performance of Mendelssohn’s Violin Concerto in E Minor. Other works on the program include Mozart’s Overture to “La Clemenza di Tito” and Schubert’s Symphony Number 3 in D.

Lippi, who has been called “a standout, even among virtuosos,” began performing in public at the age of ten when she made her debut with the Chicago Symphony Orchestra.  She has since appeared as guest soloist with orchestras throughout the United States, as well as Mexico, Europe and the Far East.

Tickets are $5, and can be purchased at the door.

At 4 p.m. in Mills Hall, the University Bands will perform a free concert under conductors Matthew Mireles, Justin Stolarik (below) and Matthew Schlomer.


At 11 a.m. in Room 2441 in the Mosse Humanities Building,  the topic of  “Engaging 21st Century Audiences” will be discussed by Chelcy Bowles (below, in a photo by Katrin Talbot), UW-Madison Professor of Music and Director of Continuing Education in Music; and by David Myers, University of Minnesota Professor and Director of the School of Music. The event is free to the public.

At 7:30 p.m. in Mill Hall, the UW Masters Singers will perform a free concert under conductors Sarah Riskind (below) and Russell Adrian.

The program includes a cantata by J.S. Bach, “Erschallet, ihr Lieder, erklinget, ihr Saiten!” and the “Kyrie” and “Gloria” from the “Mass in C” by Beethoven.  Both works will be supported by instrumental ensembles of students from the School of Music. Soloists are soprano Kyeol Lee, mezzo-soprano Bethany Hickman, tenor Daniel O’Dea and bass Jerry Hui. The program concludes with selections in Gospel and spiritual traditions.


At 7:30 p.m. in Morphy Recital Hall (below), the UW Early Music Ensemble, under director John Chappell Stowe, will perform a free recital.

At 7:30 p.m. in Mills Hall, the UW Western Percussion Ensemble (below) will perform under director Anthony Di Sanza.

The program will feature student chamber concerto soloists as well as the premiere of student composer Joe Diedrich’s percussion quartet “Night at the Lake.”  Soloists include Dave Alcorn, Michael Basak, Michael Koszewski, Ricky Schadt, Brett Walter and Elena Wittneben.

The program features the works of Bob Becker, Michael Colgrass, Anthony Di Sanza, Daniel Levitan and Michael Udow.


At 7:30 p.m. in Mills Hall, the season’s last Keyboard Conversation with Jeffrey Siegel (below) will be held.

The program is titled “A Musical Love Triangle” and will feature music of Clara Wieck inspired by Robert Schumann and Johannes Brahms, as well as music by Brahms and Schumann inspired by Clara.

Tickets are $14-$34 and can be purchased through Campus Arts Ticketing online; by phone at (608) 265-ARTS; or in person at the Union Theater Box Office or the Vilas Hall Box Office.

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