The Well-Tempered Ear

Classical music: Meet the “Stay at Home” Symphony Orchestra. How do they sound so close and tight? Plus, today is May Day. What music would you play to celebrate workers?

May 1, 2020
2 Comments

PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

ALERT: Today is May Day, a time to honor workers. What music would you play to celebrate and thank all the frontline workers — doctors, nurses, EMTs, police officers, firefighters, bus drivers, cleaners and janitors, grocery store workers, delivery people and others — who are now so indispensable?

By Jacob Stockinger

Many musicians — both singers and instrumentalists (below) — are self-isolating and doing their at-home best to keep those of us also sheltering in place entertained by performing virtual concerts.

It is something listeners can be grateful for. The players do an admirable and free public service during the COVID-19 crisis and coronavirus pandemic.

Of course, the virtual performances also have practical purposes.

The musicians keep their skills sharp during isolation.

And the virtual performances help to keep the names of individuals and groups, of composers and pieces, in the public’s mind at a time when live concerts have all been canceled or postponed.

There are many, many virtual concerts to choose from – made by local, regional, national and international musicians, some amateurs and some professional.

Many of them are solo performances given by an individual member of an orchestra, chamber music group or choral ensemble as well as big-name soloists such as pianist Emanuel Ax and cellist Yo-Yo Ma.

The individual ones are appreciated and impressive, even if some of the performances seem amateur-like in the sound or awkwardness.

What really impresses The Ear is when large groups, such as symphony orchestras and choirs, perform something with all the players at home and yet somehow the whole finished product sounds incredibly tight in and incredibly professional.

Last Saturday, the Metropolitan Opera even held a four-hour online gala with singers and instrumentalists from all over the world.

It makes The Ear wonder why they sound so good. How they do it, with all the complications and variables of timing and tempo, of rhythm, pitch and dynamics?

Is it the planning?

The processing and editing?

In any case, a very good example comes from the “Stay at Home” Symphony Orchestra playing Mozart’s Overture to the opera “The Marriage of Figaro.”

You can hear the YouTube video of the performance below.

Are there other such performances that you can point out to The Ear and you would like to see posted on this blog?

The Ear wants to hear.

 


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Classical music: Madison Opera’s festive and fun 16th annual Opera in the Park is this Saturday night

July 17, 2017
1 Comment

By Jacob Stockinger

It serves as a preview of the indoor winter opera season.

But one of the summer’s major events in Madison is primarily a fun time unto itself — with outdoors picnicking and socializing, and lots of outdoor music making, some of it with the audience helping to “conduct” with glow-in-the-dark light sticks.

The Madison Opera’s annual FREE Opera in the Park concert will take place this coming Saturday night starting at 8 p.m. in Garner Park, on Madison’s west side near the junction of Mineral Point Road and Rosa Road. (You can get a taste of the event in the YouTube video from 2010 at the bottom.)

The park opens at 7 a.m. Blankets, chairs, food and beverages are allowed. The rain date is the next day — Sunday, July 23.

Here is what Kathryn Smith (below, in a photo by James Gill), the general director of Madison Opera, has to say about the event:

“Opera in the Park has become a Madison summer tradition since the first concert in 2002. When the weather is good, we have over 15,000 people in the audience, which is the highest per-capita attendance of any such opera event in the U.S.

“I think there are many reasons for its success, from the beautiful music to the beautiful park, and the fact that our community enjoys spending time together outside in the summer.

“We don’t make massive changes each year, but it is of course a new set of singers and a new program, so it’s a fresh musical experience.

“This year, for example, we have two arias from zarzuelas or traditional Spanish musical comedies,, including the zarzuela version of “The Barber of Seville” – which will be complemented by an aria from Rossini’s “The Barber of Seville,” naturally.

“Audience members might also choose to vary the contents of their picnic basket each year – perhaps with Bizet’s “Carmen” and “The Barber of Seville” on the concert, they might want to include Spanish foods.

“I try to invite principal artists from our upcoming season when possible, so that audiences can get to know singers they can then hear in full roles later in the year.

“This summer our singers include soprano Cecilia Violetta López (below), who will be in “Carmen” in November;

tenor David Walton (below), who will be in Mozart’s “The Abduction from the Seraglio” in February;

and mezzo-soprano Adriana Zabala (below), who will be in Daniel Catan‘s “Florencia en el Amazonas” in April.

“Baritone Will Liverman (below) is not in the upcoming season, but he has had major success here as “The Barber of Seville” and in last season’s “Charlie Parker’s Yardbird,” so I’m delighted he is able to join us this summer in the park.

“Putting on Opera in the Park is a complex production, from renting the generators and the stage to coordinating with the City Parks Department and the Madison Police.

Full Compass Systems and Bag End donate the sound system and their services to run it every year, and there are hundreds of people involved, from our production team to our volunteers, from the IATSE (International Alliance of Theatrical Stage Employees) stage crew to the Madison Opera Chorus and Madison Symphony Orchestra.

“I often say that Opera in the Park is the most important thing Madison Opera does, and I think everyone involved believes that as well.

Now if only the weather will cooperate …”

For more information about Opera in the Park, including the times; the complete concert program that includes selections from Leonard Bernstein’s “West Side Story” on the occasion of the composer’s centennial; detailed biographies of the soloists and the guest conductor Joseph Mechavich (below); reservations for the supporters’ Prelude Dinner at 6:30 p.m.; rules about reserving seating in the park; and how to become a volunteer, go to:

http://www.madisonopera.org/performances-2016-2017/park/


Classical music: Concerts on the Square start this Wednesday and feature a lot of classical music. Plus, the Wisconsin Chamber Orchestra announces its impressive 2016-17 indoors Masterworks season

June 27, 2016
2 Comments

By Jacob Stockinger

This coming Wednesday night at 7 p.m., on the downtown Capitol Square, marks the opening of what has been billed as “The Biggest Picnic of Summer” — the six annual outdoor summer Concerts on the Square (below) by the Wisconsin Chamber Orchestra and guest soloists.

ConcertsonSquaregroupshot

They are big because each concert, under the baton of WCO artistic director Andrew Sewell, last year averaged a weekly crowd of more than 42,000 people, up from 35,000 the previous year, according to the Capitol Police. (The highest was 50,000; the lowest 28,000.)

Concerts on the Square crowd

You should also know that this year the Concerts on The Square will include a generous — maybe, The Ear suspects, even an unprecedented — amount of classical music on June 29, July 6, July 17, July 27 and Aug. 3.

On the programs you will find music by Felix Mendelssohn, Joaquin Turina, Aaron Copland and Ottorino Resphighi (this Wednesday); by Leo Delibes, Peter Tchaikovsky (including the annual and traditional Fourth of July or Independence Day performance of his “1812 Overture”) and Jules Massenet (with famed local Metropolitan Opera singer, mezzo-soprano Kitt Reuter-Foss on July 6); by Paul Dukas, Jean Sibelius, Niels Gade and Antonin Dvorak (on July 13); Ludwig van Beethoven (July 27);  Arthur Honegger and Peter Tchaikovsky (Aug. 3).

Here is a link  with more information including links to tickets, rules about behavior and seating, and food options:

http://www.wcoconcerts.org/performance-listing/category/concerts-on-the-square

Even as it prepares for this summer’s six Concerts on the Square, which start Wednesday night, June 26, and run through August 3, the Wisconsin Chamber Orchestra has announced its 2016-27 indoor Masterworks season of five classical concerts. It is an impressive lineup that features a local violist who has made it big, Vicki Powell, and the very young violin sensation Julian Rhee, who won the Madison Symphony Orchestra’s Final Forte with a jaw-dropping reading of the Violin Concerto by Johannes Brahms, as well as a guitarist and duo-pianists.

Here is a link to more information:

http://www.wcoconcerts.org/performance-listing/category/masterworks

 


Classical music: Charitable giving should be a two-way exchange of money and information, and should be transparent. Arts and music groups should say how gifts will be spent. Plus, a string trio performs Haydn, Beethoven and Dohnanyi on Saturday night.

December 18, 2015
4 Comments

ALERT: Late word comes that on this Saturday night at 7:30 p.m. in St. Andrew’s Episcopal Church, 1833 Regent Street, violinist Naha Greenholtz (concertmaster of the Madison Symphony Orchestra), violist Vicki Powell (a prize-winning alumna of the University of Wisconsin-Madison School of Music) and cellist Madeleine Kabat will perform a concert. The program features the Trio in B-flat Major by Franz Joseph Haydn; the String Trio in G Major by Ludwig van Beethoven and the Serenade by Erno von Dohnanyi. Admission at the door is $15, $7 for students.

By Jacob Stockinger

It’s that time of the year again.

The holidays.

The time for giving gifts.

The End of the Tax Year.

Giving Away Money Time.

money.3

That means all kinds of charities and non-profit organizations are filling The Ear’s snail-mail box and email basket with solicitations for gifts that can still be deducted on this tax year.

I have heard from just about every large and small music organization in the Madison area — including the Madison Symphony Orchestra (below top) and the Wisconsin Chamber Orchestra (below middle), the Oakwood Chamber Players (below bottom) as well as the University of Wisconsin — and some that are statewide like Wisconsin Public Radio.

John DeMain and MSO from the stage Greg Anderson

WCO lobby

Oakwood Chamber Players 2015-16

But curiously, not a single one of the pleas has included a pie chart or a bar graph or a listing of how the money that is given will be spent.

It seems to The Ear that charitable giving is a two-way street and should be completely transparent. I give you money because you give me information about why you need it and how it will be used.

That could be done with a simple pie chart (an example is below) or a listing of how many cents of every donated dollar will be spent on, say, percentage of salary increases, administrative salaries and raises, guest artists, resident musicians’ pay, venue rental, advertising and the like.

Budget pie chart

It could be and should be included in the solicitation itself or through a link to a website.

Funny, but arts groups seem especially reluctant to talk about money. They act as if the arts weren’t competitive businesses, or as if they are somehow demeaned or soiled by mentioning money – except, of course, when it comes to asking for it and getting it.

Now it is true that non-profits and charities generally file annual reports, as required by federal tax laws. But that is not enough. You have to do research to find them, and that takes time and know-how.

The public should not be asked to do that. Ethically, it should be the job of the organization asking for money to provide that information with the solicitation for funding.

It is important to avoid scams and nondisclosure.  A recent investigative study found that many of the top scams and cheaters among charities solicit money in the name of children with cancer, first responders like police officers and fight fighters, and veterans.

And in past years, even such well-known and venerable groups as the United Way and the Red Cross have been found to indulge in questionable practices and to cheat or mislead donors.

In certain cases, only two or three cents of the dollar – only two or three percent, that is — actually went to the recipients while most of the considerable sums of money went to organizers and administration. A good standard is that close to 90 percent should go to the cause and only about 10 percent to administration.

budget money in a jar

So The Ear issues a challenge to arts groups and especially music groups: If you want my money, provide me with information that I should know about how it will be spent.

Otherwise, The Ear suggests that arts consumers – and that is just what they are – start a boycott of giving until such information is made public and made widespread in its availability.

One assumes that legitimate organizations and their requests have nothing to hide. So it really shouldn’t be a problem.

But The Ear could be misguided or wrong-heded about this.

He wonders what the various organizations have to say? And whether they will provide an easy link to their financial reports?

And he wonders what other arts patrons and consumers have to say about this matter?

Leave what you think in the COMMENT section.

The Ear wants to hear.

 


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