By Jacob Stockinger
This will be a busy week at the UW-Madison.
Here are the events, concerts and master classes, at the UW-Madison this week. All events are FREE and OPEN TO THE PUBLIC.
As you can see, a lot of new music will be featured.
At noon in Morphy Recital Hall, oboist Courtney Miller (below), of the University of Iowa, will give a master class.
At 7:30 p.m. in Morphy Recital Hall, pianist Emile Naoumoff (below), from Indiana University, will give a recital.
Sorry, no word about the program. But there is a lot of background about the acclaimed French pianist who once studied at age 10 with the legendary teacher Nadia Boulanger and then later took over for her. (You can see him and Boulanger in the YouTube video at the bottom.) For information, go to http://www.music.wisc.edu/event/guest-artist-emile-naoumoff-pianist/
Naoumoff will also give a master class on Thursday from 10 a.m. to noon in Morphy Recital Hall.
From 10 a.m. to noon in Morphy Recital Hall, guest pianist Emile Naoumoff will give a master class. See Wednesday’s listings for information about him and his recital.
At 7 p.m. in Morphy Recital Hall, a concert of new music will be performed by Sound Out Loud (below) in conjunction with a two-day conference. For the complete program and more information, go to:
At 7:30 in Mills Hall, the UW Wind Ensemble (below top) will give a FREE concert under conductor Scott Teeple (below bottom).
The program includes “The Leaves Are Falling” by Warren Benson as well as two Wisconsin premieres: “Across the Graining Continent” by Jonathan Newman; and Suite in E-Flat by Gustav Holst, edited by Matthews.
At 1:30 p.m. in Morphy Recital Hall, the UW-Madison Trombone Quartet performs music by Tchaikovsky,Webern, Shostakovich, Tull and Bozza among others. Members of the quartet are Thomas Macaluso, Kevin Schoeller, Matthew Bragstad and Nicolas Lawrence.
At 8 p.m. the wife-and husband piano-percussion duo Sole Nero (below), consisting of Jessica Johnson (piano) and Anthony DiSanza (percussion), will perform a faculty concert of new music.
For the complete program and program notes, plus biographies, go to:
It is also that time of the academic year when there are a lot of student recitals and lecture-recitals, especially ones by graduate students, that might interest the public. This week, The Ear sees at least half a dozen listed including those by a cellist, violinist, hornist, trumpeter and flutist.
For more information, go to: http://www.music.wisc.edu/events/
By Jacob Stockinger
Here is a guest review by The Opera Guy, who is himself a senior and who has followed opera for many decades and across several continents, including North America, Europe and Asia. Performance photos are by James Gill for the Madison Opera.
By Larry Wells
On Sunday afternoon I attended the second, and final, of two sold-out performances of Daniel Schnyder’s “Charlie Parker’s Yardbird,” presented by Madison Opera, which gave the Midwest premiere of the new work.
Although it is a chamber opera featuring only 16 instrumentalists and running a little over 90 minutes, it was an engaging, satisfying and often hypnotic operatic experience.
The orchestral and vocal music were readily accessible. As a compliment to the composer, I was reminded of the later work of the great British composer Michael Tippett.
The plot features Charlie Parker’s mother, three of his wives, his friend Dizzy Gillespie and his current patroness, the fascinating Baroness Nica de Koenigswarter, as they confront Parker’s spirit after his death but before his removal from the morgue and burial.
(Below, standing in front of the photo-portrait set of the Birdland jazz club, are the major cast members, many of whom were in the original world premiere productions at Opera Philadelphia and the Apollo Theater of Harlem in New York City. From the left, they are: Angela Brown as Addie Parker; Will Liverman as Dizzy Gillespie; Rachel Sterrenberg as Chan Parker; Angela Montellaro as Doris Parker; Joshua Stewart as Charlie Parker; and Krysty Swann as Rebecca Parker.)
A pioneer and innovator of bebop in the world of jazz, saxophonist Parker died young and dissolute, destroyed by drugs and alcohol. Portrayed by Joshua Stewart (below), Parker is unsympathetic and weak, desperate to create but distracted. Stewart is a fine, convincing actor. His singing was often compelling, but his voice was too thin in the higher reaches demanded by the score.
The other characters were ably portrayed and consistently strong vocally. Will Liverman’s Dizzy Gillespie was a standout – lyrical and touching.
Likewise, Krysty Swann (below center with a baby) was solid vocally and emotionally convincing as Parker’s abandoned first wife Rebecca Parker.
Rachel Sterrenberg was moving and gripping vocally as Parker’s final wife Chan.
Julie Miller as Baronness Nica commanded the stage whenever she appeared, perhaps because of her bright red dress in a sea of black garments but also because of her powerful portrayal and expressive singing.
Whenever Angela Brown (below right, with Joshua Stewart as Charlie Parker) was onstage as Parker’s mother, Addie, she was the focus. She owned the role, she sang beautifully, and she had some of the best material to sing.
One of the finest moments in the opera was an orchestral interlude followed by a vocalise by another of Parker’s wives, Doris, sung by Angela Mortellaro (below). I was totally captivated, as I was by the quintet toward the end with Dizzy, the three wives and Parker’s mother.
Such are the moments for which an opera aficionado waits – several minutes of total aural delight.
Maestro John DeMain was, as always, in full command of the score as he led members of the Madison Symphony Orchestra. I was in a position to watch him conduct, and he was always totally involved in the moment. I repeat what I have said before: Maestro DeMain (below, in a photo by Prasad) is a treasure for which Madison should be constantly grateful.
I personally like newer music and always welcome the chance to hear something other than the tired Brahms overtures, Tchaikovsky symphonies and Mozart piano concertos.
The argument in Madison seems to be that to fill seats, you have to give the audience what it wants; and the belief is that it wants music that is tried, true and safe.
The fact that this new work sold out both performances in the Capitol Theater of the Overture Center and that the audience was not entirely made up of seniors seems to suggest that the halls can be filled if the programming is more adventurous.
I say let’s hear more music of the 20th and 21st centuries, draw in a new audience and give the seniors a little thrill.
What do you think?
By Jacob Stockinger
Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.
For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)
The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)
Here is a link to more general information about the opera, tickets, the cast and the production:
Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:
What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?
I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.
I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.
The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.
How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?
In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.
The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.
The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts — but there are a lot of R&B influences and jazz and Latin music grooves.
It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.
In what ways do you see the characters and the story as offering lessons and being relevant to today?
I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.
If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.
We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.
The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.
In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.
He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”
The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.
Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?
There might be many different reasons for that:
1) There are very few operas using the modern jazz idiom.
2) There are very few operas in which the leading roles are African-American.
3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.
4) As mentioned above, the opera hits a nerve; it is about our time and about us.
5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.
6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.
7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.
The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.
8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.
I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.
9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.
Is there something else you would like to say about yourself and the opera?
I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.
By Jacob Stockinger
It’s no secret that the University of Wisconsin-Madison School of Music is strapped for money, especially for hiring staff and funding student scholarships — if less so for the construction of new buildings that are financed by selling naming rights.
Certain events, such as the UW Choral Union, have always charged admission. And most UW-Madison musical events, especially faculty and student performances, remain, thankfully, FREE and OPEN TO THE PUBLIC.
But under increasing financial pressure, a few years ago the UW started charging admission to more events: the UW Brass Festival, the UW Concerto Competition Winners’ Concert and the annual Schubertiade to name a few.
So one can well imagine the temptation to “monetize” — charge admission to – concerts by the popular Pro Arte String Quartet (below, in a photo by Rick Langer), which typically draws both critical acclaim and large audiences.
Yet The Ear thinks that would be a mistake, even if the purpose or intent is the best.
The Pro Arte Quartet, which ended up here from its native Belgium when it was exiled here on tour during World War II when Hitler and the Nazis invaded and conquered Belgium, is a primary example of The Wisconsin Idea in action.
The Wisconsin Idea – under siege now by the governor and many legislators — is that the boundaries of the UW are the borders of the state and that the UW should serve the taxpayers who support it.
No single musical group at the UW does that job that better than the hard working Pro Arte Quartet, which has done it for many decades.
The quartet practices for three hours every weekday morning. It tours and performs frequently in Madison and elsewhere in the state, including Door County. It has played in Carnegie Hall in New York City and toured Europe, South America and Asia. It has commissioned and premiered many new works. It has made numerous outstanding recordings. It is a great and revered institution.
The Pro Arte Quartet is, in short, a great ambassador for the state of Wisconsin, the UW-Madison and the UW System. It has given, and will continue to give, countless listeners a start on loving chamber music.
If you are unfamiliar with the history of the Pro Arte Quartet, which is now over 100 years old and is the longest lived active quartet in the history of Western music, go to this link:
And you might consider attending or hearing one of the three FREE PUBLIC performances this week in the Madison area:
From 7 to 9 p.m., the Pro Arte Quartet will perform FREE at Oakwood Village Auditorium, 6209 Mineral Point Road on Madison’s far west side near West Towne. The program is the same as the one listed below on Saturday.
The Oakwood Village concert is OPEN to the public.
Here is a link to more information:
At 8 p.m., in Mills Hall, the Pro Arte Quartet, joined by University of Maryland guest pianist Rita Sloan (below top), will perform a FREE program that features the Fuga in E-flat Major, (1827) by Felix Mendelssohn; the String Quartet No. 20 in F major, Op. 46, No. 2 (1832-33) by the prolific but neglected 19th-century French composer George Onslow (below bottom); and the rarely heard Piano Quintet in A minor, Op. 84, (1919) by Sir Edward Elgar. (You hear the lovely slow movement from the Elgar Piano Quintet in the YouTube video at the bottom.)
For information, go to:
At 12:30 p.m. in the Brittingham Gallery III (below) of the Chazen Museum of Art, the Pro Arte Quartet will perform for “Sunday Afternoon Live From the Chazen,” where over the years it has become the chamber music ensemble in residence.
The program is the same as the one on Saturday night.
Here is information about reserving seats and also a link for streaming the concert live via the Internet:
Do you have an opinion about the Pro Arte Quartet?
Should admission to Pro Arte concerts be started? Or should the quartet’s performances remain free?
Leave a COMMENT below with the why and your reasoning.
The Ear wants to hear.
By Jacob Stockinger
The Ear has received the following information to post about a local opera production that is both exciting and an inspired choice to mark February as Black History Month:
For more information about the cast and the production as well as about purchasing tickets ($25-$114), go to:
With music by Swiss composer Daniel Schnyder (below top) and a libretto by writer and poet Bridgette A. Wimberly (below bottom), the acclaimed opera “Charlie Parker’s Yardbird” tells of the legendary jazz musician and the people closest to him.
The opera, which melds jazz and opera, is set on the day that saxophone great Charlie Parker died in 1955. As his body lies unclaimed in a New York City morgue, Parker returns in spirit to the jazz club Birdland, determined to compose a final masterpiece. Family and friends blend in and out of his memories, including his three wives, his mother, his friend Dizzy Gillespie and even his drug dealer.
Charlie Parker’s Yardbird premiered in June 2015 at Opera Philadelphia (below is tenor Lawrence Brownlee, in a photo by Dominic Mercier, in the title role of Charlie Parker in the Philadelphia production) and was subsequently presented by the company at the Apollo Theater in New York City in April 2016. (You can hear an excerpt in the YouTube video at the bottom.)
The New York Times praised it for its “pulsing, jazz-infused score,” while the Wall Street Journal said, “its rhythms snap and swing, its melodies – including real arias – seize the ear, its ensembles crackle with energy.”
Madison Opera will be only the second company to present this work, which is sung in English with projected text and runs 90 minutes without an intermission.
“I saw Charlie Parker’s Yardbird when it premiered in Philadelphia and instantly knew it would be a perfect opera for Madison,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director. “The very American story and the exciting jazz-inflected music fit perfectly into our ever-expanding range of repertoire.”
She adds, “It’s not a straightforward narrative of Parker’s life, but rather elements of his life as refracted through his memories and imagination, and particularly his relationships with the women in his life.”
Madison Opera’s cast includes both debuts and returning favorites, as well as a number of singers who created their roles in the world premiere.
Joshua Stewart (below), a young American tenor who has sung at La Scala, Bayerische Staatsoper, and Opera de Lausanne, debuts in the tour de force role of Charlie Parker.
Angela Brown (below) returns following her performance at Opera in the Park 2016 as Addie Parker, Charlie’s mother, a role she created in Philadelphia.
Will Liverman, who sang Figaro in Rossini’s The Barber of Seville here in 2015, sings jazz legend Dizzy Gillespie, a role he created in Philadelphia.
Krysty Swann debuts as Rebecca Parker, Charlie’s first wife. Angela Mortellaro, who sang Galatea in Handel’s Acis and Galatea in 2013, returns as Doris Parker, Charlie’s third wife, a role she created in Philadelphia.
Rachel Sterrenberg debuts as Chan Parker, his final wife, a role she created in Philadelphia. Baroness Pannonica de Koenigswarter, in whose hotel suite Parker died, is sung by Julie Miller in her Madison Opera debut.
Directing this production is Ron Daniels (below), who staged the world premiere and was the opera’s dramaturge, involved in the creation and workshop process.
John DeMain (below, in a photo by Prasad) conducts, with members of the Madison Symphony Orchestra in the pit.
DeMain says: “I am so happy to be a part of Madison Opera’s Midwest premiere of Charlie Parker’s Yardbird. Parker was consumed with music, breathing it day and night. All of us who are passionate about performing and listening to music can identify with this phenomenal musician and will not want to miss this jazz-infused opera, the perfect expression of Parker’s range and depth as a musician.”
Composer Daniel Schnyder will attend the opening night performance and join Smith for the Pre-Opera Talk that evening at 7 p.m. in the Wisconsin Studio.
In addition to the performances, Madison Opera and its community partners are hosting a series of related events, collectively known as “Extending the Stage,” which culminate in a concert of Charlie Parker’s music with composer Daniel Schnyder and the UW-Madison’s Blue Note Ensemble.
These events include Opera Novice; community previews; Opera Up Close; discussions of the life and music of Charlie Parker (below); and presentations of rare jazz films.
All events are open to the public and the majority are free of charge.
RELATED EVENTS: EXTENDING THE STAGE
Opera Novice: Jazz Opera? Friday, Jan. 20 | 6-7 p.m. The Margaret C. Winston Madison Opera Center, 335 W. Mifflin Street. FREE and open to the public
New to opera? Passionate about Puccini, but not sure about a jazz opera? Join General Director Kathryn Smith for a short, fun, and informative evening exploring the history of jazz and opera, including a live performance of an aria from Charlie Parker’s Yardbird. With plenty of time to ask questions, it’s the perfect jump-start for the opera-curious.
Community Preview of Charlie Parker’s Yardbird, Tuesday, Jan. 24 | 7-8 p.m. Capitol Lakes Retirement Community, 333 W. Main St. FREE and open to the public
Join a Madison Opera staff member for a multimedia look at Charlie Parker’s life, the history of the opera Charlie Parker’s Yardbird, and some insights into Madison Opera’s production.
Opera Up Close, Sunday, Feb. 5 | 1-3 p.m. The Margaret C. Winston Madison Opera Center, 335 West Mifflin Street. Admission: $20; free for full-season subscribers and full-time students with ID; $10 for two-show subscribers. Tickets available at the door.
Come even closer with a behind-the-scenes preview of Charlie Parker’s Yardbird. A multimedia presentation on Charlie Parker and the history of this opera will be followed by a roundtable discussion with the leading artists of Madison Opera’s production. There is no better way to get “up close” to this acclaimed new opera.
A Charlie Parker Concert and Discussion with Daniel Schnyder and the Blue Note Ensemble Thursday, Feb. 9 | 7:30 p.m. Morphy Recital Hall, UW-Madison. FREE and open to the public
Composer Daniel Schnyder joins UW-Madison’s Blue Note Ensemble for an evening featuring music by Charlie Parker, with solos performed by both Schnyder and UW-Madison saxophone students. The evening includes an aria from Charlie Parker’s Yardbird and a discussion about Parker and the opera with Schnyder, UW-Madison Professor of Saxophone Les Thimmig, and General Director Kathryn Smith.
Pre-Opera Talks: Friday, Feb. 10 |7 p.m. and Sunday, Feb. 12 | 1:30 p.m. Wisconsin Studio at Overture Center. FREE to ticket holders
Attend an entertaining introduction to Charlie Parker’s Yardbird one hour prior to curtain. On Friday night, composer Daniel Schnyder will join General Director Kathryn Smith to talk about the piece. Be sure to arrive early, as space is limited.
An Evening of Rare Jazz Films: Alicia Ashman Library. Friday, Feb. 3 | 7 p.m.; Goodman South Madison Library. Tuesday, April 11 | 6 p.m. FREE and open to the public (Below is footage of Charlie Parker playing and of people discussing the man and his artistic achievement.)
Jazz archivist Gary Alderman will present and explain films of the historically significant innovators of modern jazz, including the only two known existing videos with sound of Charlie Parker.
Among the other musicians shown will be those relevant to Parker’s music and career, including Lester Young, Coleman Hawkins, John Coltrane, Dizzy Gillespie and Miles Davis.
The Life and Music of Charlie Parker: DeForest Area Public Library: Monday, Feb. 13, 6:30 p.m.; Alicia Ashman Library: Friday, Feb. 24, 7 p.m.; Fitchburg Public Library: Sunday, Feb. 26, 2 p.m.; Oregon Public Library: Friday, March 10, 6:30 p.m. FREE and open to the public
UW-Madison Professor of Saxophone Les Thimmig (below) will talk about Charlie Parker’s life and music, as well as the history of bebop.
More information is available at www.madisonopera.org/education.
ALERT: The week’s FREE Friday Noon Musicale at the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison, 900 University Bay Drive, features pianist Bill Lutes in a solo recital. The program includes the “Papillons” (Butterflies) by Robert Schumann and the final Sonata in B-Fat Major, D. 960, by Franz Schubert. The program runs from 12:15 to 1 p.m.
For more information about Bill Lutes and his series of recitals, go to:
By Jacob Stockinger
This weekend, the Madison Choral Project (below top), Madison’s professional choir under the direction of Albert Pinnsoneault (below bottom), a former Edgewood College professor who now teaches at Northwestern University, will present two performances of its fourth annual Holiday-themed program “I Was Glad.”
The performances are on Friday, Dec. 16, at 7:30 p.m. and Saturday Dec. 17, at 3 p.m. Both performances will be held at First Congregational United Church of Christ, 1609 University Avenue, near Camp Randall Stadium in Madison.
Tickets are available in advance at www.themcp.org, or at the door.
(Preferred Seating is $40, General Admission is $24/$28 and Students are $10)
The concerts feature a carefully curated selection of vocal music and readings, with the intent to lead the listener along a sublime journey of music and text.
Madison Choral Project is will partner again with Wisconsin Public Radio’s news editor Noah Ovshinsky (below), who will perform readings from works of Tim O’Brien, Billy Collins, William Wordsworth and others.
The Madison Choral Project will sing an eclectic mix of holiday-themed music in four sets, ranging from the 17th century to brand new compositions.
The program features two exciting world premieres by Eric Barnum (below top), the choral director at UW-Oshkosh, and MCP’s Composer in Residence, Jasper Alice Kaye (below bottom).
The first set of pieces, “Welcome to the Holy Space,” includes A Child’s Prayer by James MacMillan, Sanctus from Mass in G by Francis Poulenc and Our Father by Alexandre Gretchaninoff.
The second set, “Winter Comforts,” features two new commissions written for Madison Choral Project. Winter by Eric William Barnum will be followed by The Invitation by Jasper Alice Kaye. Lux Aurumque by Eric Whitacre will finish the set.
The third set, “Glad Tidings,” includes the concert’s titular piece, I Was Glad by C.H.H. Parry (heard in the YouTube video at the bottom), as well as beautiful works by Matthew Culloton, William Dawson and Jan Sandstrøm.
The final set, “Gathering and Blessing,” contains joyous settings of familiar texts set by Francis Poulenc, Ludwig van Beethoven, and arranger John Ferguson.
For more information or tickets, go to www.themcp.org.
By Jacob Stockinger
This Saturday will see the “Live From The Met in HD” transmission to area cinemas of the popular 2002 opera “L’Amour de Loin” by Finnish composer Kaija Saariaho (below, in a photo by Maarit Kytoharju).
The show starts at 11:55 a.m. at the Point Cinema in Madison’s far west side and the Palace Cinema in Sun Prairie. The running time is three hours with an intermission. (It will also be broadcast live on Wisconsin Public Radio starting at 1 p.m.) It will be sung in French with English supertitles.
Based on the real-life story of the 12th-century French prince and troubadour Jaufré de Rudel, the opera will be the first one by a women composer to be done by the Metropolitan Opera in 113 years.
It must also be a landmark for Finland, since both the composer and the acclaimed conductor, Susanna Mälkki (below, in a photo by The New York Times), are Finnish. Mälkki is making her Met debut.
And the cast sounds terrific: Bass-baritone Eric Own (below left, in a photo by Ken Howard) plays the troubadour.
Susanna Phillips (below right) plays his love Clémence, who hails from what is now Lebanon.
It sounds like the production, by French-Canadian theater director Robert Lepage – who worked with the Cirque du Soleil and did the Met’s recent controversial “Ring” cycle by Richard Wagner, is appealing on several scores. (You can hear Robert Lepage and Kaija Saariaho discuss the production briefly in a YouTube video at the bottom.)
Here is a link to more information about the opera and cast at the Met’s website:
The appeal has been added to by a story that Jeff Lunden did for National Public Radio or NPR.
It is good background for seeing and hearing the production.
Here is a link. You can read the summary in print, and you can hear the longer broadcast version – which The Ear recommends — with the voices of the composer and others, by clicking on the big red button on the top left:
Do you know the opera “L’Amour de Loin”?
Have you seen or heard it already?
Whether you saw a previous Metropolitan Opera production or this one, let us know what you think of the opera as new music and a fetching love story. Will it “have legs” and survive long into the future?
The Ear wants to hear.
ALERT: Edgewood College will present its 89th Annual Christmas Concerts tonight at 7 p.m. and Saturday afternoon at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive.
Now expanded to two performances, the holiday concert features the Edgewood College choirs and Concert Band, along with audience sing-alongs, prelude music by the Guitar Ensemble, and a post-concert reception featuring the Jazz Ensemble.
By Jacob Stockinger
Classical music meets old media and new media this weekend through opera and chamber music.
This Saturday marks the beginning of the LIVE RADIO broadcasts of operas from the Metropolitan Opera (below) in New York City. This will be the 86th season for the radio broadcasts, which educated and entertained generations of opera lovers before there were DVDs, streaming and the “Live in HD From the Met” broadcasts to movie theaters.
The performances will be carried locally on Wisconsin Public Radio, WERN-FM 88.7. This Saturday, the starting time for Puccini’s “Manon Lescaut” with Russian superstar soprano Anna Netrebko (below, in a photo by Richard Termine for The New York Times), is 11:30 CST. Other operas will have different starting times, depending their length.
This season runs from Dec. 3-May 15.
Radio has certain strengths, The Ear thinks. For one, it allows the listeners to focus on the music, to be less distracted or less enriched – depending on your point of view – by sets, costumes, lighting, the physicality of the acting and other stagecraft that is left to the imagination.
This season, there will be lots of standard fare including: Verdi’s “La Traviata” and “Aida”; Puccini’s “La Boheme”; Bizet’s “Carmen”; Beethoven’s “Fidelio”; Wagner’s “Tristan und Isolde” and “The Flying Dutchman”; Richard Strauss’ “Der Rosenkavalier” and “Salome”; and Mozart’s “Idomeneo.”
But you can also hear the new music and less frequently staged operas. They include the 2000 opera “L’amour de loin” (Love From Afar) by Finnish composer Kaija Saariaho, which will receive its Metropolitan Opera premiere next week, on Dec. 10.
Here is a link to the complete season along with links to information about the various productions. Starting times are Eastern Standard Time, so deduct an hour for Central Standard Time or a different amount for your time zone:
On this Sunday afternoon, the Pro Arte Quartet (below, in a photo by Rick Langer), longtime artists-in-residence at the University of Wisconsin-Madison School of Music, will wrap up the first semester of “Sunday Afternoon Live From the Chazen,” which used to air weekly on Wisconsin Public Radio but now is presented once a month, on the first Sunday of the month, directly by the museum.
The program this Sunday features the “Italian Serenade” by Hugo Wolf; the String Quartet No. 3 in F Major by Dmitri Shostakovich; and the String Quartet in A-Flat Major, Op. 105, by Antonin Dvorak.
The FREE concert takes place from 12:30 to 2 p.m. in Brittingham Gallery No. 3 of the Chazen Museum of Art and the University of Wisconsin-Madison.
Donors to the museum can reserve seats. Concerts by the Pro Arte Quartet, kind of the house quartet of the museum, are usually “sold out.”
But the concert can also be streamed live via computer or smart phone by clicking on the arrow in the photo and using the portal on the following website:
You might also want to arrive early or stay late to see the historic and rare First Folio edition (below) of the plays by William Shakespeare that is on display at the Chazen Museum through Dec. 11 to mark the 400th anniversary of the death of the Bard.
By Jacob Stockinger
The Oakwood Chamber Players (below) will perform a concert titled Looking Back and Forward on Sunday, Nov. 27, 2016 at 1 p.m. and 3:30 p.m.
The performances will both be held at the Oakwood Village University Woods Center for Arts and Education, 6209 Mineral Point Road, on the far west side of Madison near West Towne Mall.
An innovative recipe for A Christmas Carol is a perfect addition to the Thanksgiving holiday weekend.
Outstanding musical theater actor/singer baritone Bobby Goderich (below, seen on the right in Madison Opera‘s production of Stephen Sondheim‘s “Sweeney Todd”) will give a tour-de-force characterization of the entire cast of personalities for a rendition of Dickens’s tale in The Passion of Scrooge. A dozen musicians will give Goderich’s flair an abundant platform to show off his singing, humor, and dramatic effects.
The Passion of Scrooge by New York composer Jon Deak (below) is performed annually for holiday concerts at the Smithsonian, and the Oakwood Chamber Players are delighted to present the Wisconsin premiere of this memorable work.
Deak is known for weaving a variety of tales into “concert dramas,” turning words into music and giving instrumentalists the power to evoke speech through their sounds.
The Passion of Scrooge is laid out in two acts as the character struggles to come to grips with the past, present and future, to transform a life of avarice to one of human warmth.
Additionally, the Oakwood Chamber Players will perform music mentioned in the text of Charles Dickens’s A Christmas Carol.
When the Ghost of Christmas Past shows Scrooge a celebration hosted by his employer, Mr. Fezziwig, the fiddler plays the tune Sir Roger de Coverley. (You can hear a chamber orchestra version of the work, played by the Academy of St. Martin in the Fields under Sir Neville Marriner, in the YouTube video at the bottom.)
This traditional English country dance, set for string quartet by British composer Frank Bridge (below) in 1922, will provide an energetic introduction to The Passion of Scrooge. The musical pairing illustrates how creative expression can transform historic works to give fresh perspectives.
The Oakwood Chamber Players welcome guests Wes Luke, violin; Katrin Talbot, viola; Brad Townsend, bass; Mike Koszewski, percussion; Mary Ann Harr, harp; Bobby Goderich, baritone; and Kyle Knox, conductor (below).
This is the second of five concerts in the Oakwood Chamber Players 2016-2017 season series entitled Perspective. Remaining concerts will take place on Jan. 21 and 22, March 18 and 19, and May 13 and 14.
The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years.
The program lasts about 1 hour and 15 minutes.
Tickets can be purchased with cash or personal checks at the door: $20 for general admission, $15 for seniors and $5 for students.
Also, conductor Kyle Knox will discuss the music on Norman Gilliland’s show, The Midday, on Wisconsin Public Radio, 88.7 FM WERN, on this Friday, Nov. 25, from noon to 1 p.m.
Visit www.oakwoodchamberplayers.com for more information.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
By Jacob Stockinger
Who says classical music is dying?
You wouldn’t know it from some of the many world premieres of new music that will take place across the U.S. this season. Such events add a lot of excitement to the new concert season. And many critics and observers think they draw in new and younger audiences.
Quite a few of the premieres feature performers and composers familiar to Madison audiences. They include cellist Alisa Weilerstein (below top, in a photo by Harold Hoffmann for Decca Records), pianist Emanuel Ax (below second), composer Kevin Puts (below third) and composer Jake Heggie (below bottom).
Here is a round-up of the national scene by Tom Huizenga, who writes the Deceptive Cadence blog for National Public Radio or NPR.
It makes one wonder: What about the local scene here in Madison?
True, several seasons ago, the Pro Arte Quartet (below, in a photo by Rick Langer) at the University of Wisconsin-Madison commissioned and premiered six new works to mark its centennial. They included four string quartets, one piano quintet and one clarinet quintet, all of which are now available in terrific recordings from Albany Records.
This summer the Bach Dancing and Dynamite Society featured bass-baritone Timothy Jones (below) in the world premiere of a song cycle it commissioned from American composer Kevin Puts, who is mentioned in the NPR story, to mark its 25th anniversary.
And this fall, at its annual Labor Day concert the Karp family premiered a new work by Joel Hoffman for piano and cello, based on the life of the late pianist and former UW professor Howard Karp and performed by his sons pianist Christopher Karp and cellist Parry Karp (below).
This winter the Madison Opera will stage the new jazz-inspired opera “Charlie Parker’s Yardbird,” although Milwaukee’s Florentine Opera will do a world premiere of a work it commissioned. Could the Madison Opera commission again its own new work, such as it did years ago with Daron Hagen‘s opera “Shining Brow” about Frank Lloyd Wright?
And there are other commissions and premieres by smaller groups, such as the percussion ensemble Clocks in Motion.
But what is the problem with getting new commissions and world premieres at bigger ensembles such as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the UW Symphony Orchestra, which does perform a student work each year? Lack of money? Lack of will? Lack of audience interest?
What do you think?
The Ear wants to hear.