The Well-Tempered Ear

Classical music: Acclaimed violinist Gil Shaham debuts here this weekend in an all-Russian program with the Madison Symphony Orchestra

January 16, 2018
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By Jacob Stockinger

This weekend, the Madison Symphony Orchestra (below) performs three concerts that include the long-awaited Madison debut of violin virtuoso Gil Shaham. MSO music director John DeMain will conduct.

The all-Russian program features works by three of the most popular and beloved Russian composers of all time: the Suite from The Love for Three Oranges” by Sergei Prokofiev; the Symphony No. 3 in A minor by Sergei Rachmaninoff; and the Violin Concerto in D Major by Peter Ilyich Tchaikovsky.

The concerts are in Overture Hall at the Overture Center, 201 State Street, on this Friday, Jan. 19, at 7:30 p.m.; Saturday, Jan. 20, at 8 p.m.; and Sunday, Jan. 21, at 2:30 p.m.

(See below for ticket information.).

“Our January concerts feature a number of significant firsts,” says MSO music director John DeMain (below, in a photo by Prasad).

“Most important is the Madison Symphony Orchestra debut of one of the world’s premier violinists, Gil Shaham. We have sought out Mr. Shaham for many seasons, and we are thrilled his international schedule aligned with ours this year. His offer to play the Tchaikovsky Violin Concerto led me into creating another one of my all-Russian programs.

From Prokofiev, we open the concert with MSO’s first performance in nearly 40 years of his Suite from his opera, The Love of Three Oranges. This will also be our first-ever performance of Rachmaninoff’s Third Symphony.”

“The Love for Three Oranges” Suite by Sergei Prokofiev (below) is based on a satirical opera commissioned during the composer’s first visit to the United States in 1918.

“The suite is composed in six parts and follows the story of a prince that is cursed to love three oranges, roaming the Earth searching for them. When he finds the oranges and peels them, each discloses a beautiful princess inside. The first two princesses to emerge die, but the third and most beautiful is saved, and she and the Prince live happily ever after.

“The Violin Concerto by Peter Ilych Tchaikovsky (below) is one of the best-known violin concertos in the repertoire and is considered one of the most technically difficult works ever written for the violin. The concerto was written in 1878 as Tchaikovsky ended his marriage to Antonina Milyukova, a marriage that lasted only three months.”

Declared “the outstanding American violinist of his generation” by Time magazine, Gil Shaham is one of the foremost violinists of our time: his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master.

Grammy Award-winner Shaham (below), also named Musical America’s “Instrumentalist of the Year,” is sought after throughout the world for concerto appearances with leading orchestras and conductors, and regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals. (You can hear Gil Shaham rehearsing the Tchaikovsky Violin Concerto last month in Paris in the YouTube video at the bottom.)

In his Symphony No. 3, Sergei Rachmaninoff’s melodic outline and rhythm characterize what is believed to be his most expressively Russian symphony, particularly in the dance rhythms of the finale.

Composed between 1935 and 1936, this was the last symphony Rachmaninoff (below) would create, with an orchestration more transparent than that of his previous symphonies.

One hour before each performance, Randal Swiggum (below), artistic director of the Elgin Youth Symphony Orchestra and interim director of the Wisconsin Youth Symphony Orchestras (WYSO), will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please read the Program Notes by MSO trombonist and UW-Whitewater professor J. Michael Allsen (below, in photo by Katrin Talbot) at: http://www.allsenmusic.com/NOTES/1718/5.Jan18.html

NOTE: The MSO recommends that concert attendees ARRIVE EARLY for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk, which is free for all ticket-holders.

TICKET INFORMATION

Single Tickets are $18-$90 each and are on sale http://www.overture.org/events/gil-shaham-plays-tchaikovsky, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734.

For more information, visit: https://www.madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets.

More information is at: https://www.madisonsymphony.org/studentrush

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.

Major funding for the January concerts is provided by the Irving and Dorothy Levy Family Foundation, Inc., Kenneth A. Lattman Foundation, Inc., Marilyn and Jim Ebben, Dr. Stanley and Shirley Inhorn, Kato L. Perlman, and Cyrena and Lee Pondrom. Additional funding provided by James and Joan Johnston, von Briesen & Roper, S.C., and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

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Classical music: Wisconsin Public Radio will air the Madison Opera’s productions of “Romeo and Juliet” and “The Magic Flute” this Saturday afternoon and next Saturday afternoon

May 18, 2017
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By Jacob Stockinger

Saturday live broadcasts from the Metropolitan Opera ended for the season last weekend.

But opera on the radio continues.

The Madison Opera is partnering with Wisconsin Public Radio to present recorded broadcasts of Charles Gounod’s Romeo & Juliet on Saturday, May 20, and Wolfgang Amadeus Mozart’s The Magic Flute (below) on Saturday, May 27. (Photo are by James Gill for the Madison Opera.)

Both broadcasts begin at 1 p.m. Listeners can tune into their local WPR station or stream online at www.wpr.org/listen-live.

Each spring, two operas from Madison Opera’s season are presented by Wisconsin Public Radio to let listeners re-live the season.  These broadcasts cap off the end of the season of live radio broadcasts from The Metropolitan Opera that run from December through May on WPR’s News and Classical Music Network.

“We are committed to showcasing some of the best music and arts performances in Wisconsin. Our broadcast partnership with the Madison Opera, and organizations and musicians throughout the state, help to ensure everyone has access to live and local concerts no matter where they live,” said Peter Bryant (below), director of WPR’s News and Classical Music.

Charles Gounod’s Romeo & Juliet opens the broadcast series on Saturday, May 20, at 1 p.m.  In 14th-century Verona, Romeo meets Juliet in a crowded ballroom, setting in motion a chain of events that will change both their families. With soaring arias, impassioned scenes and plenty of sword fights, Gounod’s gorgeous opera brings Shakespeare’s classic tale of star-crossed lovers to vivid life.

Madison Opera’s cast features UW-Madison graduate and Lyric Opera of Chicago alumna Emily Birsan (below right) as Juliet, John Irvin (below left) as Romeo, Sidney Outlaw as Mercutio, Stephanie Lauricella as Stephano, Liam Moran as Friar Lawrence, Allisanne Apple as Gertrude, Chris Carr as Tybalt, Philip Skinner as Lord Capulet, Benjamin Sieverding as the Duke of Verona, Nathanial Hill as Gregorio, James Held as Paris, and Andrew F. Turner as Benvolio.

John DeMain conducts, featuring the Madison Opera Chorus and Madison Symphony Orchestra. The broadcast includes an intermission feature with Birsan, Irvin and DeMain, interviewed by WPR’s Lori Skelton.

On Saturday, May 27, at 1 p.m., the broadcasts conclude with Wolfgang Amadeus Mozart’s The Magic Flute. A prince, a princess, a bird-catcher and a host of other fascinating characters invite you into a fantastical world of charmed musical instruments, mystical rituals, and a quest for enlightenment and wisdom.

Written in the last year of his life, Mozart’s sublime opera is part fairy tale, part adventure story, and all enchantment.

Madison Opera’s cast features Amanda Woodbury as Pamina, Andrew Bidlack as Tamino, Alan Dunbar as Papageno, Caitlin Cisler as The Queen of the Night, Nathan Stark as Sarastro, Scott Brunscheen as Monostatos, Amanda Kingston as the First Lady, Kelsey Park as the Second Lady, Anna Parks as the Third Lady, Anna Polum as Papagena, Matthew Scollin as the Speaker, Robert A. Goderich as the First Priest/Armored Man, and James Held as the Second Priest/Armored Man.

Julliard professor Gary Thor Wedow conducts, featuring the Madison Opera Chorus and Madison Symphony Orchestra.

The broadcast includes an intermission feature with Woodbury, Bidlack, Dunbar and Wedow, interviewed by WPR’s Lori Skelton.

Madison Opera is a non-profit professional opera company based in Madison, Wisconsin.  Founded in 1961, the company grew from a local workshop presenting community singers in English-language productions to a nationally recognized organization producing diverse repertoire and presenting leading American opera singers alongside emerging talent.  A resident organization of the Overture Center for the Arts, Madison Opera presents three productions annually in addition to the free summer concert Opera in the Park and a host of educational programming.


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.

MusicHall2

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.

http://www.madisonsavoyards.org

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

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.

 

 

 


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