The Well-Tempered Ear

Classical music: Presidential debates should include questions about funding and supporting the arts and humanities

October 27, 2015
11 Comments

By Jacob Stockinger

Well, well.

Tomorrow night — from 7 to 9 p.m. CDT on CNBC — there will be another presidential debate.

The always astonishing and amazing Republicans, led by the always astonishing and amazing Donald Trump and Dr. Ben Carson, will debate in Boulder, Colorado.

Republican presidential debate

The Ear has watched three presidential debates so far — two Republican and one Democratic.

But he still has no idea of where the various candidates on both sides stand when it comes to government support of the arts –- including music — and the humanities.

Please tell us, Hillary Clinton and Bernie Sanders, what you think?

bernie sanders and hillary clinton in presidential debate

And you too, Donald Trump and Ben Carson and Carly Fiorina and Ted Cruz and Marco Rubio and Mike Huckabee and Rick Santorum and Chris Christie and Jeb Bush and Rand Paul and John Kasich and ….

Do you want to defund PBS?

pbs logo in black

Or defund NPR?

npr

Or will you support these important and historic cultural commitments? Why or why not?

Along the same lines, do you want to defund, sustain or enhance the National Endowment for the Arts and the National Endowment for the Humanities?

Why or why not?

Some funny reasoning is going on here. Some of the candidates want to eliminate all subsidies to the arts, which are a form of economic development after all – at a time when a lot of conservatives don’t mind funding big rich corporations in the same name of economic development.

The arts create a lot of jobs and spark a lot of spending and stimulus. Or don’t the culture-challenged charlatans realize that?

Stop and think a minute about the local situation. The Madison Symphony Orchestra, the Madison Opera, the Wisconsin Chamber Orchestra, the Wisconsin Union Theater, the Overture Center (below), public schools, the University of Wisconsin and its School of Music — all rely in part on public funding. They employ a lot of people and generate a lot of value.

OvertureExteior-DelBrown_jpg_595x325_crop_upscale_q85

Don’t these issues deserve a public airing? Doesn’t the arts consuming public have a right to know where the various candidates stand on these issues? Shouldn’t voters know what they might be getting in those areas?

As The Ear understand its, one flank of the attack has to do with the so called left-leaning liberal or progressive bias and politics of PBS and NPR.

Plus, there is the view that the art that public taxpayer money is helping to create doesn’t defend the so-called family values that the most radically conservative Republicans and Christian fundamentalists and Evangelicals want defended.

The other flank of the attack has to do with the stance that government should be smaller and that therefore should be funding less in general.

Makes you wonder just how the radical “freedom coalition” and Tea Party people in South Carolina, Texas and California feel about having a smaller government when it comes to providing aid for victims of torrential floods and devastating wildfires. And how is that kind of help for those in need different from funding education or health care?

California wildfires 2015 nbcnews

AUSTIN, TX - MAY 25, 2015 Extreme flooding takes place in Austin, Texas May 25, 2015. (Photo by Drew Anthony Smith/Getty Images)

AUSTIN, TX – MAY 25, 2015
Extreme flooding takes place in Austin, Texas May 25, 2015.
(Photo by Drew Anthony Smith/Getty Images)

Anyway, wouldn’t it be appropriate for some of the panelists to question the candidates on the issues pertaining to the arts and humanities?

The Ear is reminded of Sir Winston Churchill’s comment during World War II. Some members of the British Parliament asked him if funding for the arts shouldn’t be cut and used instead to fight Hitler and the Nazis. He said no and added, “Then what would we be fighting for?”

winston churchill

Tell the Ear what you think. Leave a COMMENT.

Maybe, just maybe, someone else will read it and pass it along and we will finally get a substantive discussion from the candidates about where they stand on arts and humanities funding by the federal government.

 


Classical music review: Madison Opera’s production of Philip Glass’ “Galileo Galilei” proved a timely, well told tale of truth-telling during the endless demagoguery of presidential primaries and the growing number of anti-evolution science-deniers.

January 31, 2012
8 Comments

By Jacob Stockinger

Thank you, Madison Opera. We needed that – especially given today’s Florida Republican primary.

We needed to be reminded of what true intelligence and  truth-telling are.

I am talking about the Madison Opera’s production, with four sold-out performances, of Philip Glass’ chamber opera “Galileo Galilei.”

To be honest, it is not the best work by Glass (below) I have ever heard, even though it dates from 2002 and is mature Glass that has its appeal. But because the opera has never been recorded or put on DVD or film, it is a terrific choice to stage to mark the composer’s 75th birthday, which happens to be today—coincidentally, the same day as the hotly contested Florida Republican primary.

Plus, it is the Madison Opera’s first foray into Glass, or into minimalist opera for that matter – a brave move that deserves to be praised and repeated perhaps with other Glass works or maybe something by John Adams.

But that is just one way in which this production of “Galileo,” which I saw Sunday afternoon, has proved timely.

It also was a success in that it marked four successive years of sold-out mid-winter performances for operas done in smaller venues of the Overture Center like The Playhouse and Promenade Hall. Previously, the Madison Opera staged Aaron Copland’s “The Tender Land,”  Benjamin Britten’s “The Turn of the Screw” (below) and Kurt Weill‘s “Threepenny Opera.”

Clearly, there is a market for the smaller, less common works. It would seem these smaller and more experimental winter productions are here to stay, and I applaud that heartily. I can’t wait to see what the next season brings.

Finally, I also found the production timely on another count.

It tells the story of the Renaissance Italian scientist Galileo Galilei (below), who explored the heavens with his telescope and who defended the heliocentric, or Sun-centered, model of the universe at a time when the all-powerful Roman Catholic Church – using the Bible as an inerrant source — insisted on the Earth-centered model of the ancient Greek Ptolemy.

So this was the tale of a genuine, authentic truth-teller; the story of someone who, as the Quakers say, spoke Truth to Power, who championed facts over faith. True, he recanted his revolutionary thoughts under threat of torture and death, and spent the remainder of his life under house arrest and with the guilt of knowing he was right for speaking out and wrong for recanting.

But still, there is something inspiring in the 10 scenes of the opera that trace the trajectory of Galelio’s quiet but inquisitive heroism from youth and middle age to old age with the death of his daughter and the persecution by the Church. There is something I find reassuringly modern and also challenging about using The Scientist — and the Scientific Method — as hero.

That in itself made the production unforgettable for me since these days it is good to be reminded that what is democracy but a form of science, of peer-reviewed government, if you will. Without democracy, science is stifled. Without facts, and based only on faith, democracy degenerates and withers.

But free inquiry does not mean a free license to distort and tell untruths.

Some men and women don’t seem to know the difference between truth and truthiness. Galileo did.

But to listen to news reports right now, and for the rest of this year, is to be barraged with slanders, distortions and outright lies from all the candidates, including Barack Obama, but especially from Mitt Romney (below) and Rick Santorum to say nothing of the defeated Herman Cain, Michele Bachmann and Rick Perry. Politics just isn’t as intellectually honest as science. 

Still, the most odious to me is Newt Gingrich (below). He styles himself a smart man and deep thinker, and he is educated through a doctorate. But he seems smart only in some kind of pompous and smarmy, conniving and self-promoting way. Best I can tell, he is not an intellectual in the way that genuinely deep thinkers and open-minded explorers are. That is the take-away lesson of “Galileo” for me, at least at this particular time and in this particular place.

As for the production itself, there was much to praise — and to justify the standing ovation it received. The set by Barry Steele was quite inventive and effective in using projections of Renaissance gardens and celestial maps, though the blurry soft-focus eventually became more distracting than any sharp focus might have been.

The 13 musicians, most from the Madison Symphony Orchestra, under the direction of guest conductor Kelly Kuo (below), performed very well. Glass’ music is much harder to play than it sounds. It isn’t their fault, after all, that too much of Glass sounded the same with a kind of repetitive jackhammer aesthetic that either you take to or you don’t. I’ve heard better scores from Glass. This one could have used a few melodic lines or motives for the individual characters.

Among the singers, many of whom played multiple roles, tenor William Joyner (below right, in  a photo by James Gill) and baritone John Arnold (below left) stood out as the older and younger Galileo, respectively.

Local talents, including Jamie-Rose Guarrine (below, second from right in a photo by James Gill), Allisanne Apple (second from left) and Jennifer DeMain – curiously, all mezzo-sopranos – acquitted themselves well and dependably. (Saira Frank is on the far right.)

I also liked the effective scenes with the Inquisitors, the Cardinals and the Pope, where the singing and acting seemed in balance.

I found the mood-setting costumes by Karen Brown-Larimore a good match to the story and setting. And I liked the engaging staging by A. Scott Parry (below) up until that last five minutes, when the singers doffed their costumes for street clothes and did some silly Matisse-like Zodiac dance around the old but vindicated, if now lame and blind, Galileo before they traipsed off stage, arms waving in the air, and passed by the audience as they sang some monotonous  ta-taaa–ta-ta-taa of the score. It all seemed too much like a bad Be-In from the 1960s. Even the singers seemed uncomfortable and awkward with the finale, as if they were being asked to chant Hare! Hare! Krishna! Krishna!

Galileo, both the man and the opera, fared very well for the most part but deserved a better end. Staying in character and in the Renaissance period seemed much preferable to me.

But there is certainly room to disagree. Here are some other reviews for you to compare mine with:

John Barker’s review for Isthmus, for example, focuses more on the production and less on the context:

http://www.thedailypage.com/daily/article.php?article=35800

Lindsay Christians’ review for The Capital Times and 77 Square gives you a good sense of the technology that was used:

http://host.madison.com/entertainment/arts_and_theatre/reviews/opera-review-galileo-maps-the-universe-of-a-scientist-and/article_166e9fba-48e6-11e1-8c9f-001871e3ce6c.html

Here is Greg Hettmansberger’s review for Madison Magazine and its blog “Classically Speaking”:

http://www.madisonmagazine.com/Blogs/Classically-Speaking/January-2012/Madison-Opera-Reaches-for-the-Heavens-in-Galileo-Galilei/

And here is Bill Wineke’s exceptionally honest and candid review for Channel 3000:

http://www.channel3000.com/entertainment/30315871/detail.html


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