The Well-Tempered Ear

The UW Symphony Orchestra performs a FREE online concert Thursday night and Friday night the Wisconsin Chamber Orchestra debuts its second chamber music concert. But in-person micro-concerts on Sunday by the the Willy Street Chamber Players are sold-out

February 24, 2021
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By Jacob Stockinger

The second half of the music season is well under way, with just about every major group performing online – or in one case even in person.

Here are three selections this week:

THURSDAY

Two of the most musically and technically impressive concerts The Ear heard last semester took place at the UW-Madison’s Mead Witter School of Music. They were by the UW-Madison Symphony Orchestra under the direction of conductor Oriol Sans (below).

First, Sans conducted a socially distanced and virtual all-strings concert (below).

Then, for the second concert, the conductor had the winds and brass – which spray dangerous aerosol droplets – record their parts individually. Then for the live performance, Sans donned earphones and masterfully combined all the forces into a full orchestra performance (below).

You can see similar results – with percussion joining for the strings for the last piece — this Thursday night, Feb. 25, at 7:30 p.m. on YouTube when the UW Symphony Orchestra live-streams a 90-muinute concert from the Mead Witter Foundation Concert Hall in the Hamel Music Center. No in-person attendance is allowed.

Here is the program:

I Crisantemi (Chyrsanthemums) by Italian opera composer Giacomo Puccini (1858-1924), with Michael Dolan, guest conductor

“Leyendas: An Andean Walkabout” by contemporary American composer Gabriela Lena Frank (b. 1972) Coqueteos (Flirtations)

“Carmen” Suite (after the opera by Georges Bizet) by Russian composer Rodion Shchedrin (b.1932): Introduction; Dance; Carmen’s entrance and Habanera Torero; Adagio; Fortune-telling; and Finale.

Here is a link to the live-streamed video: https://youtu.be/GSrMLKrjlVg

And here is a link to more information, including program notes and the names of members of the orchestra: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-2/

FRIDAY NIGHT

On Friday night at 7:30 p.m. the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) will offer the second of its Winter Chamber Series. It will run between 60 and 75 minutes.

There will be string, brass and percussion music by Mozart, Beethoven, Rossini, Steve Reich, Craig H. Russell and Thomas Siwe. Be aware that three of the works – string quartets by Mozart and Beethoven and a string sonata by Rossini — are presented in excerpts. That is not listed on the webpage.

The cost for one-time access between Friday night and Monday night is $30.

Here is a link to more information, including a link to ticket sales from the Overture Center box office and program notes by WCO music director and conductor Andrew Sewell (below, in a photo by Alex Cruz): https://wcoconcerts.org/events/winter-chamber-series-no-ii

SOLD-OUT

The Micro-concerts scheduled for this coming Sunday, Feb. 28, by the esteemed Willy Street Chamber Players (below), are SOLD-OUT.

The 10-minute private concerts for two, which require masks and social distancing for all, are perhaps the most innovative move by any local music group during the coronavirus pandemic.

The Ear, who expects concert habits to change after the pandemic, thinks such micro-concerts have a very bright future even after the pandemic is under control and audiences can return safely to mass events.

The concert are pay-what-you can but a $20 donation for two was suggested.

For more information about the micro-concerts, listen to the YouTube video at the bottom and go to: http://www.willystreetchamberplayers.org/micro-concerts.html

 


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Classical music: Acclaimed local soprano Sarah Brailey explains why performing artists and presenters need help during the COVID-19 pandemic

March 23, 2020
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By Jacob Stockinger

Sarah Brailey (below) is worried.

And with good reason.

Chances are good that you have seen the local soprano or heard her sing.

She is the artistic director of the Handel Aria Competition, which she herself won in 2015. (In the YouTube video at the bottom, you can hear Brailey sing the aria “Will the Sun Forget to Streak” from Handel’s oratorio “Solomon,”  with the Trinity Baroque Orchestra under conductor Julian Wachner, in the St. Paul Chapel in New York City.)

Brailey is a co-founder of and participant in the monthly free Just Bach concerts here. In addition, while pursuing graduate studies at the UW-Madison, she is a concert artist with a budding international career. For more about her, including a rave review from The New York Times and sample videos, go to: https://sarahbrailey.com

But right now the Wisconsin native is especially concerned about the lasting impact that the Coronavirus pandemic will have on her own career as well as on the careers of others like her and on the well-being of arts presenters.

Brailey (below, in photo by Miranda Loud) sent The Ear the following essay:

By Sarah Brailey

This is a scary time for everyone, but particularly for anyone who works as an independent contractor.

I am a freelance classical soprano based in Madison. I maintain a very active performing career, traveling all over the globe, and I am also a doctoral student at the UW-Madison Mead Witter School of Music.

When COVID-19 hit the United States, presenting organizations on the east and west coasts started canceling concerts to comply with social distancing recommendations.

I initially thought I was lucky to be living in the middle of the country where our lesser population density might save us. Plus, I am a Teaching Assistant at the UW right now, so I will still be getting my stipend — although teaching virtual voice lessons will be its own special challenge!

But many of my colleagues are not so lucky and are facing bankruptcy. If the government doesn’t include independent contractors in its relief packages, a lot of people are going to be insolvent.

And I myself am not immune. As the seriousness of the situation became clear, all my concerts in the next two months soon disappeared one by one.

While not being able to perform is emotionally devastating, these cancellations are also financially devastating.

There exists a clause in every standard performance contract called “force majeure” (superior force), which is idiomatically referred to as, “an act of God.” This clause excuses a party from not honoring its contractual obligations that becomes impossible or impracticable, due to an event or effect that the parties could not have anticipated or controlled.

This can come in handy for a presenter if there is, say, a blizzard that necessitates the cancellation of a concert. (This happened to me a few seasons ago with the Boston Symphony.) If the presenter will not make any money on ticket sales, they are not then further injured by having to pay the musicians for the canceled concert. (Below, Brailey sings Samuel Barber’s “Knoxville: Summer of 1915” with the Colorado Symphony.)

The ramifications of this pandemic are unprecedented. Every freelance musician I know is suddenly out of work. The current conventions put all of the upfront financial burden on the artists. We are paid in one lump sum at the end of a project. We do not get a fee for the countless hours of preparation.

We often book travel and lodging on our own dime, and are not reimbursed until the end of the gig. We pay for our own health insurance, and we cannot file for unemployment because our work is paid via IRS Form 1099 and not W2s. The abrupt work stoppage caused by this pandemic means insolvency – or even bankruptcy — for many artists. (Below, Brailey sings Handel’s “Messiah” at the famed Trinity Church on Wall Street in New York City.)

Many institutions — and, unfortunately, many of the bigger players like The Metropolitan Opera — are invoking force majeure without much regard for how their artists are struggling.

My colleague, tenor Zach Finkelstein, is covering this in great detail on his blog The Middle Class Artist, as is Alex Ross, the prize-winning music critic for The New Yorker. Read his piece on force majeure here.

However, there are also thankfully some good stories to tell. The Bach Society of Minnesota reimbursed all my travel expenses and is paying 75 percent of my fee, as is the Lyra Baroque Orchestra.

I am helping Zach keep track of the organizations that are helping their artists in this time of need. (Read about them here. Madison Opera is on the list.)

The arts are not just cultural enrichment; they are an essential part of our economy. In 2017, the industry contributed $877.8 billion, or 4.5 percent, to U.S. Gross Domestic Product (GDP) and employed over 5 million workers. We cannot afford to let this industry disappear. I fear that many individual artists and arts organizations will not recover from this. (Below, Brailey sings Johann Sebastian Bach’s “Magnificat” at the Bucknell Bach Festival.)

While we wait out this storm, I implore you to donate to a Madison arts organization. Here is a short list of recommendations along with some national relief funds for artists.

Local Arts Organizations

Madison Bach Musicians

Handel Aria Competition

Madison Early Music Festival

Madison Opera

Madison Youth Choirs

List of National Relief Funds


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Classical music: This Saturday, you can hear and see UW-Madison grad Brenda Rae make her Metropolitan Opera debut in Handel’s “Agrippina.” Read a local interview with her. Plus, the Avanti Piano Trio gives a free concert on Saturday afternoon.

February 28, 2020
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ALERT: The Avanti Piano Trio will perform a FREE concert this Saturday, Feb. 29, at 3 p.m. at Christ Presbyterian Church, 944 East Gorham St. in Madison. The Madison-based trio is pianist Joseph Ross, violinist Wes Luke and cellist Hannah Wolkstein.

The program includes the Piano Trio No. 1 by Claude Debussy, Three Nocturnes by Ernest Bloch and the Tango Trio of Miguel del Aguila.

By Jacob Stockinger

This Saturday, Feb. 29, soprano Brenda Rae (below, in a photo by Harrison Parrott) – an Appleton native and a graduate of the UW-Madison School of Music – makes her worldwide debut at the Metropolitan Opera in New York City.

Rae appears in the role of the temptress Poppea – below left, in a photo by Marty Sohl, with acclaimed soprano Joyce DiDonato in the title role on the right — in a new production of “Agrippina” by Baroque composer George Frideric Handel. (In the YouTube video at the bottom, you can hear Rae sing an excerpt of an Act I aria by Poppea.)

Starting at noon, you can hear it live on Wisconsin Public Radio or see and hear it in “Live in HD From the Met” (below is the poster) in the Point Cinema (608 833-3980) on Madison’s far west side and the Palace Cinema (608 242-2100) in Sun Prairie.

The live broadcast will be seen in 2,200 theaters in 70 countries worldwide. Encore performances on Wednesday are at 1 p.m. and 6:30 p.m. at the Point Cinema only.

Admission is $24 with $22 for seniors and $18 for children 3 to 11. Encore tickets are $18 for everyone. The tickets no longer include sales tax.

The opera will be sung in Italian with surtitles in English, Italian, German and Spanish.

The running time is 3 hours and 35 minutes with one 25-minute intermission.

Here is a link to the Met’s website about the production with photos of cast members and some videos of the the opera: https://www.metopera.org/season/in-cinemas/2019-20-season/agrippina-live-in-hd/

Here is a link to a list of cast members and production staff: https://www.metopera.org/globalassets/season/in-cinemas/hd-cast-sheets/agrippina_feb20_global.pdf

Here is a synopsis of the plot that takes place in ancient Rome and involves the Emperor Nero (Nerone): https://www.metopera.org/discover/synopses/agrippina/

Finally, here is an email Q&A with Brenda Rae done by Norman Gilliland (below), host of The Midday program on Wisconsin Public Radio: https://www.wpr.org/shows/soprano-brenda-rae-appleton-native-and-uw-alumna-performing-metropolitan-opera

 


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