The Well-Tempered Ear

Classical music: Here is a year-long list of concerts at the University of Wisconsin Mead Witter School of Music. They start Tuesday night with the 40th annual Karp Family Labor Day Concert

September 1, 2019
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By Jacob Stockinger

Get out your datebooks and calendars.

Here is a complete listing for major concerts and events at the University of Wisconsin Mead Witter School of Music during the new 2019-20 season.

The calendar starts with the FREE season-opening 40th annual Karp Family Labor Day Concert this coming Tuesday night, Sept. 3, at 7:30 p.m. in Mills Hall. The program features chamber music by Mozart, Beethoven, Schumann and Dvorak. For more information about the program and performers, go to: https://www.music.wisc.edu/event/40th-karp-family-concert/

Using the search engine on this blog, you could also consult whenever individual or group you want. You could print it out and have it in hand instead of the usual brochure, which will not be printed this year. See a previous blog post: https://welltempered.wordpress.com/2019/08/19/classical-music-the-uw-madison-school-of-music-will-not-have-a-complete-brochure-for-the-new-season-go-to-the-website-and-sign-up-for-an-email-newsletter-the-30th-karp-family-labor-day-concert-is-s/

Most concerts this season will take place in the new Hamel Music Center (below), which has a three-day opening celebration Oct. 25-27.

Please note that just a few programs are listed. For other programs, and for information about any admission charge, you can go to the School of Music’s home website closer to the event and click on Concerts and Events: https://www.music.wisc.edu/events/

Tuesday, Sep 3, 2019

Karp Family Concert

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7:30 PM

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Mills Hall

Sunday, September 29, 2019,

Jessica Martin & John O’Brien – Nordic song recital

4:00 PM

Morphy Hall

Monday, Sept. 30, 2019

Beth Wiese, Tuba, Guest Artist Recital

7:30 PM

Morphy Hall

Friday, October 4, 2019

Pro Arte Quartet

8:00 PM

Mills Hall

Sunday, Oct. 6, 2019

Chanticleer

7:30 PM

Mead Witter Hall

Tuesday, Oct. 8, 2019

Wind Ensemble

7:30 PM

Mead Witter Hall

Friday, October 11, 2019

UW-Madison Symphony Orchestra

8:00 PM

Mead Witter Hall

Sunday, October 13, 2019

University Bands

2:00 PM

Mead Witter Hall

Tuesday, October 15, 2019

Contemporary Jazz & Blue Note Ensemble

7:30 PM

Collins Hall

Wednesday, October 16, 2019

Wisconsin Brass Quintet – Faculty Concert Series

7:30 PM

Mead Witter Hall

Thursday, October 17

Jazz Faculty Quintet with special guest Michael Dudley, trumpet

7:30 PM

Collins Hall

Monday, October 21, 2019

Afro-Cuban Jazz Ensemble and UW Jazz Orchestra

7:30 PM

Play Circle

Tuesday, October 22, 2019

Concert Band

7:30 PM

Mead Witter Hall

Wed, October 23, 2019

Jazz Composers Group & Jazz Standards

7:30 PM

Collins Hall

Thu, October 24, 2019

Parry Karp with Eli Kalman, piano

7:30 PM

Collins Hall

Friday, October 25, 2019

Opening Celebration Weekend: Hamel Music Center. Please check our website for details.

All Day

740 University Avenue

Saturday, October 26, 2019

Opening Celebration Weekend: Hamel Music Center. Please check our website for details.

All Day

740 University Avenue

Sunday, October 27, 2019

Opening Celebration Weekend: Hamel Music Center. Featured Event: Collins Fellows Concert

1:00 PM

Collins Recital Hall, Hamel Music Center

Wed, October 30, 2019

Master Class with Violist Nobuko Imai

6:30 PM

Collins Hall

Thu, October 31, 2019

Violist Nobuko Imai with Pro Arte Quartet

12:00 PM

Collins Hall

Fri, November 1, 2019

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Madrigal Singers

8:00 PM

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Mead Witter Hall

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Sat, November 2, 2019

Alicia Lee, faculty clarinet

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8:00 PM

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Collins Hall

Sun, November 3, 2019

Wind Ensemble

2:00 PM

Mead Witter Hall

Fri, November 8, 2019

Wingra Wind Quintet

8:00 PM

Collins Hall

Sat, November 9, 2019

UW Chorale

8:00 PM

Mead Witter Hall

Thu, November 14, 2019

UW-Madison Symphony Orchestra

7:30 PM

Mead Witter Hall

Fri, November 15, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

7:30 PM

Music Hall

Sun, November 17, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

2:00 PM

Music Hall

Tue, November 19, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

7:30 PM

Music Hall

Sat, November 16, 2019

Low Brass Ensemble

4:00 PM

Collins Hall

Sat, November 16, 2019

Combined Choirs

8:00 PM

Mead Witter Hall

Sat, November 16, 2019

Timothy Hagen, faculty flute

8:00 PM

Collins Hall

Fri, November 22, 2019

UW Concert Choir

8:00 PM

Mead Witter Hall

Fri, November 22, 2019

Pro Arte Quartet

8:00 PM

Collins Hall

Fri, November 22, 2019

UW Jazz Orchestra

5:00-7:00 PM

Rathskeller

Saturday, Nov 23, 2019

Undergrad Audition Day

All day

Sat, November 23, 2019

World Percussion Ensemble

12:00 PM

Music Hall

Sat, November 23, 2019

Brass Ensembles

1:00 PM

??

Sun, November 24, 2019

UW Concert Band with Winds of Wisconsin

5:00 PM

Mead Witter Hall

Mon, November 25, 2019

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Tue, November 26, 2019

Opera Scenes

7:30 PM

Music Hall

Mon, December 2, 2019

Piano Studio Recital

6:30 PM

Collins Hall

Tue, December 3, 2019

Jazz Composers & Contemporary Jazz Ensembles

7:30 PM

Collins Hall

Wed, December 4, 2019

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Jazz Standards Ensemble & Afro-Cuban Jazz

7:30 PM

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Collins Hall

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Thu, December 5, 2019

UW-Madison Symphony Orchestra & UW Wind Ensemble

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7:30 PM

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Mead Witter Hall

Fri, December 6, 2019

Saxophonist Greg Ward with the Blue Note Ensemble and UW jazz faculty

8:00 PM

Collins Hall

Sat, December 7, 2019

UW & Madison Metropolitan Jazz Festival

Final Concert, 3:00 PM

Mead Witter Hall

Sat, December 7, 2019

Choral Union: Ralph Vaughan Williams’s “A Sea Symphony”

8:00 PM

Mead Witter Hall

Sun, December 8, 2019

University Bands

2:00 PM

Mead Witter Hall

Sun, December 8, 2019

Choral Concerts at Luther Memorial Church

2:00 PM

Luther Memorial Church

Sun, December 8, 2019

Choral Concerts at Luther Memorial Church

4:00 PM

Luther Memorial Church

Sun, December 8, 2019

All-University Strings

4:30 PM

Mead Witter Hall

BEGIN 2020

Sun, January 26, 2020

Annual Schubertiade

3:00 PM

Mead Witter Hall

Sat, February 1, 2020

Christopher Taylor and Friends — Beethoven Symphony Extravaganza

8:00 PM

Mead Witter Hall

Wed, February 5, 2020

Daniel Grabois, horn

7:30 PM

Collins Hall

Thu, February 6, 2020

UW Symphony Orchestra

7:30 PM

Mead Witter Hall

Sat, February 8, 2020

The Knights

8:00 PM

Mead Witter Hall

Sun, February 16, 2020

UW Wind Ensemble

2:00 PM

Mead Witter Hall

Monday, February 17, 2020

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Tue, February 18, 2020

Concert Band

7:30 PM

Mead Witter Hall

Thu, February 20, 2020

Parry Karp, faculty recital

7:30 PM

Collins Hall

Fri, February 21, 2020

Marc Vallon & Friends

8:00 PM

Collins Hall

Sunday, Feb 23, 2020

Les Thimmig, faculty recital

2:00 PM

Collins Hall

Sat, April 18, 2020

Low Brass Ensemble

4:00 PM

Mead Witter Hall

Fri, February 28, 2020

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Pro Arte Quartet

8:00 PM

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Collins Hall

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Sat, February 29, 2020

Wingra Wind Quintet

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8:00 PM

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Collins Hall

Fri, February 28, 2020,

University Opera – Mozart’s Così fan tutte

7:30 PM

Music Hall

Sun, March 1, 2020

University Opera – Mozart’s Così fan tutte

2:00 PM

Music Hall

Tue, March 3, 2020

University Opera – Mozart’s Così fan tutte

7:30 PM

Music Hall

Sun, March 1, 2020

Winds of Wisconsin

5:30 PM

Mead Witter Hall

Wed, March 4, 2020

Afro-Cuban Jazz Ensemble & Jazz Composers Group

7:30

Collins Hall

Thu, March 5, 2020

Blue Note Ensemble & Jazz Standards Ensemble

7:30 PM

Collins Hall

Sat, March 7, 2020

UW-Madison Symphony Orchestra with guest pianist Wu Han

8:00 PM

Mead Witter Hall

Sun, March 8, 2020

University Bands

2:00 PM

Mead Witter Hall

Tue, March 10, 2020

Percussion Department Recital

7:30 PM

Collins Hall

Weds March 11, 2020

UW Jazz Orchestra

7:30 PM

Play Circle

Wednesday, March 11, 2020

Wisconsin Brass Quintet – Faculty Concert Series

8:00 PM

Mead Witter Hall

Thu, March 12, 2020

UW Wind Ensemble

7:30 PM

Mead Witter Hall

Fri, March 27, 2020

Le Domaine Musicale with Marc Vallon and Friends

8:00 PM

Collins Hall

Sun, March 29, 2020

Concert Band

2:00 PM

Mead Witter Hall

Sun, April 5, 2020

Beethoven Competition Winners’ Recital

3:30 PM

Collins Hall

Sun, April 5, 2020

“Symphony Showcase” Concerto Winners’ Solo Concert

7:00 PM

Mead Witter Hall

Sat, April 11, 2020

Chorale

8:00 PM

Mead Witter Hall

Fri, April 12, 2019

Perlman Trio Chamber Concert

3:00 PM

Collins Hall

Tue, April 14, 2020

Opera Scenes

7:30 PM

Music Hall

Wed, April 15, 2020

Contested Homes: Migrant Liberation Movement Suite

7:30 PM

Mead Witter Hall

Thu, April 16, 2020

Pro Arte Quartet

7:30 PM

Collins Hall

Fri, April 17, 2020

Combined Choirs

8:00 PM

Mead Witter Hall

Sat, April 18, 2020

Low Brass Ensemble

4:00 PM

Mead Witter Hall

Sat, April 18, 2020

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UW-Madison Choral Reunion concert featuring Concert Choir, Madrigals and alumni

8:00 PM

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Mead Witter Hall

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Mon, April 20, 2020

Afro-Cuban Jazz Ensemble & Blue Note Ensemble

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7:30 PM

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Collins Hall

Tue, April 21, 2020

Jazz Standards Ensemble & Jazz Composers Group

7:30 PM

Collins Hall

Wed, April 22, 2020

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Thu, April 23, 2020

UW Jazz Orchestra with the UW Honors Jazz Band

7:30 PM

Music Hall

Fri, April 24, 2020

Concert Band and Wind Ensemble

7:30 PM

Mead Witter Hall

Sat, April 25, 2020

All-University Strings

2:00 PM

Mead Witter Hall

Sat, April 25, 2020

Choral Union: Giuseppe Verdi’s “Requiem”

8:00 PM

Mead Witter Hall

Sun, April 26, 2020

Choral Union: Giuseppe Verdi’s “Requiem”

7:30 PM

Mead Witter Hall

Sun, April 26, 2020

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University Bands 2 PM Mead Witter Hall

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Classical music: Madison Opera’s “A Little Night Music” proved totally satisfying as both music and theater

February 13, 2019
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By Jacob Stockinger

Larry Wells – The Opera Guy for The Well-Tempered Ear – went to both performances in the Capitol Theater of the Overture Center last weekend by the Madison Opera of Stephen Sondheim’s “A Little Night Music” and filed the following review. Photos are by James Gill.

By Larry Wells

Although I was familiar with the recording, my first experience seeing “A Little Night Music” by Stephen Sondheim (below) was in London 25 years ago. I remember it as a theatrical experience – it featured Judi Dench and was performed at the National Theatre – more than as a musical event.

Two years ago, I saw it performed by Des Moines Metro Opera, and although it was “operatic” it was also sabotaged by a confusing, even chaotic, production designed by Isaac Mizrahi.

I finally experienced the complete package with the recent performances by the Madison Opera. It was a totally satisfying combination of acting, music and theatrical design.

Inspired by Ingmar Bergman’s film “Smiles of a Summer Night,” which in turn was inspired by Shakespeare’s “A Midsummer Night’s Dream,” “A Little Night Music” concerns itself with mismatched lovers who are eventually properly paired or else reconciled.

Without going into detail, suffice it to say that the carryings-on are amusing, the dialogue is witty, and the lyrics are sophisticated.

One of the earliest numbers in the show — the trio of songs “Later,” “Now” and “Soon” — set the tone for the evening musically. Each was performed individually by three fine singers – Quinn Bernegger, Jeni Houser (below left) and Daniel Belcher (below right).

In a musical tour-de-force, the three songs ultimately combined into one. Houser’s clear tone, Benegger’s intense passion, and Belcher’s suave lyricism promised an outstanding musical experience to come. Special praise must go to Bernegger (below) who sang while comically, but skillfully, miming playing a cello.

One show-stopper was Sarah Day’s “Liaisons” which was really perfect in its world-weariness. Day (below) — from American Players Theatre in Spring Green — half-declaimed and half-sang such memorable lines of regret as, “What once was a sumptuous feast is now figs. No, not even figs. Raisins.” Or amusing internal rhymes like “…indiscriminate women it…”.  (I am completely taken by Sondheim’s clever use of language.)

Likewise, the singing of “Miller’s Son” by Emily Glick (below) was a good old Broadway rendition – no operatic pretense – and the audience, and I, loved it.

Charles Eaton (below left) as a puffed-up dragoon and Katherine Pracht (below right) as his long-suffering wife were both outstanding vocally and deftly comic.

The center of most of the activity was the character Desirée Armfeldt portrayed by Emily Pulley (below). At first I thought she was overacting, but then I realized that, of course, she was portraying a veteran stage actress – a matinee idol type – who had internalized theatrical gestures into her own character. Her “Send in the Clowns” stopped the show, and the lyrics finally made sense to me. (You can hear the familiar Judy Collins interpretation in the YouTube video at the bottom.)

But I would have to say that the star of the show was the chorus, a quintet of excellent voices – Stephen Hobe, Kirsten Larson, Benjamin Liupaogo, Emily Secor and Cassandra Vasta. They waltzed through the action while sliding the panels and frames that comprised the set, moving props, and commenting on the action.

Never obtrusive but always necessary, I thought they were a delight. The three women got to sing a brief round “Perpetual Anticipation” that is another wonder of Sondheim’s musical imagination.

As mentioned, sliding panels, along with dropping frames and panels, comprised the set. The continuous changing of the panels, the blocking and the movements of the quintet were the creative product of stage director Doug Schulz-Carlson (below). There was often a whirlwind of activity, but I was never distracted.

The costumes by Karen Brown-Larimore seemed straight out of Edward Gorey – which is a good thing.  And altogether I felt it was the best production of the musical I’ve seen.

The orchestra was situated on stage behind the set, which made additional seats available close to the stage. People seated in those rows had to bend their necks to read the supertitles, but the diction was so consistently excellent that I rarely needed to even glance at the supertitles.

Praise is due for members of the Madison Symphony Orchestra, and particularly conductor John DeMain (below, in a photo by Prasad). I heard subtleties in the music that had heretofore eluded me, and that is always a reward for attending a live performance and is a tribute to the maestro.

I was happy to see a younger audience, particularly Friday night. Let us hope that they were enchanted enough to attend the upcoming production on April 26 and 28 of Antonin Dvorak’s “Rusalka.”

This is an opera I have never seen; and until recently, I was familiar only with one of its arias, the so-called “Song to the Moon.”

But now that I have a recording, I realize that it is a musical treasure that should not be missed. I suppose the reasons it is not so frequently performed are that it is in Czech and its plot involves water sprites. But don’t let that stop you. The music is wonderful.


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Classical music: Starting this Thursday, Madison Opera offers FREE preview events leading up to its staging of Stephen Sondheim’s “A Little Night Music” on Feb. 8 and 10

January 16, 2019
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ALERT: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features harpsichordist Trevor Stephenson, artistic director of the Madison Bach Musicians, will play selections by Johann Sebastian Bach for solo harpsichord. He will be joined by baroque flutist Kristen Davies for Bach’s Sonata in C major for Flute and Harpsichord. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

The Ear has received the following announcement to post:

The Madison Opera will present Stephen Sondheim’s classic A Little Night Music on Friday, Feb. 8, at 8 p.m. and Sunday, Feb. 10, at 2:30 p.m. in the Capitol Theater of the Overture Center for the Arts, 201 State Street.

One of the most popular stage pieces of the 20th century, this modern operetta waltzes through a story of the complications of love across generations, spiced with sparkling wit and rueful self-awareness.

Set in Sweden in the early 1900s, A Little Night Music tells of multiple couples with mixed ideas of love. During a weekend in the country, marriages are made and unmade and the summer nights smile on the young and old alike. Through delicious humor and a ravishing score, human folly eventually gives way to happily-ever-after.

A Little Night Music is an absolutely delicious piece,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director. “I think of it as a grown-up operetta, with some of the best dialogue and lyrics ever written, all to Sondheim’s brilliant score. It’s a delightful way to spend a winter evening, and I’m so thrilled with our cast and production team, who are creating a new production for the Capitol Theater.”

“A Little Night Music” opened on Broadway in 1973 to rave reviews. The New York Times wrote: “At last, a new operetta!  A Little Night Music is heady, civilized, sophisticated, and enchanting.”

It has since been performed by both theater and opera companies all over the world and was revived on Broadway in 2009. Sondheim composed the score entirely in variations of waltz time, and it includes several now-classic songs, such as “Send in the Clowns,” “A Weekend in the Country,” and “The Miller’s Son.” (You can hear Dame Judi Dench singing a restrained but deeply moving rendition of “Send in the Clowns” in the YouTube video at the bottom.)

“Can you imagine? An entire musical composed in some form of waltz time,” says John DeMain (below, in a photo by Greg Anderson), Madison Opera’s artistic director. “I love this score, which feels like Johann Strauss meets the harmonies of Ravel. It’s an incredible verbal and musical achievement that gets better every time I hear it. Madison Opera’s cast should prove to be sensational as we bring this Sondheim masterpiece to life. I so look forward to conducting it.”

Madison Opera’s cast features both returning artists and debuts.

Emily Pulley (below top) returns to Madison Opera as Desirée Armfeldt, a famous actress searching for “a coherent existence after so many years of muddle.” Daniel Belcher returns as Fredrik, Desirée’s ex-lover, who is currently married to the 18-year-old Anne, played by Wisconsin native Jeni Houser (below bottom), who recently made her debut at the Vienna State Opera.

Sarah Day (below), a member of the core acting company of American Players Theatre in Spring Green, makes her debut as Madame Armfeldt, the elegant ex-courtesan who is Desirée’s mother. Charles Eaton returns as Count Carl-Magnus Malcolm, Desirée’s current lover; his wife Charlotte is played by Katherine Pracht in her Madison Opera debut.

Rounding out the cast are Quinn Bernegger as Henrik, son of Fredrik; Emily Glick as the maid Petra; and Maddie Uphoff as Fredrika, Desirée’s 13-year-old daughter.

The Liebeslieders, who function as a waltz-prone Greek chorus throughout the show, are portrayed by Emily Secor, Cassandra Vasta, Kirsten Larson, Benjamin Liupaogo, and Stephen Hobe.

Doug Schulz-Carlson (below) returns to direct. The artistic director of the Great River Shakespeare Festival, his most recent Madison Opera production was Romeo and Juliet in 2016.

The original set is designed by R. Eric Stone (below top) and is being built in the Madison Opera Scene Shop. The costumes are designed by Karen Brown-Larimore (below bottom), who most recently designed costumes for Madison Opera’s production of Florencia en el Amazonas.

Members of the Madison Symphony Orchestra accompany Sondheim’s gorgeous score.

PREVIEW EVENTS

Events leading up to the performances can help the community learn more about A Little Night Music.

A FREE community preview will be held this Thursday, Jan. 17, from 7 to 8 p.m. at Capitol Lakes Retirement Community, 333 West Main Street.

Opera Novice, also FREEtakes place this Friday, Jan. 18, from 6 to 7 p.m. at the Madison Opera Center (below), 335 West Mifflin Street, and offers a free, entertaining look at the works of Stephen Sondheim including A Little Night Music.

Opera Up Close — which is free to season subscribers and costs $20 for others — provides an in-depth discussion of the production, including a cast roundtable, and takes place on Feb. 3 from 1-3 p.m. at the Madison Opera Center, 335 West Mifflin Street.

Pre-Opera Talks will take place at the Overture Center one hour prior to each performance.

For more information, including interviews with cast members and the production team, and to get tickets ($25-$115), go to: https://www.madisonopera.org/2018-2019-season/a-little-night-music/

Madison Opera’s production of “A Little Night Music” is sponsored by Thompson Investment Management, Inc., Fran Klos, David Flanders and Susan Ecroyd, and Charles Snowdon and Ann Lindsey.


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Classical music: We should hear more operas sung in English translation – like Wisconsin Public Radio’s live broadcast TODAY at noon of the Metropolitan Opera’s shortened version of Mozart’s “The Magic Flute”

December 29, 2018
6 Comments

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By Jacob Stockinger

The Ear thinks that we in English-speaking countries should hear more operas sung in our native language.

Yes, sung in English – not the original Italian, French or German.

You can see how you’d like it for yourself if you listen at noon TODAY– Saturday, Dec. 29 — to Wisconsin Public Radio. That’s when you can hear the Metropolitan Opera’s live broadcast of its family-friendly production of Mozart’s “The Magic Flute.”

The Ear did so and – except for deleting the wonderful overture — loved it.

So, apparently, did a lot others. (You can hear Nathan Gunn in a sample in the YouTube video at the bottom.)

After many years, the production has now become a holiday tradition for the Met to offer children while school is out for the holidays.

And one suspects it is developing new audiences – especially with the colorful staging and costumes by Julie Taymor, who won such acclaim for her staging of “The Lion King” on both the stage and film.

Sure, a lot of purists will probably object to substituting English for the original Italian, French, German and Russian. But it is so freeing and feels so good to understand what you are hearing without the distraction of constantly going back and forth trying to look at both the supertitles and the stage.

It also seems worth a try, given the problems that many opera companies are having competing with the “Live from the Met in HD” productions that you can see in movie theaters for far less money, and the decline of both season subscribers and single tickets.

To be honest, of course even in English you will miss some of the words. That’s the nature of singing. But excellent diction helps. And if you are lucky enough to see the production in person, supertitles in Italian, French German and Spanish and, yes, English are still provided.

It is not a completely new idea. After all, Great Britain has the English National Opera, which performs standard operas by Verdi and Puccini, Monteverdi and Handel, Mozart and Wagner, in English. So, many of the very great operas have already been translated into English and could be staged in English elsewhere.

Here are links where you can learn more about the English National Opera:

https://www.eno.org

https://en.wikipedia.org/wiki/English_National_Opera

Do you question how the text is hurt in translation?

It’s worth remembering that Mozart himself used the vernacular German instead of his usual opera house Italian so that he would reach the general public. Why not do the same today? Translation could make opera much more accessible, less pretentious and more populist.

The same is true for cutting the show down to 100 minutes from almost 3 hours. Let’s just admit that the attention span of the general public is much shorter than it used to be.

Orchestra and chamber music concerts as well as solo recitals are trimming their running times often down to 90 minutes or less, and meet with great approval from the public. Why not try the same approach with opera? Indeed, both the Madison Opera and the University Opera have limited but successful experiences with editing operas and using English.

It is also worth recalling that in translation we read greater words than an opera libretto. If we can translate Homer and Shakespeare, Dostoevsky and Proust, why can’t we translate opera librettos? One just has to be sure to find a great translator with a sensitive musical ear– such as American poet Richard Wilbur is with his award-winning, rhyming translations of Moliere’s comedies and Racine’s tragedies. Similarly, American poet J.D. McClatchy has done a fine job with The Met’s “Magic Flute.”

Here is a link to more information about the production, including a synopsis:

https://www.metopera.org/season/2018-19-season/the-magic-flute/

And here is a review of the Met’s  “Magic Flute” by Tommasini:

https://www.nytimes.com/2018/12/20/arts/music/review-mozart-magic-flute-met-opera.html

What do you think?

Should more operas be staged in English?

Should long operas be edited?

Why or why not?

The Ear wants to hear.


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Classical music: This weekend pianist Emanuel Ax helps conductor John DeMain celebrate his 25th anniversary season with the Madison Symphony Orchestra

September 26, 2018
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By Jacob Stockinger

This weekend the Madison Symphony Orchestra (below top, in a photo by Peter Rodgers) will open its season by celebrating the 25th anniversary of its music director and conductor John DeMain, who will collaborate with renowned pianist Emanuel Ax (below bottom, in a photo by Lisa-Marie Mazzucco).

The program opens with the “Fanfare Ritmico” by Jennifer Higdon, the contemporary American composer and Pulitzer Prize winner. Then comes a special suite of favorite movements, cobbled together by DeMain, from the ballet score for “Romeo and Juliet” by Sergei Prokofiev. The grand finale is the monumental Piano Concerto No. 2 by Johannes Brahms.

Performances will be held in Overture Hall, 201 State Street, on Friday night, Sept. 28, at 7:30 p.m.; Saturday night, Sept. 29, at 8 p.m.; and Sunday afternoon, Sept. 30, at 2:30 p.m.

Jennifer Higdon’s “Fanfare Ritmico” celebrates the rhythm and speed of life. Written on the eve of the new millennium, the work reflects on the quickening pace of life as time progresses.

Higdon (below) herself notes, “Our lives now move at speeds much greater than what I believe anyone would have imagined in years past. As we move along day-to-day, rhythm plays an integral part of our lives — from the individual heartbeat to the lightning speed of our computers. This fanfare celebrates that rhythmic motion, of man and machine, and the energy which permeates every moment of our being in the new century.”

Soviet composer Sergei Prokofiev (below) originally wrote the Romeo and Juliet Suite in 1935 for the titular ballet produced by the Kirov (now Mariinsky) Theatre. In addition to the somewhat standard instrumentation, the ballet orchestration also requires the use of tenor saxophone, a voice that adds a unique sound and contributes to the sense of drama prevalent in Shakespeare’s original tragedy.

For this performance, John DeMain (below, in a photo by Greg Anderson) has hand-picked the best excerpts from across the work to create one orchestra piece.

The epic Piano Concerto No. 2 in B-Flat Major, Op. 83, is separated by 22 years from Johannes Brahms’ first piano concerto and is dedicated to Brahms’ teacher Eduard Marxsen. It was premiered in 1881 in Budapest, Hungary, with Brahms (below) playing the piano solo.

The work was an immediate success and demonstrates Brahms’ ability to blend beauty with fire, tenderness with drama. (You can hear the unusual and fiery Scherzo movement, played by Krystian Zimmerman and Leonard Bernstein with the Vienna Philharmonic Orchestra, in the YouTube video at the bottom.)

Emanuel Ax (below) is considered one of the best-known concert pianists of the 21st century. As the Seattle Times reports, “[Ax’s] touch is amazing. The keys are not so much struck as sighed upon — moved as if by breath. There is no sense of fingers or hammers or material mechanisms…[it] simply materializes and floats in the air.”

Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed by the coveted Avery Fisher Prize four years later. In 1975, he made his Madison solo recital debut at the Wisconsin Union Theater and he has frequently performed here since then.

Ax is a particular supporter of contemporary composers and new music, and he has given three world premieres in the last few seasons: “Century Rolls” by John Adams; “Seeing” by Christopher Rouse; and “Red Silk Dance” by Bright Sheng. He has also received Grammy awards for the second and third volumes of his cycle of Haydn’s piano sonatas and has made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano.

Emanuel Ax (below, in a photo by Lisa-Marie Mazzucco) is currently a faculty member of the Juilliard School of Music, a Fellow of the American Academy of Arts and Sciences, and a recipient of Yale University’s Sanford Medal.

One hour before each performance, MSO retired trombonist and longtime program annotator J. Michael Allsen will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticketholders.

Allsen’s program notes for the concerts are available online at this address: http://www.allsenmusic.com/NOTES/1819/1.Sep18.html

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 Prelude Discussion.

The lobby opens 90 minutes prior to each concert.

Tickets can be purchased in the following ways:

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/axthrough the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.
  • Groups of 10 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 $15 or $20 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.
  • Subscribers to 5 or more symphony subscription concerts can save up to 50% off single ticket prices. More information is available about the season at: https://madisonsymphony.org/18-19
  • Flex-ticket booklets of 10 vouchers for 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

The Madison Symphony Orchestra is celebrating its 93rd season in 2018–2019 and its 25th season under the leadership of Music Director John DeMain. Find more information about the rest of the MSO season at madisonsymphony.org

The Presenting Sponsors for the September concerts are: Joel and Kathryn Belaire. Major funding is provided by: The Wisconsin State Journal and Madison.com; the Irving and Dorothy Levy Family Foundation, Inc.; the Kenneth A. Lattman Foundation, Inc.; Rosemarie and Fred Blancke; and David and Kato Perlman. Additional funding is provided by Jeffrey and Angela Bartell, Martin L. Conney 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: The talented new director of the Isthmus Vocal Ensemble sets the acclaimed and still impressive group on a new path with mixed results and hopeful expectations

August 9, 2018
6 Comments

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

The Isthmus Vocal Ensemble (IVE, below) is a well-established part of Madison’s musical summers. It offers dedicated choral singers a chance for intensive rehearsal preparation of highly accomplished choral music, and has delivered some truly memorable events over the years.

Of its concerts this year, I caught the second performance on Sunday afternoon. The choir itself doesn’t need to be shown off by now, but it was the choir’s chance to show off its new conductor in his first appearance here.

Michael McGaghie (below) is that new conductor. He is very plainly a brilliant choral technician who knows how to make a choir sound wonderful. (For more about McGaghie, who is the Director of Choral Activities at Macalester Collge in St. Paul and who leads the Harvard Glee Club Alumni Chorus in Cambridge, Mass., go to: https://www.isthmusvocalensemble.org/artisticdirector/)

That he did throughout the program. The IVE — 69 singers strong — certainly responded with an infectious enthusiasm that was also communicated to the large audience that filled the Christ Presbyterian Church.  The concert was certainly a feast of great choral singing.

But what about the music?

To begin with, the actual music amounted to no more than about an hour’s worth. McGaghie planned the program as a progress of emotional moods, and he introduced each piece himself.

But what were the contents? McGaghie largely turned his back on the centuries of great choral music, the kind that his predecessor Scott MacPherson explored so ambitiously.

There were, at the beginning, two examples of that, motets by Thomas Tallis of the 16th century and Heinrich Schütz of the 17th century.

There was also an interesting nugget from the Russian composer and conductor Nikolai Golovanov (below), an early work of his (1917), setting the Lord’s Prayer (Otche naš) In a style departing from the previous two centuries of great Russian Orthodox choral writing.

Beyond those, however, the remaining nine items in the program — and the encore — were entirely by recent composers, mostly living and mostly American. These were his introductory calling cards, and so they invite scrutiny.

Ours is not an age of great, idiomatic choral writing, and composers go their own ways variously. Many of them rely upon a kind of chordal declamation with little sense of line or full-bodied texture.

Some pieces I don’t think I would want to hear again, and a couple I would not have wanted to hear even the first time.

An example of the latter is a piece about sirens and sailors by Chinese-American Chen Yi (below top), a collage of weird choral sounds but no musical content recognizable to any but Chinese ears.

Another was a loudly trashy adaptation of a Civil Rights “freedom song” by Jeffrey Douma (below bottom), plus the gesture to multicultural triviality in a Philippine folksong arrangement.

Three of the items came with piano accompaniment. In The Whole Sea in Motion by Dale Trumbore (below top) — which uses a text from Anne Brontë — the piano gave an underlying ripple to support declamatory, non-linear writing.

In Eternity by Donald Martino (below), the pleasantly lyrical choral writing really didn’t need the piano at all.  And that part was much too prominent against Morten Lauridsen’s nicely polyphonic, and quite self-sufficient, choral texture in “Sure on This Shining Night” that treated James Agee’s famous poem. (You can hear the Lauridsen work in the YouTube video at the bottom.)

There were certainly some among these contemporary items that I found quite enjoyable.

In Ophelia, a setting the account of that woman’s death in Hamlet, Jocelyn Hagen (below top) was overly concerned with story-telling, but the work certainly contained some lovely writing. O Radiant Dawn by Scottish master James MacMillan (below bottom) was a beautifully sonorous tribute to Catholic liturgical tradition.

What does this conducting debut point to for the future?

McGaghie can create the most splendid choral beauty — though often at the sacrifice of clear diction. On the basis of this program, it looks like he could now focus the IVE on lots of short contemporary pieces, rather than on the vast traditional literature.

We will have to see.


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Classical music: Can the annual Handel Aria Competition be improved? Here are two modest proposals from a fan. What do you think?

June 13, 2018
9 Comments

By Jacob Stockinger

Here is a guest posting by George Savage, a blog follower who is a self-described musical amateur. In his youth he sang in choirs and had a bit solo part of Morales in his college production of Bizet’s Carmen. Then, a long musical hiatus until his 60th birthday celebration, when he sang Leonard Cohen’s song “Hallelujah,” black hat in hand, knees on floor.

Most of his adult life was spent teaching literature and composition at the University of Wisconsin-Whitewater, specializing in the American Renaissance. To the extent he has stayed connected to the world of music, it is through his daughter Kelly Savage, who has a D.M.A in harpsichord from Stony Brook University and now teaches at the San Francisco Conservatory of Music.

By George Savage

As my bio indicates, I am a musical amateur, meaning simply that I am a lover (French amateur) of music. For the past three years, I have had this love rekindled through the annual Handel Aria Competition in Madison, Wisconsin.

The vocal quality has consistently been high — especially this year! — and it is fun to vote for the Audience Favorite, even when the judges disagree with your assessment.

(Editor’s note: This year the Audience Favorite was mezzo-soprano Lindsay Metzger, below top, while the three judges awarded First Prize to soprano Suzanne Karpov, below bottom. Here is a link to story about all the winners: https://welltempered.wordpress.com/2018/06/11/classical-music-here-are-the-winners-of-friday-nights-sixth-annual-handel-aria-competition/).

My heartfelt congratulations go to Dean and Carol “Orange” Schroeder (below) for establishing this annual competition in 2013 and for the many supporters who have made this competition a success.

I have two modest proposals, though, for improvement, one minor and one major.

A minor proposal: Unless you have an encyclopedic knowledge of opera — and I know that some people reading this have that knowledge — you will not know the context of the arias.

I propose that the program notes contain a brief context for each of the arias. Alternatively, the singers – below are the seven finalists this year — could introduce their songs with a similar brief context.

A major proposal: As I listened this year to Handel piece after Handel piece after Handel piece, I wondered: “Could there be some variation?”

I started to think of other festivals that started with a single-artist focus but then gradually expanded, such as the Shaw Festival in Niagara-on-the-Lake, Canada, or, closer to home, the American Players Theatre in Spring Green, Wisconsin.

Both summer theater venues began with a single focus – Shaw and Shakespeare — but then evolved while at the same time staying true to their precipitating muse.

There is still lots of Shaw at the Shaw festival and lots of Shakespeare at APT. The same is true of the Carmel Bach Festival, which started with Bach but now has expanded to include many other forms of classical music. The same holds true for the famous Mostly Mozart Festival in New York City, which continues to expand its repertoire beyond Mozart.

In that spirit, I wonder if the singers at the Handel Competition, back up by the period-instrument Madison Bach Musicians, could in future events sing two selections — the first an aria by Handel and the second a non-Handel Baroque aria of the singer’s choice.

I think many singers would welcome the expanded repertoire and the audience would appreciate the added variety. The judging would be murkier, but it would be a good kind of murky.

I hope these proposals will engender a discussion: Should the competition be tweaked, or should it stay the same?

Your thoughts on these two proposals would be appreciated as well as other suggestions of your own.


Classical music: Here are the Final Forte results. Plus, new and modern music is in the spotlight at two FREE concerts and a master class today and Friday at the UW-Madison

March 15, 2018
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ALERT: If you missed seeing the “Final Forte” concert broadcast live last night on Wisconsin Public Television and Wisconsin Public Radio, the results of the Madison Symphony Orchestra‘s concerto competition for high school students are: First Prize and a $2,000 scholarship to violinist Hannah White; Second Prize and a $2,000 scholarship to pianist Jessica Jiang; and Honorable Mentions ($1,000 scholarship for each) to violinist Isabelle Krier and violinist Arianna Brusubardis.

By Jacob Stockinger

If you are a fan of modern and new music, you may want to attend one or more of the three FREE events that are happening TONIGHT and Friday at the University of Wisconsin-Madison’s Mead Witter School of Music.

The first concert is TONIGHT at 7 p.m. in Mills Hall. It features UW bassoonist Marc Vallon and friends. Vallon is a versatile musician who is also a specialist in period performances of Baroque music.

But Vallon (below in a photo by James Gill) also worked with and performed with the pioneering French avant-garde 20th-century composer Pierre Boulez. And that genre of music will be featured on the concert tonight, which is titled “The Musical Domain.”

Unfortunately, The Ear has received no information about composers or pieces on the program. But Vallon is known for his adventurous taste and compelling performances.

On Friday night at 7:30 p.m. in Mills Hall, the guest artists are the new music ensemble Duo Cortona (below), which will perform a varied program of works by contemporary composers.

Those composers and works include “Love Sonnets” – based on texts by William Shakespeare — by UW composer Laura Schwendinger (below). You can sample the Duo Cortona performing Schwendinger’s work in the YouTube video at the bottom.

The unusual makeup of the DUO is string and voice – specifically, violin and mezzo-soprano. The husband-and-wife duo of Ari Streisfeld and Rachel Calloway will give a FREE and PUBLIC master class on contemporary composition before the concert from 4 to 5 p.m. in Mills Hall.

For more background information about Duo Cortona and a link to the complete program, go to:

https://www.music.wisc.edu/event/guest-artists-cortona-duo/


Classical music: UW oboist Aaron Hill performs world premieres and little known composers in a FREE recital Sunday afternoon

October 20, 2017
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By Jacob Stockinger

This is Homecoming weekend at the University of Wisconsin-Madison, and it is busy on many counts, including several classical music concerts in the city on Sunday afternoon.

But one of the more intriguing is a FREE recital at 3 p.m. in Mills Hall by UW-Madison Professor Aaron Hill (below), who teaches oboe and also performs in the Wingra Woodwind Quintet.

Hill will be joined by collaborative pianist Daniel Fung (below), who is also a vocal coach at the Mead Witter School of Music at the UW-Madison.

Particularly noteworthy is the number of world premieres and relatively unknown contemporary composers on the program.

Here is the program:

“Poem,” for oboe and piano (1953) by Marina Dranishnikova (1929-1994, below). (You can hear it in the YouTube video at the bottom.)

Oboe Sonata (1947) by Jean Coulthard (1908-2000)

  1. Gently Flowing
  2. Sicilienne
  3. Allegro

Intermission

* Soliloquies (2013) by Andre Myers (b. 1973)

  1. To be or not to be
  2. There’s Rosemary, that’s for remembrance
  3. In the Month of May
  4. Spring Discourse

   * world premiere performance

* After Manchester (2017) Aaron Hill and Michael Slon (b. 1982 and 1970, respectively) * world premiere performance

Four Personalities (2007) Alyssa Morris (b. 1984)

  1. Yellow
  2. White
  3. Blue
  4. Red

Here are some program notes by Aaron Hill:

“This program highlights five different ways to program previously unfamiliar music, as explained below.

“Poem” by Marina Dranishnikova came to me through our local community. Oliver Cardona, currently a junior music major at UW-Madison, initially brought it to my attention. The work was discovered and edited by my predecessor, Professor Marc Fink (below), during his travels in Russia.

I first heard the Oboe Sonata by Jean Coulthard (below) at the 2017 International Double Reed Society conference at Lawrence University  in Appleton, Wis.

Charles Hamann, the principal oboist of the National Arts Centre Orchestra in Ottawa, edited and recorded it as part of a large project to bring international attention to masterpieces by Canadian composers.

Andre Myers (below) attended the University of Michigan with me and we first became acquainted when I performed one of his orchestral works. His beautiful writing for English horn started our friendship and 15 years later, he wrote his Soliloquies for me.

The first two are based on famous scenes from Shakespeare’s “Hamlet.” The third is based on a poem by Minnesota’s first poet laureate, Robert Bly, which will be read aloud from the stage. The final movement is inspired by a dream vision he had of centaurs playing in a meadow.

“After Manchester” was originally a free improvisation I recorded and posted to social media in the wake of the terror attack at Ariana Grande’s concert on June 4, 2017.

Later in the summer, Professor Michael Slon (below), the Director of Choral Activities at the University of Virginia, transcribed my improvisation and wrote a piano part to transform it into a piece of chamber music. The work was completed just days before the violent events in Charlottesville.

Professor Alyssa Morris (below) currently teaches oboe at Kansas State University and her compositions have become widely performed as standard literature for oboists in recent years.

She wrote “Four Personalities” to perform in her own undergraduate recital at Brigham Young University and I first heard it while searching for oboe music on YouTube. The piece is based on the Hartmann Personality Test.

In her words, the colors correspond to the following types:

Yellow: Yellow is fun-loving. The joy that comes from doing something just for the sake of doing it is what motivates and drives yellow.

White: White is a peacekeeper. White is kind, adaptable, and a good listener. Though motivated by peace, white struggles with indecisiveness. 

Blue: Blue brings great gifts of service, loyalty, sincerity, and thoughtfulness. Intimacy, creating relationships, and having purpose is what motivates and drives blue.

Red: Motivated by power. Red is aggressive and assertive. Red is visionary, confident, and proactive. 


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Classical music: The 150th anniversary of architect Frank Lloyd Wright’s birth will be celebrated with two concerts on this coming Sunday afternoon and Monday night in Spring Green. They feature the world premiere of a work commissioned from Madison-based composer Scott Gendel.

August 2, 2017
1 Comment

By Jacob Stockinger

Effi Casey, the director of music at Taliesin, the Frank Lloyd Wright compound in Spring Green, writes:

“I am writing to you to let you know about special concerts at Taliesin on Sunday, Aug. 6, at 2:30 p.m. and Monday, Aug. 7, at 7:30 p.m., which I will direct in the Hillside Theater at Taliesin.

“The concerts are a collaboration of Taliesin Preservation and Rural Musicians Forum as part of the year-long celebration of the 150th anniversary of the birth of architect Frank Lloyd Wright (below).

“I commissioned UW-Madison prize-winning graduate Scott Gendel to write “That Which Is Near,” a piece for choir, string quartet and piano, and we have enjoyed working on it. (NOTE: Gendel will discuss his work in more detail in tomorrow’s posting on this blog.) It will receive its world premiere at these two concerts.

“Other works to be performed include: “Fanfare for the Common Man” by Aaron Copland; “Past Life Melodies” by Sarah Hopkins; the spiritual “Ev’ry Time I Feel de Spirit”; “Hymn to Nature” (from the Wright-inspired opera “Shining Brow,” which is the English translation of the Welsh word “Taliesin” and stands for the hillside location) by UW-Madison graduate Daron Hagen; “Song of Peace” by Jean Sibelius”; and the “Sanctus” and “Dona Nobis Pacem” from the Mass in B Minor) by Johann Sebastian Bach and spoken words.

“The participation and enthusiasm of the singers of the greater Spring Green community are most rewarding already.

TICKETS

“Tickets are available on-line at RuralMusiciansForum.org. Please see the “Purchase Tickets Here” link to Brown Paper Tickets on the right-hand side of the RMF home page.

“Alternatively, tickets can be purchased at the Arcadia Bookstore in downtown Spring Green.

“Ticket prices range from $15 to $30. The $30 tickets for the Sunday Aug. 6 concert include concert admission and a festive champagne post-concert reception with composer Scott Gendel, the musicians and the chorus.

“Tickets for the concert only on Aug. 6 or 7 are $20 or $15 for seniors and students. Children 12 and under are free, but please pick up a free ticket for them to be sure they get a seat at the concert.” (Below is the Hillside Theater.)

WRIGHT AND MUSIC

To The Ear, a special concert seems the perfect way to mark the Wright sesquicentennial.

Just take a look, thanks to research by Effi Casey (below), at what Wright himself said and thought about music:

“… Never miss the idea that architecture and music belong together. They are practically one.” (FLW)

“While Wright claimed architecture as the “mother art,” his experience in music was early, visceral, and eternal. Of his childhood he wrote: “…father taught him (the boy) to play (the piano). His knuckles were rapped by the lead pencil in the impatient hand that would sometimes force his hand into position at practice time on the Steinway Square in the sitting room. But he felt proud of his father too. Everybody listened and seemed happy when father talked on Sundays when he preached, the small son dressed in his home-made Sunday best, looked up at him, absorbed in something of his own making that would have surprised the father and the mother more than a little if they could have known.”(FLW’s Autobiography).

“In his later years, Wright himself preached musical integration in his own Sunday talks to the Fellowship:

“Of all the fine arts, (Wright exclaimed in a Sunday morning talk to his apprentices) music it was that I could not live without – as taught by my father. (I) found in it (a) sympathetic parallel to architecture. Beethoven and Bach were princely architects in my spiritual realm…”

“But more than words, it was in practice where he conveyed music to those in his sphere, from a piano designed into a client’s home (for someone who may or may not have been able to play it!), to his own score of concert grand pianos at the two Taliesins (he claimed “the piano plays me!”).

“In a gesture of delight and exuberance, as it is told by those who experienced it, Wright had a gramophone player installed at the top of his Romeo and Juliet tower (below is the rebuilt tower) at Taliesin to have Bach’s Mass in B Minor resound over the verdant hills and valleys.

Adds Casey: “Architecture is indeed a musical parallel of composition, rhythm, pattern, texture, and color. As Beethoven’s Fifth Symphony is an “edifice of sound” (FLW) built upon the famous first eight notes, so Wright’s overture of verse expresses a singular IDEA, played in stone, wood, and concrete, from superstructure to matching porcelain cup.”

video


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