The Well-Tempered Ear

Classical music: The Wisconsin Baroque Ensemble performs a concert of music by Handel, Strozzi, Sammartini and rarely heard other composers this Friday night at 7:30

November 21, 2018
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By Jacob Stockinger

The Wisconsin Baroque Ensemble (below bottom) will perform concert of baroque chamber music on this coming Friday night, Nov. 23, at 7:30 p.m. in Saint Andrew’s Episcopal Church (below top), 1833 Regent Street, on Madison’s near west side.

Tickets are at the door ONLY: $20 for adults, $10 for students.

Members of the ensemble are: Eric Miller, viola da gamba; Sigrun Paust, recorder; Chelsie Propst, soprano; Charlie Rasmussen, baroque cello and viola da gamba; Consuelo Sañudo, mezzo-soprano; Monica Steger, traverso, harpsichord and recorder; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

The program is:

Guilio Ruvo – Sonata for cello and basso continuo in a minor (heard in the YouTube video at the bottom played by cellist Charlie Rasmussen and harpsichordist Max Yount of the Wisconsin Baroque Ensemble)

Andreas Lidl – Trio for flute, viola and cello

George Frideric Handel – Cantata “Dite, mie piante” (Say, My Plants)

Unico Wilhelm Count Van Wassenaer – Sonata No. 1 for recorder and basso continuo

INTERMISSION

Barbara Strozzi (below): “L’amante segreto” (The Secret Lover) from Opus II (1651)

Giuseppe Tommaso Giovanni Giordani – Duo No. 2 for two cellos, Op.18

Giuseppe Sammartini – Trio Sonata No.  5 for two flutes and basso continuo (1727)

Handel – “Tanti Strali” (Many Rays) HWV 197

Michel Corrette – Concert “Le Phénix”

For more information: (608) 238-5126, email: info@wisconsinbaroque.org, or got to: www.wisconsinbaroque.org

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Classical music: The Oakwood Chamber Players celebrate the holidays this weekend with two performances of seasonal music

November 20, 2018
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By Jacob Stockinger

This weekend the Oakwood Chamber Players (below) continue their 2018-2019 season series “Vignettes” with a holiday concert on this Saturday night, Nov. 24, at 7 p.m. and Sunday afternoon, Nov. 25, at 2 p.m.

On the program is a range of musical styles and a charming story set for chamber ensemble and narrator.

The cheery holiday-themed program will include familiar seasonal music, treasured classical composers, entertaining arrangements, and some delightful musical storytelling.

Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: the cost is $25 for general admission, $20 for seniors, and $5 for students. For more information, go to: www.oakwoodchamberplayers.com or call (608) 230-4316.

The program includes music from two beloved classical composers: “Joseph, dearest, Joseph mine” from “Geistliches Wiegenlied” by Johannes Brahms; and Suite of Christmas Songs, Op. 72, by Felix Mendelssohn.

In 1927, “The Adoration of the Magi” (below) by Renaissance painter Sandro Botticelli, who did many scenes of that subject, inspired Italian composer Ottorino Respighi to create an evocative composition that weaves traditional carols into his musical response to the famous painting. This version has been arranged for chamber ensemble of flute, harp and cello. (You can hear the orchestral version in the YouTube video at the bottom.)

The group will be joined by special guest artist baritone Robert “Bobby” Goderich, who has appeared with the Madison Opera and the Four Seasons Theatre. He will sing an upbeat version of the traditional Welsh Gower Wassail as well as performing Silent Night set for the intimate combination of voice, clarinet and harp.

Central to the program, Goderich (below) will narrate Sweep Dreams, an enchanting tale about a lonely man who falls in love with an enchanted broom that dances in the moonlight.

The story by the late and prize-winning author Nancy Willard (below top) was set to music by the late and renowned American choral composer Stephen Paulus (below bottom), who lived in Minneapolis and created the piece while he was composer-in-residence for the Minnesota Orchestra.

Additional works on the concert are “A Winter’s Night” by American composer Kevin McKee (below) for flugelhorn and harp, Australian composer Percy Grainger’s warm-hearted setting of “Sussex Mummers’ Carol,” and two sunny woodwind quintet settings of beloved holiday songs.

The Oakwood Chamber Players will be joined by a significant array of guest artists: Margaret Mackenzie, harp; Wes Luke, violin; Ariel Garcia, viola; Brad Townsend, bass; Jennifer Morgan, oboe; John Aley trumpet and flugelhorn; Robert “Bobby” Goderich, singer/narrator; Nicholas Bonacio, percussion; and Carrie Backman, conductor.

Regular members, who play with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and other local groups, include: Maggie Darby Townsend, cello; Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Anne Aley, horn; and Amanda Szczys, bassoon.

This is the second of five concerts in the Oakwood Chamber Players’ 2018-2019 season series entitled Vignettes. Remaining concerts will take place in 2019 on Jan. 12 and 13; March 2 and 3; and May 18 and 19.

The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years.

The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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Classical music: University Opera’s “Poppea” proves engaging, satisfying and timely. Performances remain this afternoon at 2 and Tuesday night at 7:30 

November 18, 2018
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By Jacob Stockinger

Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the University Opera and filed this review, with rehearsal photos of students, who alternate roles in different performances, by Michael R. Anderson.

By Larry Wells

The only other time I attended a performance of Claudio Monteverdi’s “The Coronation of Poppea” (1643) was in the early 1980s at The San Francisco Opera. Despite the appearance of Tatiana Troyanos as Poppea, I remember being baffled by both the static nature of the music and the grandness of the production of what seemed should be an intimate opera.

That memory, in addition to my being a fan of 20th-century music, made attending the opening performance of University Opera’s performance Friday evening fraught with foreboding.

Despite the production being a lengthy three hours, I must praise the ensemble and director David Ronis — who never disappoints — for keeping my attention throughout the evening as I witnessed an intimate retelling of the passion between Nero and Poppea (portrayed below by Benjamin Hopkins and Anja Pustaver).

The opera was staged in Music Hall on a semicircular platform with the small instrumental ensemble directly to the front side of the audience. Stunning lighting and beautiful costumes made up for the minimal set. I was seated in the center of the first row of the balcony and must say that the sightlines and the sound were superb, even though it was very hot up there. (Below is the coronation scene with Hopkins and Pustaver in the center.)

The ensemble was conducted by Chad Hutchinson (below) whom I had heard conduct the UW Symphony Orchestra the night before in a rousing Tchaikovsky’s Fifth Symphony. The plucked instruments – harp, guitars, theorbo (I had to look it up, too) and harpsichords – were the backbone of the accompaniment. Strings and recorders completed the orchestra, and they were a delight to the ear – totally delicate and restrained.

The plot of the opera involves love triangles and political intrigue. The supertitles created by David Ronis (below, in a photo by Luke Dalalio) were amusing and colloquial. So much of the political posturing by Nero, whose main motivation is consistently self-interest, seemed to be pertinent to our time.

Nero was sung by countertenor Thomas Aláan who has a voice of great agility and expressiveness. His lover, Poppea, who yearns to be his empress, was sung by Talia Engstrom. Hers is a voice of great suppleness and flexibility. Throughout the evening she acted and sang with great subtlety, and I admired her performance very much.

I had been primed for the opera’s very final duet (heard in the YouTube video at the bottom) to be the most sublime moment of the opera, but I was much more aroused by the farewell duet between Nero and Poppea toward the end of the first act. It was highly charged vocally and erotic in its beauty and delivery.

Other characters included Seneca, portrayed by bass Benjamin Galvin (below left front, surrounded, from left to right, by Eliav Goldman, Jack Innes, Jiabao Zhang, Jake Elfner and Noah Bossert.) The lower range of his voice is profound and impressive.

Kevin Green (below right with Pustaver) portrayed the hapless Ottone, and his baritone voice shows promise.

It was, however, a night for the female singers. Cayla Rosché’s Ottavia was beautifully sung. She was completely believable as the spurned wife of Nero. Likewise Kelsey Wang’s Drusilla, Ottone’s second choice, was also wonderfully sung.

In the first scene we were introduced to Fortuna, Virtù and Amore who shone vocally. Throughout the remainder of the opera they silently hovered in the background as visual reminders of the forces driving the plots. Love, portrayed by Emily Vandenberg, eventually triumphed and got to sing a bit more.

There were moments of humor sprinkled throughout the production. I do not know how historically informed they were, but they did help to lighten the heaviness of the political intrigue and amorous complexities.

Some were perhaps unintentional – particularly the absurdly amusing wig that Fortuna wore. But Professor Mimmi Fulmer, in the small role as Nutrice, had a moment of complete hilarity. Her performance – both vocally and as an actress – underlined the contrast between earnestly serious, focused students and a relaxed, confident professional. (Below is the final scene with Nero and Poppea).

Altogether, it was a surprisingly engaging evening. There remain chances to see it this afternoon and Tuesday evening. It is not a brief or light evening of entertainment, but it is wholly engaging, thought provoking, timely and certainly something out of the ordinary.

Two more performances take place in Music Hall: today at 2 p.m. and Tuesday night at 7:30 p.m. For more information including how to get tickets – adults are $25, seniors are $20 and students are $10 — go to: https://www.music.wisc.edu/event/university-opera-monteverdis-the-coronation-of-poppea/


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Classical music: The international Handel Aria Competition launches a new showcase concert for local high school singers

November 16, 2018
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By Jacob Stockinger

The Ear has received the following announcement to post:

The Handel Aria Competition (below are the 2017 finalists) was established seven years ago to encourage emerging artists ages 18-35 from around the world to perform Handel’s vocal works.

We are pleased to introduce our newest project, the Handel Aria Competition High School Singers Showcase. Our goal with this event is to encourage high school singers in the Madison, Wisconsin area to explore works from George Frideric Handel’s extensive vocal repertoire.

We are inviting local voice teachers to help one or more of their students prepare a Handel aria or duet to be performed at the Handel Aria Competition High School Singers Showcase.

This concert, which will be free and open to the public, will take place at Capitol Lakes, 333 West Main Street in downtown Madison, at 2 p.m. on Saturday, Jan. 26, 2019. Piano accompaniment will be provided, and each singer will receive a $100 scholarship towards voice lessons.

Voice teachers with students who might be interested are encouraged to contact Handel Aria Competition Artistic Director Sarah Brailey (below) — herself a winner of the competition and now a graduate student at the UW-Madison — at handelariacompetition@gmail.com for more information. A limited number of performance slots are available on a first-come basis.

PLEASE NOTE: The 7th annual Handel Aria Competition will be Friday night, June 7, 2019 in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music. (Below is a soprano Suzanne Karpov, First Prize winner of the 2018 competition. Many other performances from past years are on YouTube.)

Auditions for the competition via YAP Tracker, an online way to audition for opera and vocal competition, will open soon – and the deadline will be April 1, 2019


Classical music: Ken-David Masur, son of famed conductor Kurt Masur, is the new music director of the Milwaukee Symphony Orchestra

November 13, 2018
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By Jacob Stockinger

Ken-David Masur (below), a critically acclaimed associate conductor of the Boston Symphony Orchestra and son of the late German conductor Kurt Masur, has been named the new music director of the Milwaukee Symphony Orchestra.

Masur, who was chosen after a 36-month international search to find the successor to Edo de Waart, will start his duties next season and expand the number of concerts he conducts the following season. His contract runs through the 2022-23 season.

Masur, who also performs new music, sounds appealing and accomplished. It makes The Ear hope that the Masur brings the Milwaukee Symphony Orchestra to perform at the Wisconsin Union Theater, as has been done in the past. 

Here are some links to stories and web sites with more information about appointment of the Grammy Award-nominated Masur (below, in a photo by Beth Ross Buckley), which was announced Monday.  (You can hear him conducting the dramatic opening of the “Romeo and Juliet” ballet suite by Sergei Prokofiev in the YouTube video at the bottom. His work is well represented on YouTube.)

Here is a long and very informative story, with a lot of detail and background, from the Associated Press: https://www.apnews.com/61dace4d8fe346cba3c36c9c25cd62ca

Here is a link to the online story in the Milwaukee Journal-Sentinel, along with spoken introductions he gave to performances in Milwaukee of the Symphony No. 2 by Johannes Brahms and the Piano Concerto No. 2 by Sergei Rachmaninoff: https://www.jsonline.com/story/entertainment/arts/2018/11/12/milwaukee-symphony-names-ken-david-masur-its-new-music-director/1963446002/

And here is a link to his own web site: http://ken-davidmasur.com


Classical music: This week at the UW-Madison highlights choral music

November 7, 2018
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, featurestwo local musicians: oboist Laura Medisky and pianist Vincent Fuh.

The program features solo works for oboe, oboe d’amore and piano by Johann Sebastian Bach, Grażyna Bacewicz, and Camille Saint-Saens. Food and drink are allowed. The concert runs from 12:15 to 1 p.m. Due to construction, Friday Musicale concerts are being held in the Atrium auditorium through December.

By Jacob Stockinger

Two choral concerts are the big events this week at the University of Wisconsin-Madison’s Mead Witter School of Music.

Here are the details:

FRIDAY

On this Friday night, Nov. 9, at 8 p.m. in Mills Hall, the UW Chorale, under director and conductor of Bruce Gladstone (below in a photo by Katrin Talbot), will present a FREE concert.

The program features “Lament of Gilboa” by Arthur Honegger (below top) and “Into the Silent Darkness” by Elizabeth Alexander (below bottom).

According to the School of Music’s website: “This concert explores opposites in a variety of ways (cold/hot, slow/fast, laughing/crying, life/death), inviting the listener to think about the gray areas in between.”

SUNDAY

On this Sunday afternoon, Nov. 11, at 2 p.m. in Mills Hall, there will be a FREE concert of combined choirs. Participating groups are Masters Singers, University Chorus and Women’s Chorus (below).

The program, to be performed under graduate student conductors Michael Johnson and Andrew Voth, features traditional folk music as well as works by Giovanni Battista Pergolesi, Johann Sebastian Bach, Franz Joseph Haydn, Johannes Brahms (see the YouTube video at the bottom), Ralph Vaughan Williams and Aaron Copland.

For a long listing of specific works to be sung, go to: https://www.music.wisc.edu/event/combined-choirs-concert-masters-singers-university-chorus-and-womens-chorus/


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Classical music: This Saturday night brings concerts by the Festival Choir of Madison and a harpsichord rededication recital by Trevor Stephenson

November 2, 2018
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By Jacob Stockinger

The Ear has received announcements for the following two events that will place on Saturday night:

FESTIVAL CHOIR OF MADISON

The Festival Choir of Madison (below) will present the first concert of the season — “Angels and Demons” — on this Saturday, Nov. 3, at 7:30 p.m. in the Atrium auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, in Madison.

The choir and artistic director, Edgewood College professor Sergei Pavlov (below), will take listeners on a Dante-inspired journey — from the Inferno in “The Divine Comedy” through Purgatory all the way to Paradise — as interpreted by composers Karl Jenkins, Zdenek Lukas, Gyorgy Orban, Alfred Schnittke, Joseph Rheinberger, Rodion Schedrin, Wolfgang Amadeus Mozart and Marteen Spruijt. (Sorry, but there has been no word on specific works to be performed.)

Guest pianist Kyle Johnson, organist Ted Reinke, percussionist James McKenzie and a string ensemble will accompany the choir throughout the journey.

Concert admission, with general seating, is $10 for students, $15 for senior citizens, and $20 for adults, with tickets available at the door the day of the concert. Tickets can also be purchased online at: https://www.festivalchoirmadison.org/concerts/2018/11/3/angels-and-demons

The Festival Choir of Madison is an auditioned, mixed-voice volunteer choir of over 50 experienced singers. It performs thematic concerts of artistically challenging choral music from around the world for listeners who enjoy traditional, modern and eclectic works, and for singers who enjoy developing their talents with others.

To learn more about the organization and see upcoming concerts, go to: www.festivalchoirmadison.org

HARPSICHORD AT IMMANUEL LUTHERAN CHURCH

On this Saturday night, Nov. 3, at 7 p.m. at Immanuel Lutheran Church, 1021 Spaight Street, there will be a harpsichord rededication celebration and concert.

The appearance and musicality of this renovated double-mansuel. French 18th-century instrument at Immanuel Lutheran have recently been restored and upgraded under the exceptional guidance and expertise of Trevor Stephenson (below bottom), artistic director and founder of the Madison Bach Musicians.

Immanuel is excited to share the instrument (below) with the Madison community by presenting Stephenson in a rededication harpsichord concert. (Composers on the program include Jean-Philippe Rameau, Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. No program of specific works has been provided.)

A pre-concert interactive lecture discussing the instrument and rebuilding process will precede the concert starting at 6:30 p.m.

A freewill offering is appreciated at the concert.

A brief reception will follow, and all are welcome.


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Classical music: Sonata à Quattro celebrates early music and the importance of the viola in concerts this Friday night and Sunday afternoon

November 1, 2018
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By Jacob Stockinger

As far as The Ear can tell, Marika Fischer Hoyt has two big professional passions: early music, especially the music of Johann Sebastian Bach; and the viola, which she plays, teaches and champions in the Madison Bach Musicians, the Madison Symphony Orchestra, Bach Around the Clock (which she revitalized and directs) and now Sonata à Quattro (which she founded last summer, when it made its impressive debut as an adjunct event to the Madison Early Music Festival).

Those two passions will come together in Madison this Friday night, Nov. 2, and in Milwaukee this Sunday afternoon, Nov. 4,  in concerts by the new Baroque chamber music ensemble Sonata à Quattro (below) with the theme “Underdog No More – The Viola Uprising.”

Here are the two dates and venues:

Friday, Nov. 2, at 7:30 p.m. at the Immanuel Lutheran Church, 1021 Spaight Street, in Madison; tickets are $15 and available at the door, and also online at www.brownpapertickets.com/event/3660161

Sunday, Nov. 4, at 4 p.m. at the Villa Terrace Decorative Arts Museum, 2220 North Terrace Avenue, in Milwaukee; tickets are $20 for general admission, $10 for students at the door, and online at www.violauprising.brownpapertickets.com

Fisher Hoyt (below) has this to say this about the theme of “The Viola as Underdog”:

“A caterpillar turning into a butterfly – that was the violin in the 17th century. In the early 1600’s the violin evolved almost overnight from dance band serf into the rock star of the musical family.

But the viola’s larger size, heavier weight, more slowly responding strings and darker timbre kept it in the shadows, consigned to rounding out harmonies under the violin’s pyrotechnics. (Indeed, vestiges of this status remain to the present day, in the form of the omnipresent viola joke).

Composers like Bach, Mozart and Beethoven played the viola (below is Marika Fischer Hoyt’s baroque viola made in Germany in the 1770’s) themselves, and gave it challenging melodic and soloistic opportunities in their works. But these were the exception rather than the rule; the viola’s main role in the 17th century was that of filler in an ensemble.

But if agile violins and cellos serve as the arms and legs of a musical texture, the viola’s rich dark voice gives expression to the heart and soul. This added dimension is enhanced when, as happened frequently in France, Germany and Italy, two or more viola lines are included.

Our program presents works from 1602-1727 that explore those darker, richer musical palettes, culminating in Bach’s ultimate exaltation of the underdog, the Brandenburg Concerto No. 6.” (You can hear the Bach work in the YouTube video at the bottom.)

Performers in the group for these performances are Consuelo Sañudo, mezzo-soprano; Christine Hauptly-Annin and Anna Rasmussen, violins; Micah Behr and Marika Fischer Hoyt, violas; Ravenna Helson and Eric Miller, violas da gamba; Charlie Rasmussen, cello; and Daniel Sullivan, harpsichord.

The program includes:

Fuga Prima, from Neue Artige und Liebliche Tänze (New-styled and Lovely Dances(1602) by Valentin Haussmann (1565-1614)

Sonata à 5 in G Minor, Op. 2 No. 11 (1700) by Tomaso Albinoni (1671-1751)

Mensa Sonora, Pars III (1680) by Heinrich Biber (1644-1704)

Sonata à 5 in E Minor, TWV 44:5 by Georg Friedrich Telemann (1681-1767)

Sinfonia from Cantata 18 Gleichwie der Regen und Schnee (Just as the Rain and Snow) (1714) by Johann Sebastian Bach (1685-1750)

INTERMISSION

Sonata à Quattro II in C Major  “Il Battista” (The Baptist) (1727) by Antonio Caldara (1670-1736)

Lament:  Ach, daß ich Wassers gnug hätte (O, that I had enough waters) by Johann Christoph Bach (1642-1703)

Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 (1718) by J.S. Bach

Here is a link to the Facebook page of Sonata à Quattro with videos and photos as well information about the players and upcoming concerts: https://www.facebook.com/sonataaquattro/

The Madison concert will be followed by a reception of dark chocolate, mocha and cappuccino.


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Classical music: What makes this weekend’s performances of “Cavalleria Rusticana” and “Pagliacci” classically Italian operas and especially inviting for beginners?

October 30, 2018
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By Jacob Stockinger

The Madison Opera will open its new season this weekend with two performances of Pietro Mascagni’s  “Cavalleria Rusticana” and Ruggero Leoncavallo’s ”Pagliacci.”

Details about the productions in Overture Hall on Friday night at 8 p.m. and Sunday afternoon at 2:30 p.m. appeared in a previous posting that includes information about the cast and the tickets ($18-$131):

https://welltempered.wordpress.com/2018/10/13/classical-music-madison-opera-offers-preview-events-leading-up-to-cavalleria-rusticana-and-i-pagliacci-on-nov-2-and-4/

https://www.madisonopera.org/tickets/

But Kathryn Smith (below, in a photo by James Gill), the general director of the Madison Opera, recently agreed to a Q&A with The Ear to discuss the two operas more specifically and at length. Here are her comments:

A veteran opera-goer told the Ear that he considers these two works ideal operas for people new to the art form.  Do you agree?

I think almost any opera is perfect for someone new to opera – supertitles make it possible to understand the words, so one can just sit down and enjoy the show.

That said, “Cav and Pag” are definitely what many people think of when you say the words “Italian opera”: elemental stories of love, hate and jealousy that lead to tragedy.

Cavalleria Rusticana, which means “Rustic Chivalry,” tells about a woman named Santuzza who had been seduced and abandoned by a man named Turridu. On Easter Sunday, she attempts to get Turridu back, then tells the husband of his new lover about that affair, resulting in a duel.

Pagliacci, which means “Clowns,” tells about a traveling theater troupe. Nedda, the wife of the troupe’s leader, Canio, wants to run away with her lover Silvio after the evening performance. Canio finds out, but goes on with the show even though his heart is breaking. He then snaps during the performance and kills both Nedda and Silvio.

The music in both operas ranges from glorious choral music (the Easter Hymn in Cavalleria Rusticana is one of the most famous opera choruses of all time for good reason) to famous arias (particularly the aria “Vesti la Giubba” from Pagliacci, or at least the line “Ridi, Pagliaccio!”), to orchestral music that is well-known in its own right, such as Cavalleria’s intermezzo, which plays an integral role in the final scene of “The Godfather” film trilogy. (You can hear that famous Intermezzo used in “The Godfather” film in the YouTube video at the bottom.)

They are also compact: Each opera lasts about 70 minutes, so a lot gets packed into a short amount of time. (Below is the set of “Pagliaccio” rented from the New Orleans Opera.)

What are the shared elements that make the two operas so compatible that they are often presented together?

Pagliacci was written in response to Cavalleria Rusticana:  Ruggero Leoncavallo (below top) saw what a hit Pietro Mascagni (below bottom) had his 1890 one-act opera about real people propelled by love and revenge, and wrote his own version that premiered just two years later, in 1892.

There are some obvious parallels: both take place in small Italian villages, both take place on religious holidays, and both involve love triangles that end with someone dead. Plus the last line of each opera is spoken, not sung.

They also have musical similarities, as both have full orchestrations, large choral segments, and a style of vocal writing that calls for dramatic, expressive singing. As a result, the combined pairing makes a satisfying night of Italian opera, rather than being simply two operas that happen to be done on the same night.

Does one usually overshadow the other or are they equals?

It very much depends on the tastes of an individual audience member. When the operas were new, Cavalleria was definitely the more popular of the two – even Queen Victoria wrote in her diary that she preferred it.

To modern eyes, Pagliacci may be more dramatically satisfying because more happens in it, such as the entire play-within-the-opera, which adds an element of humor to the high stakes of reality. But both are masterpieces in their own right, and the audience gets to enjoy them both.

Why do you think these verismo operas are still powerful today?

“Verismo” comes from the word “vero,” which means “true.” Cav and Pag tell stories about real people caught up in their lives, with all the emotional messiness that can entail – and those emotions are still driving people today.

Above all, the music of both operas is so powerful that it strikes to the heart of what opera can be. It can be thrilling, it can be moving, it can be funny – all in one night.

Is there something else you would like to say about the two operas and your production of them?

We have wonderful casts in each opera. Scott Piper (below top), who was last here as Cavaradossi in Puccini’s Tosca, sings both Turridu and Canio; and Michael Mayes (below bottom), who was last here as the lead in Jake Heggie’s Dead Man Walking, sings both Alfio and Tonio.

We have two extraordinary sopranos making their debuts with us:  Michelle Johnson (below top) as Santuzza in Cavalleria Rusticana and Talise Trevigne (below bottom) as Nedda in Pagliacci.

The Pagliacci cast is completed by Benjamin Taylor making his debut as Silvio and Robert Goderich singing Beppe; the Cavalleria cast is completed by Danielle Wright as Lucia and Kirsten Larson as Lola.


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Classical music: This week’s “Just Bach” concert on Wednesday afternoon features Halloween fare as well as instrumental and vocal music typical of Johann Sebastian

October 29, 2018
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By Jacob Stockinger

BOO!!

But this time it’s all treat and no trick!

This month’s FREE concert in the new midday series of Just Bach (below, in a photo by John W. Barker) falls on Wednesday – that is, on Halloween!

In keeping with the spooky holiday, this week’s Just Bach concert will feature one of the traditional pieces of classical music used on Halloween: the mighty and well-known Toccata and Fugue in D minor for organ. (You can see an abstract and fascinating animated graphic depiction of the work in the YouTube video at the bottom.)

The FREE concert runs from 1 to 2 p.m. at Luther Memorial Church (below) at 1021 University Avenue. The audience is permitted to eat lunch and drink refreshments during the midday concert.

Two other works are on the program.

One is the Suite No. 5 in C minor for solo cello, played by James Waldo (below). A discerning friend of The Ear heard Waldo play a different solo cello suite at a concert last month by the Madison Bach Musicians, and said it was probably the finest interpretation he had ever heard. And he has heard a lot of them.

The last work will be the Cantata No. 163 “Nur Jedem das Seine,” or “To Each His Own,” with singers and instrumentalists performing on period instruments with historically informed performance practices.

For information about the series, go to: https://justbach.org

Specifically, if you want to know more about the dates and programs, go to:

https://justbach.org/concerts/

And if you want to know more about the performers, go to: https://justbach.org/about-us/

Finally, if you want to know more about the background and genesis of the new concert series, here is a link to a previous post:

https://welltempered.wordpress.com/?s=Just+Bach


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