The Well-Tempered Ear
Classical music: The Wisconsin Union Theater announces its new season featuring Renée Fleming’s postponed concert on Oct. 24
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By Jacob Stockinger
The Ear has received the following announcement with the lineup for next season’s concerts at the Wisconsin Union Theater (below top, with a photo of Shannon Hall below bottom), which he calls “The Carnegie Hall of Madison.”
The upcoming season of the Wisconsin Union Theater features eight performances, including a rescheduled performance on Oct. 24 by world-renowned vocalist Renée Fleming (below), who was previously scheduled to perform May 2, 2020, as part of the 100th Concert Series but had to cancel because of the COVID-19 pandemic. Fleming recorded a special message for Wisconsin Union Theater patrons: https://youtu.be/V1B4L2KFUls.
During the 101st Concert Series, patrons will have the opportunity to attend performances by the following artists. Click on the links and names to find out more:
- Oct. 3, 2020 – Room Full of Teeth (below in a photo by Bonica Ayala)
- Oct. 24, 2020 – Soprano Renée Fleming
- Nov. 7, 2020 – Cellist Camille Thomas (below in a photo by Dan Carabas)
- Dec. 11, 2020 – Pianist Jeremy Denk (below, in a photo by Shervin Lainez)
- Jan. 29, 2021 – Verona Quartet (below in a photo by Dario Acosta)
- Feb. 28, 2021 – Meccore Quartet (below in a photo by Arkadiusz Berbecki)
- April 15, 2021 – Brentano Quartet (below in a photo by Juergen Frank)
- May 1, 2021 – Sō Percussion with Caroline Shaw (below in photos by Stefan Cohen, top, and Kait Moreno)
All programs are subject to change. The WUT team will announce when subscriptions and single-event tickets, along with prices, will become available for purchase at a later date.
The Wisconsin Union Theater’s Concert Series is one of the oldest uninterrupted series of its kind in the United States and has brought such talented artists as pianists Arthur Rubinstein and Vladimir Horowitz, violinists Fritz Kreisler and Itzhak Perlman, and pianists Vladimir Ashkenazy and Claudio Arrau to Madison.
The Wisconsin Union Theater holds numerous arts events throughout the year and has provided cultural experiences for community members and visitors for more than 75 years.
The student-led Wisconsin Union Directorate (WUD) Performing Arts Committee plans many of the Wisconsin Union Theater’s events, including the Concert Series.
More information — including ticket prices and programs — about the Concert Series and other 2020-21 Wisconsin Union Theater events will be made available soon at uniontheater.wisc.edu and on the Wisconsin Union Theater Facebook page.
Tickets purchased for Fleming’s May 2, 2020, performance are valid for the Oct. 24, 2020, performance.
Violinist Gil Shaham (below), who was to perform March 28, 2020, as part of the 100th Concert Series season will instead perform as part of the 2021-22 Wisconsin Union Theater season. Ticket holders for Shaham’s previously scheduled performance date are receiving refunds.
The upcoming year of programming will undoubtedly bring new challenges, and the Wisconsin Union team will continue to make decisions with the health and safety of team members and patrons in mind while providing experiences for a lifetime.
While Memorial Union and Union South remain closed to the public until further notice, the Wisconsin Union continues to provide support services, such as Meals To-Go, and online events and activities.
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Classical music: Here’s how to apply Madison Symphony Orchestra cancellation refunds to a subscription ticket for next season. Plus, the Oakwood Chamber Players cancel two concerts in May
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ALERT: In accordance with the state’s Stay at Home order, concerts by the Oakwood Chamber Players (below) that were scheduled for Saturday night, May 16, and Sunday afternoon, May 17, at Oakwood Village University Woods, on the far west side, have been CANCELED.
By Jacob Stockinger
Now that the Madison Symphony Orchestra (below in a photo by Peter Rodgers) has canceled the rest of its current season, The Ear and others have wondered how to apply refunds to a subscription ticket for the MSO’s 2020-21 season, with the theme of “Ode to Joy: Beethoven and Beyond.” (See the YouTube promotional video at the bottom.)
The MSO recently announced cancellations because of the COVID-19 pandemic and closing of the Overture Center with detailed descriptions of how you could donate the tickets to benefit musicians or exchange them for vouchers to one concert in the next season.
But missing was the possibility of applying the cost of tickets to this season’s cancellations to a subscription ticket for next year.
So The Ear called Peter Rodgers, the marketing director for the MSO, to get a clarification.
It turns out that the MSO administrative staff met with representatives of the box office at the Overture Center to discuss various refund options.
Rodgers said the box office is very busy handling refunds from other events that have been canceled. That has made for complex mechanical or technical difficulties in applying one season’s subscription tickets to another.
It is true that you can apply this season’s ticket or tickets to one subscription concert next season, but there is no guarantee of securing your current seat preference, according to Rodgers.
If you want apply this season’s refunds and keep your seat for all the concerts or selected one next season, Rodgers said that the best solution is to ask for the refund and then pay in full for the next season’s subscription tickets.
Here is a link to more information about the MSO’s next season with performers and programs: https://madisonsymphony.org/concerts-events/2020-2021-symphony-season-concerts/
Single tickets go on sale Aug. 15.
You can renew online, by mail and by calling (608) 257-3734. The deadline for subscription renewals or new subscriptions, with a discount of up to 50 percent, is Thursday, May 7.
Here is a link to the page for online renewals or new subscriptions: https://madisonsymphony.org/concerts-events/subscribe-now/
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Classical music: A reader urges others to donate ticket refunds to support the arts. What do you think?
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ALERT: The Wisconsin Chamber Choir has canceled its upcoming concert, “Music She Wrote,” on April 18.
By Jacob Stockinger
A reader — who prefers to remain anonymous but who has been deeply involved in the Madison arts scene for a long time — recently wrote:
“I’d like to suggest an angle for your column: Encourage subscribers to the various arts organizations and single ticket holders who can afford it NOT to ask for a refund on their upcoming cancelled concerts, if or when they are offered that option.
“I subscribe — on my own or as part of others’ subscriptions — to the Madison Symphony Orchestra (below, in photo by Peter Rodgers), the Madison Opera, the Broadway musicals at the Overture Center, Forward Theater, and the Wisconsin Union Theater’s Concert series. (I also buy a lot of single tickets to chamber music concerts by the Bach Dancing and Dynamite Society and to American Players Theatre in Spring Green.)
“As all those arts organizations cancel their concerts and plays, they still have costs. Forward Theater, for instance, is paying the full contract of all the people who were involved with the production of “The Amateurs.” And I’m glad they are.
“Personally, I will not be asking for a refund on any of the tickets I long ago purchased. I want the arts to stay healthy in Madison, and not asking for a refund is a small gesture in trying to make sure they are able to move forward.” (At bottom is the Bach Dancing and Dynamite Society, which just announced its summer schedule from June 7 to June 28 and has not cancelled anything. Go to: https://bachdancing.org)
“You reach a lot of people and you could plant a lot of powerful seeds by making this the topic of a column.”
If you are a member of a performing arts group, what do you think?
If you are a ticket holder, what do you think?
The Ear wants to hear.
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Classical music: The Wisconsin Chamber Orchestra expands its Masterworks series this Friday night in Madison and Saturday night in Brookfield with piano soloist Orion Weiss and music by Mozart, Mendelssohn and Donald Fraser
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CORRECTION: The Ear received the following correction to the story about the Wisconsin Chamber Orchestra and apologizes for the error:
“There was a change to our rollout in Brookfield. We are only repeating the fifth Masterworks concert on Saturday, May 9. at 7:30 p.m. at the Sharon Lynne Wilson Center for the Arts. We are NOT repeating this Friday’s concert in Brookfield.
“We will perform a Family Series concert of “Beethoven Lives Next Door” on Sunday, March 29, at 3 p.m. at the same Brookfield venue.”
By Jacob Stockinger
The Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) is about to take a Great Leap Forward.
This weekend will see the WCO — now in its 60th year of existence and its 20th season under music director Andrew Sewell (below bottom, in a photo by Alex Cruz) – take a major step in its evolution as a statewide music ensemble. It is a development comparable to when John DeMain took the Madison Symphony Orchestra from single performances to “triples.”
That is because, for the first time ever, the WCO is going to “doubles.” It will perform Masterworks concerts in Madison on Friday nights at 7:30 p.m. in the Capitol Theater of the Overture Center. Then the WCO will repeat the same concert on the following Saturday night in the Milwaukee suburb of Brookfield at the Sharon Lynne Wilson Center for the Arts.
For a full story with lots of background and quotes about future plans for the WCO, you can’t do better than read the story by Michael Muckian that appeared last week in Isthmus:
Here is a link: https://isthmus.com/music/wisconsin-chamber-orchestra-turns-60/
The opening program has a couple of points of special interest.
First, this concert will mark the Madison debut of pianist Orion Weiss, a former student of Emanuel Ax who is increasingly booked for concerts and recordings.
Weiss (below in a photo by Jacob Blickenstaff) will solo in perhaps the most popular and famous of Mozart’s 27 piano concertos: No. 21 in C Major, K. 467. It is also known as the “Elvira Madigan” concerto because the beautiful slow movement was used as the soundtrack to the movie of that same name. (You can hear the slow movement at the bottom in a YouTube video that has more than 59 million views.)
You can learn more about Weiss at his website: https://www.orionweiss.com
Another unique facet of the WCO concert is the U.S. premiere of “Sinfonietta for Strings” (2018) by the award-winning British composer Donald Fraser, now an American resident who lives in Illinois and is married to Bridget Fraser, the executive director of the Wisconsin Youth Symphony Orchestras (WYSO).
Fraser (below) – whose music is tonal and accessible — is especially well known, not only for his original compositions but also for his orchestral arrangements of chamber music by Brahms, Elgar, Marin Marais and others. His 2018 recording of “Songs for Strings” features many of those transcriptions.
For more about Fraser, go to his website: https://donaldfraser.com/index.html
The concert will conclude with the Symphony No. 4 – the “Italian” Symphony – by Felix Mendelssohn. It is a sunny, tuneful and energetic work that is the most popular and best-known symphony by Mendelssohn. It was also used in a movie as the soundtrack to the Italian bicycle race in the coming-of-age film “Breaking Away.”
Tickets are $10-$77. For more information about the program and the soloist, as well as about pre-concert dinners and how to buy single and season subscription tickets, go to: https://wisconsinchamberorchestra.org/performances/masterworks-i-5/
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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”
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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://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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The Well-Tempered Ear 