The Well-Tempered Ear

Classical music: This Saturday and on Wednesday, Nov. 29, “Live From the Met in HD” will feature the Thomas Adès operatic remake of Luis Buñuel’s film “The Exterminating Angel.” Here is background and a review of the production

November 15, 2017
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By Jacob Stockinger

Talk about the dinner party from Hell!

It may not be the most popular production this season staged by the famed Metropolitan Opera in New York City, but it is certainly the newest as well as the most unusual and interesting production.

It is an operatic remake of Spanish Surrealist filmmaker Luis Buñuel’s 1962 movie ‘The Exterminating Angel” (below is the poster).

You can see it in a live performance in the next “Live From the MET in HD” broadcast that will take place this coming Saturday afternoon with encore presentations on Wednesday afternoon and night.

On this Saturday, the show time is 11:55 a.m. at the Marcus Point Cinemas and the Marcus Palace in Sun Prairie. On Wednesday, Nov. 29 — postponed because next Wednesday is the day before Thanksgiving — the encore presentations at both cinemas are at 1 p.m. and 6:30 p.m.

Running time is 2 hours and 40 minutes. The opera will be sung in English with surtitles in German, Spanish and English.

Tickets are $22, $18 for seniors.

Here is a link to the Met’s website with information about the production, including a cast sheet and a synopsis:

http://www.metopera.org/Season/2017-18-Season/exterminating-angel-ades-tickets/

http://www.metopera.org/metoperafiles/season/2017-18/operas/exterminating_angel/hd_syn_Angel_global_dates.pdf

Here are stories that provide some background.

The first is a general background piece about the opera (below, in a photo by Eamon Hassan for The New York Times) from the “Deceptive Cadence” blog written for NPR or National Public Radio:

https://www.npr.org/sections/deceptivecadence/2017/11/05/561366931/luis-bu-uels-the-exterminating-angel-gets-an-off-kilter-adaption-from-screen-to-

Here are two guides, from The New York Times, with what you need to know about the opera and production:

https://www.nytimes.com/2017/10/20/arts/music/thomas-ades-exterminating-angel-metropolitan-opera.html

https://www.nytimes.com/2017/11/01/arts/music/exterminating-angel-metropolitan-opera-thomas-ades-bunuel.html

And here is a rave review from Anthony Tommasini, the senior critic for The New York Times, who says if you only see one Met production this season, “The Exterminating Angel” should be it (below is a trailer on YouTube):

https://www.nytimes.com/2017/10/27/arts/music/exterminating-angel-review-metropolitan-opera.html

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Classical music: This weekend the Madison Symphony Orchestra and Grammy-winning guitarist Sharon Isbin will perform Spanish music and a new concerto by Chris Brubeck

November 13, 2017
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By Jacob Stockinger

This weekend, the Madison Symphony Orchestra (MSO), with music director John DeMain conducting, will present the third concert of its 92nd season.

“Troubadour: Two Faces of the Classical Guitar” features Grammy-winning guitar virtuoso Sharon Isbin (below) playing two works: one written for Isbin by American composer Chris Brubeck; and the other by the Spaniard Joaquin Rodrigo. (Isbin will also give a FREE and PUBLIC master class on Thursday from 10 a.m. to noon in Morphy Recital Hall on the UW-Madison campus in the Humanities Building on North Park Street.)

In addition the MSO will perform two 20th-century ballet suites — The Three-Cornered Hat by Spanish composer Manuel De Falla and Billy the Kid by American composer Aaron Copland.

The concerts (below, in a photo by Peter Rodgers) are in Overture Hall at the Overture Center, 201 State Street on Friday, Nov. 17, at 7:30 p.m.; Saturday, Nov. 18, at 8 p.m.; and Sunday, Nov. 19, at 2:30 p.m.

Tickets are $18-$90. Details are below.

Invoking a sense of the American heartland, Billy the Kid was written by Copland (below) as a ballet following the life of the infamous outlaw. This piece is most well-known for the memorable “cowboy” tunes and American folk songs that paint a vivid picture of the Wild West.

The virtuosity and versatility of multiple Grammy Award-winner Sharon Isbin is on display in this program of contrasts: the jazz idioms of the American composer Chris Brubeck’s “Affinity: Concerto for Guitar and Orchestra,” written for Sharon Isbin, alongside the lush romanticism of the Spaniard Joaquin Rodrigo’s “Concierto de Aranjuez.” (You can hear Sharon Isbin play the beautiful slow movement of the Rodrigo concerto in the YouTube video at the bottom.)

The piece by Brubeck (below) contains strong hints of the jazz influence of his father, noted pianist and composer Dave Brubeck. Inspired by the gardens at Palacio Real de Aranjuez, Rodrigo’s composition attempts to transport the listener to another place and time through the evocation of the sounds of nature.

Isbin’s performances of Chris Brubeck’s “Affinity: Concerto for Guitar and Orchestra” have received wide acclaim: “The concerto takes off with Isbin delivering rapid-fire virtuosity with infectious themes. The slow middle is a tender jazz-based tribute to Dave Brubeck, and Isbin played with heartfelt warmth and tenderness. The finale was an infectious rhythmically driven journey through myriad styles. It was as intriguing as it was moving … Isbin is much more than a virtuoso; she is an artist of depth.”

The Three-Cornered Hat by De Falla (below) is based on a story written by Pedro de Alarcón about a Corregidor (magistrate) who tries, without success, to seduce the pretty wife of the local miller.

One hour before each performance, Michael Allsen (below, in a photo by Katrin Talbot), professor at UW-Whitewater, MSO trombonist and writer of MSO’s program notes, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please read Allsen’s Program Notes at: http://www.allsenmusic.com/NOTES/1718/3.Nov17.html.

The Symphony recommends 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 pre-concert talk (free for all ticket-holders).

Single Tickets are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, go to: 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 $12 or $18 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.

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

ABOUT SHARON ISBIN

Acclaimed for her extraordinary lyricism, technique, and versatility, Sharon Isbin has been hailed as “the pre-eminent guitarist of our time.” Recipient of numerous prestigious awards, her debut concert with the MSO comes after over 170 solo performances with orchestras including the New York Philharmonic, National Symphony, London Symphony, Baltimore Symphony, Orchestre National de France, and the Tokyo Symphony.

Isbin is the subject of a one-hour documentary presented by American Public Television. Seen by millions on over 200 PBS stations throughout the US, it is also available on DVD/Blu-ray and won the 2015 ASCAP Television Broadcast Award. “Sharon Isbin: Troubadour” paints the portrait of a trailblazing performer and teacher who over the course of her career has broken through numerous barriers to rise to the top of a traditionally male-dominated field.

The following is a dedicated website where you can view the trailer, read rave reviews, and see detailed broadcast dates: www.SharonIsbinTroubadour.com

Major funding for the September concerts is provided by: NBC-15, the Madison Symphony Orchestra League, and Elaine and Nicholas Mischler. Additional funding provided by Scott and Janet Cabot, John DeLamater and Janet Hyde, Steven Weber, 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 Madison Opera stages Bizet’s “Carmen” this Friday night and Sunday afternoon

October 31, 2017
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By Jacob Stockinger

The Madison Opera will perform Georges Bizet’s “Carmen” this Friday night, Nov. 3, at 8 p.m. and Sunday afternoon, Nov. 5, at 2:30 p.m. in Overture Hall at the Overture Center, 201 State Street. (Below is the set from the Lyric Opera of Kansas City that is being used for the production.)

Tickets are $18-$130. (See below for details.)

With some of the most famous music in opera, Bizet’s passionate work is a vivid story of love, jealousy and betrayal.

Set in 19th-century Seville, Spain, the opera follows a gypsy determined to live life on her own terms – whatever her fate may be.

On a break from her shift at the cigarette factory, Carmen tosses a flower at a corporal named Don José, who ignores her advances. Only after Carmen is arrested and placed in José’s custody does he begin to fall for her, breaking the law and abandoning his hometown sweetheart.

What follows is a torrid love affair of passion, agonizing rage, and fanatical desire that will change their lives forever.

“Carmen is the reason I run an opera company,” says Kathryn Smith, Madison Opera’s general director (below, in a photo by James Gill).  “I fell in love with opera as a teenager in the children’s chorus of a ‘Carmen’ production, as its incredible score and intense story hooked me immediately – not to mention the sheer excitement of having principal artists, chorus, children’s chorus, dancers, and orchestra all come together to create this astonishing world.  I am so delighted to produce ‘Carmen’ in Madison, with this spectacular cast and production team.”

At the premiere of “Carmen” in Paris on March 3, 1875, audiences were shocked at its characters’ apparent lack of morality and virtue, and critics derided Bizet’s music. (You can hear the ever-popular Toreador Song in the YouTube video at the bottom.)

Three months after the opera’s premiere, Bizet died of heart disease. He was only 36 years old and would never know that his “flop” of an opera would become a global sensation over the next two centuries.

“Carmen was the first opera I saw as a young teenager,” remembers Madison Opera’s artistic director John DeMain (below, in a photo by Prasad). “It should be everyone’s first opera. It is the perfect blend of musical theater and grand opera, with thrilling choruses, great tunes from start to finish, and a compelling story of ill-fated love. And then there is Carmen herself, one of the most alluring characters of all time. I love conducting this great opera, which is so gorgeously orchestrated.”

Madison Opera’s cast features both returning artists and debuts. Making her debut in the title role is Aleks Romano (below), a rising young singer whom Opera News recently praised for her “attractively smoky mezzo-soprano.”

Acclaimed tenor Sean Panikkar (below) makes his role debut as Don José. He debuted with Madison Opera at Opera in the Park 2014, but this is his first mainstage appearance with the company.Also returning to Madison Opera are Cecilia Violetta López (below top) as José’s hometown sweetheart Micaëla and Corey Crider (below bottom) as the toreador Escamillo. López debuted at this past summer’s Opera in the Park; Crider sang the title role in “Sweeney Todd” with Madison Opera in 2015.

Thomas Forde (below), who most recently sang Luther/Crespel in Madison Opera’s “The Tales of Hoffman,” returns to play José’s commanding officer, Zuniga.

Studio artists Anna Polum and Megan Le Romero play Carmen’s friends Frasquita and Mercedes. Studio Artist Benjamin Liupaogo and Wisconsin native Erik Earl Larson play the smugglers, Remendado and Dancaïre. Rounding out the cast is Charles Eaton in his debut as Morales. (Many have ties to the opera program at the UW-Madison.)

Directing this traditional staging is E. Loren Meeker (below) in her first production for Madison Opera. Meeker has directed at opera companies around the United States, including Lyric Opera of Chicago, Washington National Opera, the Glimmerglass Festival and Wolf Trap Opera.

“A piece like Carmen captures our imagination and begs to be re-told over the centuries because the characters speak to the deepest and most honest parts of human nature,” says Meeker.  “Today we grapple with love, lust, jealousy, morality, honor, and freedom just as much as people did when this opera premiered in 1875.

“At Madison Opera we have a brilliant cast who is willing to unravel the mystery of these characters with me scene by scene – making each choice onstage new, fresh, and true to the characters and arch of the story.

“Bringing this vivid world to life set to some of the most rich and well known music in the operatic canon, plus the fun of working with dancers, a fight director, the Madison Youth Choir, and a large adult chorus challenges me and inspires me all at the same time. The energy created in the performance, the brilliant music sung by such amazing artists, makes this classic opera worth seeing again and again and again.”

Carmen is a truly grand opera and features the Madison Opera Chorus, led by chorusmaster Anthony Cao (below); members of the Madison Youth Choirs; the Madison Symphony Orchestra; and dancers from Tania Tandias Flamenco and Spanish Dance.

For more information about the cast, go to:

http://www.madisonopera.org/performances-2017-2018/carmen/cast/

For informative and entertaining Q&As with the cast members, go to the Madison Opera’s Blogspot:

http://madisonopera.blogspot.com

For tickets, call the Overture Center box office at (608) 258-4141 or go to:

http://www.overture.org/events/madison-opera


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Classical music: The 18th annual Madison Early Music Festival concludes its look at the Spanish Renaissance with another outstanding “concept concert” featuring all participants

July 19, 2017
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By Jacob Stockinger

Nobody here does “concept concerts” better than the Madison Early Music Festival.

Proof came again last Saturday night in Mills Hall when the large forces of professional faculty members and workshop student participants (both below) joined to present a comprehensive overview of Renaissance music in Spain.

The program featured various combinations, including a quartet (below) as well as choral music and instrumental music. It offered sacred and secular fare, courtly music and folk music, Latin and vernacular Spanish.

Once again, the impressive program was assembled and conducted by Grant Herreid (below top) of the internationally acclaimed Renaissance band Piffaro (below bottom), a popular and regular guest at MEMF. (You can hear Piffaro perform music from the Spanish Renaissance in the YouTube video at the bottom.)

As in past years, history, biography, literature, religion and music get layered on top of each other and interwoven among each other. As a formula, from year to year the concept keeps getting refined and keeps succeeding.

In this case, the narration and story line centered on the surprisingly adventurous life of Spanish writer Miguel de Cervantes (below), who wrote the first important novel, “Don Quixote.”

Last year, the festival celebrated the 400th anniversary of the death of Shakespeare; this year, it was the 400th anniversary of the death of Cervantes.

The Ear really likes the format. The All-Festival concert ran 75 minutes and was done without intermission. Even if you are not a big fan of such early music, the concert was varied enough and short enough to hold your attention.

Unity was provided by excerpts from various texts of Cervantes, including “Don Quixote” as well as less well-known works. Some of his words were even substituted for other texts in songs and choruses.

The chorus and soloists sounded very well rehearsed, and the large instrumental section – with all those unusual-looking early instruments like sackbuts and shawms – was exceptional.

Herreid kept an outstanding sonic balance between the vocal and instrumental forces throughout the event.

There were quite a few narrators (below) who presented the short texts by Cervantes. And they proved the only weak point. Some people just don’t seem as up to the task as others do.

Perhaps in future years, the festival could pick, say, one man and one woman to alternate in the readings. The audience would have a better sense of their identities, and the effect would be better if the narrators were chosen for their ability to project dramatically and enunciate clearly but with expression – something that proved uneven with so many different narrators taking turns.

The Ear didn’t go to a lot of the festival events. He confesses that he is more a Baroque than a Renaissance person who looks forward to next year’s theme of “A Journey to Lübeck,” with German Renaissance and even Baroque music, especially music by Dietrich Buxtehude. (The 19th annual festival will be held July 7-14, 2018.)

But this final wrap-up concert is proof that even if very early music is not your thing, you shouldn’t miss the final event.

The All-Festival concert really is a MUST-HEAR.

You learn a lot.

And you enjoy even more.

Certainly the audience seemed to agree.

Were you there?

What did you think?

The Ear wants to hear.


Classical music: Madison Opera’s festive and fun 16th annual Opera in the Park is this Saturday night

July 17, 2017
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By Jacob Stockinger

It serves as a preview of the indoor winter opera season.

But one of the summer’s major events in Madison is primarily a fun time unto itself — with outdoors picnicking and socializing, and lots of outdoor music making, some of it with the audience helping to “conduct” with glow-in-the-dark light sticks.

The Madison Opera’s annual FREE Opera in the Park concert will take place this coming Saturday night starting at 8 p.m. in Garner Park, on Madison’s west side near the junction of Mineral Point Road and Rosa Road. (You can get a taste of the event in the YouTube video from 2010 at the bottom.)

The park opens at 7 a.m. Blankets, chairs, food and beverages are allowed. The rain date is the next day — Sunday, July 23.

Here is what Kathryn Smith (below, in a photo by James Gill), the general director of Madison Opera, has to say about the event:

“Opera in the Park has become a Madison summer tradition since the first concert in 2002. When the weather is good, we have over 15,000 people in the audience, which is the highest per-capita attendance of any such opera event in the U.S.

“I think there are many reasons for its success, from the beautiful music to the beautiful park, and the fact that our community enjoys spending time together outside in the summer.

“We don’t make massive changes each year, but it is of course a new set of singers and a new program, so it’s a fresh musical experience.

“This year, for example, we have two arias from zarzuelas or traditional Spanish musical comedies,, including the zarzuela version of “The Barber of Seville” – which will be complemented by an aria from Rossini’s “The Barber of Seville,” naturally.

“Audience members might also choose to vary the contents of their picnic basket each year – perhaps with Bizet’s “Carmen” and “The Barber of Seville” on the concert, they might want to include Spanish foods.

“I try to invite principal artists from our upcoming season when possible, so that audiences can get to know singers they can then hear in full roles later in the year.

“This summer our singers include soprano Cecilia Violetta López (below), who will be in “Carmen” in November;

tenor David Walton (below), who will be in Mozart’s “The Abduction from the Seraglio” in February;

and mezzo-soprano Adriana Zabala (below), who will be in Daniel Catan‘s “Florencia en el Amazonas” in April.

“Baritone Will Liverman (below) is not in the upcoming season, but he has had major success here as “The Barber of Seville” and in last season’s “Charlie Parker’s Yardbird,” so I’m delighted he is able to join us this summer in the park.

“Putting on Opera in the Park is a complex production, from renting the generators and the stage to coordinating with the City Parks Department and the Madison Police.

Full Compass Systems and Bag End donate the sound system and their services to run it every year, and there are hundreds of people involved, from our production team to our volunteers, from the IATSE (International Alliance of Theatrical Stage Employees) stage crew to the Madison Opera Chorus and Madison Symphony Orchestra.

“I often say that Opera in the Park is the most important thing Madison Opera does, and I think everyone involved believes that as well.

Now if only the weather will cooperate …”

For more information about Opera in the Park, including the times; the complete concert program that includes selections from Leonard Bernstein’s “West Side Story” on the occasion of the composer’s centennial; detailed biographies of the soloists and the guest conductor Joseph Mechavich (below); reservations for the supporters’ Prelude Dinner at 6:30 p.m.; rules about reserving seating in the park; and how to become a volunteer, go to:

http://www.madisonopera.org/performances-2016-2017/park/


Classical music: The Madison Early Music Festival will perform familiar and unfamiliar Spanish Renaissance music. What composers and works will be performed? And what makes them different? Part 2 of 2

July 3, 2017
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By Jacob Stockinger

This coming Friday, when the Madison Early Music Festival (MEMF) starts to explore Iberian music during the Renaissance Age of novelist Miguel de Cervantes (below) and his pioneering novel “Don Quixote,” much will be familiar but much will also be new.

To provide a look at what to expect, the longtime co-artistic directors of the festival – wife-and-husband singers Cheryl Bensman Rowe and Paul Rowe (below) – provided the following overview through an email Q&A with The Ear.

All-festival passes are $90 and tickets to individual concerts cost $20, $10 for students.

Click here to buy online, call 608-265-ARTS (2787), or visit the Campus Arts Ticket Box Offices in Memorial Union or Vilas Hall (click here for hours).

(Note: All MEMF Concert Series concerts and lectures are free for participants in the MEMF Workshop. There is a $4 transaction fee per ticket when purchasing online or by phone.)

How does early Spanish music differ from its counterparts in, say, Italy, France, Germany and England. What is the historical origin and importance of the music from that era in that part of the world?

The music from the Iberian Peninsula reflects the influences and changes that were happening all over Europe throughout the period that MEMF is examining this summer.

From the “romances” and “villancicos” of Juan del Encina during the time of Columbus to the Baroque era masses, secular songs and instrumental music of Antonio Soler (organ), Luis de Briceño and Gaspar Sanz (vihuela/guitar, below top) and Domenico Scarlatti (below bottom), Spanish music maintained its own unique traditions born of its complicated mixture of cultures and expanding global empire while still reflecting the overall developments that were occurring in Italy, France and Germany.

Some crucial differences include the presence of the Muslim and Jewish poetic and musical influence in the predominantly Catholic region reflected in preferred instrumentation where the vihuela was used more often than the lute, the exotic stories from Middle Eastern sources and the harmonies and melodies that are unique to the Spanish repertoire.

The fact that the political makeup of the area was constantly changing and being buffeted by global changes can make it difficult to understand what really constitutes “Spanish” just as Italy and Germany were not unified in the way we think of them today but were made of individual and distinct regions.

There was much blurring of borders between countries. For example, Naples, which we would think of as Italian, was a Spanish city for most of this time period, with a flourishing court, which supported the flourishing of the musical culture. Artistic changes and developments reflect this rather flexible organization of regions which did not take its current shape until well into the 19th century. (below is an old map of the Iberian Peninsula)

What music and composers of that era have been most neglected and least neglected by historians and performers?

The music from the Iberian Peninsula has been receiving increasing attention in the last 50 years or so. MEMF has focused on this area several times as new editions and discoveries are coming to light.

There are many reasons for this, including the German bias created by musicologists from that area starting in the 19th century. The lack of understanding of a complicated history and a condescension directed towards all things from the “hotter” regions of Europe except for Greece also prevented research, recording and appreciation of this varied repertoire.

The composers that will be most familiar to audiences will be Cristobal de Morales (below top), Francisco Guerrero (below middle) and Tomas Luis de Victoria (below bottom), who are known for their choral music including motets and settings of the Catholic Mass and Mateo Flecha (father and son), who composed secular choral pieces featuring popular tunes of the day put together in a kind of musical pastiche called an “ensalada.”

There are many less known composers from the various regions of Spain.

Juan del Encina is probably responsible for the collection titled ” Cancionero de Palacio” and is credited with 60 pieces from this volume of nearly 500 first published in the 1490s. Juan Hidalgo (below top and in the YouTube video at the bottom) is credited with the creation of the zarzuela, a theatrical form similar to the Neapolitan opera of the time. There is Diego Ortiz, who flourished in Naples, and Antonio de Cabezón (below bottom), who composed primarily keyboard music and Gaspar Sanz, who is familiar to modern guitarists and composed many pieces for the vihuela.

Can you tell us about the program and performers for the All-Festival concert on July 15?

The All-Festival Concert is unique to MEMF. All week long, workshop participants and faculty will work side by side to create Iberian Tapestry: Music and Conquest from the Spanish Golden Age, which includes sacred and secular compositions by Victoria, Guerrero, Flecha, Vasquez, music from the Moors of the Reconquista, Sephardic music for the heritage of the Jews, and from the New World.

This concert will include narrations selected from Don Quixote.

This year, the program was created and will be directed by Grant Herreid (below), who also curated the Piffaro program that opens the MEMF 2017 Concert Series.

Are there other sessions, guest lectures and certain performers that you especially recommend for the general public?

The week is so full of wonderful adventures that I really encourage people to experience it all.

Besides the concert series and workshop classes there are pre-concert lectures and a dance event, ¡Bailemos!, on Thursday, July 13, 2017 at 7:30 p.m., in the Frederic March Play Circle on the second floor of the Memorial Union.

Several free events, besides the Harp concert and master class are the Participant Concert on Friday, July 14, at 1 p.m. in Mills Concert Hall; the Early Opera Workshop; and the Loud Band free concert on Saturday, July 15, at 2 p.m. at Music Hall featuring participants from the Advanced Loud Bound Intensive and the Early Opera & Continuo Workshop performing works by Tomás Luis de Victoria, Francisco Guerrero and several cancioneros plus scenes from La púrpura de la rosa by Tomás de Torrejón y Velasco.

MEMF provides a wonderful opportunity to go back in time and be immersed in the Spanish Renaissance through music, art, dance, concerts and lectures, plus workshop classes. People can play an active role participating as a student, or join us in the audience to listen to the glorious sounds of the historical instruments and voices as we recreate the music from the Golden Age of Spain.

Check out our website for the most up-to-date information and how to get tickets: www.madisonearlymusic.org


Classical music: This weekend the Madison Symphony Orchestra, with guest conductor Carl St. Clair and trumpet virtuoso Tina Thing Helseth, performs music by Beethoven, Hummel and Richard Strauss

March 8, 2017
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By Jacob Stockinger

This weekend the Madison Symphony Orchestra (MSO) features Tine Thing Helseth (below), the Norwegian virtuoso trumpet soloist, for a special performance of Johann Nepomuk Hummel’s Trumpet Concerto.

Conductor Carl St. Clair (below) returns for a third visit as guest conductor with the MSO to lead a pair of early 19th-century works with 112 musicians performing the largest of Richard Strauss’s symphonic tone poems. (MSO music director and conductor John DeMain is conducting a production of Puccini’s opera “Turandot” in Virginia.)

The program begins with the Egmont Overture by Ludwig van Beethoven, followed by the MSO’s premiere performance of the Trumpet Concerto by Johann Nepomuk Hummel, featuring HelsethThe concert ends with a nod to the awesome splendor of the Bavarian Alps, “An Alpine Symphony,” by Richard Strauss.

The concerts are this weekend on Friday at 7:30 p.m., Saturday at 8 p.m., and Sunday at 2:30 p.m. in Overture Hall, 201 State Street. See below for ticket information.

Beethoven (below top) composed his Egmont Overture in 1810. Both Beethoven himself, and playwright Johann Wolfgang von Goethe (below bottom) upheld the ideals of human dignity and freedom in their works.

Their personal relationship stemmed from Beethoven’s incidental music for a new production of Goethe’s play Egmont in 1810. This play about a nobleman’s betrayal by the Spanish monarchy, is beautifully paired with Beethoven’s music. As Goethe called it, Egmont Overture is a “Symphony of Victory.” (You can hear the dramatic “Egmont” Overture, performed by the Vienna Philharmonic under Leonard Bernstein, in the YouTube video at the bottom.)

Another friend of Beethoven’s, was Johann Nepomuk Hummel (below). Even though they were rivals, their respect for each other’s talent kept the relationship afloat.

Hummel’s Trumpet Concerto is a frisky fanfare with “playful dancelike” episodes laced throughout. This is the first time Hummel’s Trumpet Concerto will be performed by the Madison Symphony Orchestra.

Richard Strauss (below top) composed his Eine Alpensinfonie (“An Alpine Symphony”) from 1911-15. The final score used materials from some of his unfinished works, including an Artist’s Tragedy and The Alps.

Though there are many influences for this piece, the main is Strauss’s love for the Bavarian Alps. In his diary he wrote: “I shall call my alpine symphony: Der Antichrist, since it represents: moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.” Antichrist is a reference to an essay by philosopher Friedrich Nietzsche (below bottom), and though the title was dropped for its publication, the work still carries many of Nietzsche’s ideals.

One hour before each performance, Michael Allsen (below, in a photo by Katrin Talbot), the author of MSO program notes and an MSO trombonist as well as a UW-Whitewater Professor of Music, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please visit the Program Notes at: http://www.allsenmusic.com/NOTES/1617/6.Mar17.html.

Single Tickets are $16 to $87 each, available at madisonsymphony.org/helseth and through the Overture Center Box Office at 201 State Street or call the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit madisonsymphony.org/groups.

Club 201, MSO’s organization for young professionals, has continued to fulfill its mission for the past 11 years as the premiere organization promoting classical music and networking opportunities to the young professionals’ community in Madison. Tickets are $35 each and include world-class seating in Overture Hall, an exclusive after-party to be held in the Promenade Lounge, one drink ticket and a cash bar.

The conductor as well as musicians from the symphony may also be in attendance to mingle with Madison’s young professionals during the after-party.

The deadline to purchase tickets is Thursday, March 9, pending availability. Tickets can be purchased for this event, as well as the other events throughout the 2016-17 season by visiting the Club 201 page on the MSO’s website at http://www.madisonsymphony.org/club201.

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 $12 or $15 tickets. More information is at: madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

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

Major funding for the March concerts is provided by: The Madison Concourse Hotel & Governor’s Club, An Anonymous Friend, and Madison Gas & Electric Foundation, Inc. Additional funding is provided by: Audrey Dybdahl, Family and Friends, in loving memory of Philip G. Dybdahl, John A. Johnson Foundation, a component fund of the Madison Community Foundation, Madison Veterinary Specialists, Gary and Lynn Mecklenburg, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: The Madison Early Music Festival announces the theme and dates for next summer

July 29, 2016
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By Jacob Stockinger

The final figures from this summer’s 17th annual Madison Early Music Festival – which celebrated William Shakespeare and the reign of Queen Elizabeth I — are not in yet.

But from what The Ear saw and heard, it sure looked like a successful one.

So what can we expect next summer?

The 18th annual Madison Early Music Festival will take place July 8-15, 2017 and have the theme “The Musical World of Don Quixote.” That would suggest Spanish and Iberian music of the 17th century Golden Age during the time when Miguel de Cervantes (below) wrote and published what is generally considered the first modern novel.

Miguel de Cervantes

From what The Ear has learned so far, the group Piffaro (below top) has been booked to return and the always impressive All-Festival Concert will be assembled and directed by MEMF veteran faculty member and performer Bob Wiemken (below bottom), who is a member of the Renaissance band Piffaro.

piffaro indoors

Bob Wiemken

According to MEMF officals, more information will become available at the end of September.

Here is a link to the MEMF website:

https://artsinstitute.wisc.edu/memf/

MEMF logo


Classical music: The Ear offers a big shout-out and good luck to three girl choirs in the Madison Youth Choirs. They are headed this week to a major world youth festival in Aberdeen, Scotland and give a FREE send-off concert this Tuesday night

July 25, 2016
1 Comment

By Jacob Stockinger

Two years ago, it was the boy choirs of the Madison Youth Choirs that were invited to sing at the prestigious international festival in Aberdeen, Scotland.

It is, after all, the oldest youth arts festival in the world, about 40 years old and features performers form around the world.

Aberdeen International Youth Festival Opeing Ceremony

This week, on Thursday, 68 members of three girl choirs in the Madison Youth Choirs – the Capriccio (below top, in a photo by MYC director Michael Ross), Cantilena and Cantabile (below bottom) choirs — along with three conductors, are headed to the same festival.

Madison Youth Choir Capriccio CR Mike Ross

Madison Youth Choirs Cantabile

NOTE: You can hear a FREE send-off sampler concert on this Tuesday night at 7 p.m. at the Covenant Presbyterian Church, 326 South Segoe Road.

It is a BIG DEAL.

The repertoire the girls will sing covers classical music (Franz Schubert); folk music from Canada, Serbia, Bulgaria and Peru; and more popular music. Plus, they will sing in several languages. They will also sing a song composed in the Terezin concentration camp, or death camp, in Hitler’s Nazi Germany during World War II.

They will also give the world premiere of a piece – based on two Scottish melodies including a traditional walking song and the beautiful “The Water Is Wide” — that they commissioned from composer Scott Gendel, who graduated from the University of Wisconsin-Madison School of Music. (You can hear James Taylor sing a heart-breaking version of “The Water Is Wide” in the YouTube video at the bottom.)

Scott Gendel color headshot

The Ear heard the girls sing live last week on the Midday program with Norman Gilliland on Wisconsin Public Radio. And they sounded great.

What an honor, especially in the wake of the concert tour to Italy two weeks ago by the Youth Orchestra of the Wisconsin Youth Chamber Orchestras.

Madison sure seems to be doing a fine job providing music education to its young people while many other areas of the state and country are cutting back on arts education and where many   politicians and businesspeople are mistakenly trying to turn public support to the so-called STEM subjects – science, technology, engineering and math — at the expense of the arts. But the arts and the sciences really feed each other, and success in one field often helps to assure success in the other.

madison youth choirs logo

Here is a link so you can learn more about the tour and how to support or join the Madison Youth Choirs, which serves young people in grades 5-12:

http://www.madisonyouthchoirs.org

http://www.madisonyouthchoirs.org/aberdeen

And here is a link to the festival itself:

http://www.aiyf.org

And finally here is a link to the Facebook page for the Madison Youth Choirs, with face photos of participants:

https://www.facebook.com/groups/448022498728594/


Classical music: The Madison Youth Choirs’ Winter Concerts this Sunday will explore links between science and music. Plus, the UW Wind Ensemble performs a FREE concert Thursday night.

December 10, 2015
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ALERT: Thursday night at 7:30 p.m. in Mills Hall, the UW Wind Ensemble will perform a FREE concert. The program features “Concerto X” by Scott McAllister with clarinet soloist Wesley Warnhoff, adjunct professor of clarinet. It is a work based on grunge music that was born in the heavy metal music of the late 80s and early 90s, including a melody from Nirvana’s “Where Did You Sleep Last Night?” Also on the program is “In Wartime” by David Del Tredici, which was inspired by the World Trade Center attacks on September 11, 2001; and the Second Suite in F Major for Military Band by Gustav Holst.

By Jacob Stockinger

A friend at Madison Youth Choirs writes:

On this Sunday, Dec. 13, the young singers of Madison Youth Choirs (MYC, seen below at the Winter Concert last year) will present the 2015 Winter Concert Series, “Inquiry: Science, Music, Imagination” at First Congregational United Church of Christ in Madison, 1609 University Avenue, near Camp Randall.

Madison Youth Choirs Winter Concert 2014

Over 14 weeks of rehearsals in preparation for the concerts, the 330 young vocalists (ages 7-18) in MYC’s nine performing choirs have been learning to use the tools of observation, experimentation, and analysis to reach a deeper understanding of their choral repertoire.

Students have also begun to recognize the role that resilience plays in both scientific and musical fields, learning how to work through moments of frustration and uncertainty to reach new discoveries.

The choirs will perform a varied program, including works by Benjamin Britten, Wolfgang Amadeus Mozart and Vincent Persichetti; a Peruvian lament, a Spanish villancico, and a newly-created arrangement of the oldest-known surviving English song.

Tickets for each of the three concerts (high school ensembles at 1:30 p.m., boychoirs at 4 p.m., girlchoirs at 7 p.m.) will be $10 for general admission, $5 for students age 7-18 and free for children under 7.

Audience members will need a separate ticket for each concert.

Here is the schedule:

1:30 p.m. High School Ensembles featuring a guest appearance by the MYC-Capitol Lakes Intergenerational Choir

4 p.m. Boychoirs

7 p.m. Girlchoirs

Tickets available at the door, $10 for general admission, $5 for students 7-18, and free for children under 7

This concert is generously endowed by the Diane Ballweg Performance Fund with additional support from the American Girl’s Fund for Children, BMO Harris Bank, the Madison Community Foundation, and the Wisconsin Arts Board. 

Here is a repertoire list for the programs:

1:30 p.m. Concert (Featuring High School Ensembles)

Cantilena

Bel Tempo Che Vola ……………….Jean Baptiste Lully

Weep No More………………………..David Childs

Songbird…………………………………Sarah Quartel

Sound the Trumpet………………….Henry Purcell

When I Set Out for Lyonesse……Keith Bissell

Ragazzi (below in a photo by Karen Holland)

Regina Coeli (sung in Italian)……Gregorian chant, ca. 10th century

Regina Coeli (sung in Italian)……Giovanni Pierluigi da Palestrina

Song of Peace……………………………Vincent Persichetti

Dulaman (sung in Gaelic) …………Michael McGlynn

Madison Youth Choirs Ragazzi cr Karen Holland

Cantabile

Utopia………………………………………………………..Moira Smiley

Lacrimoso son io (K. 555, sung in Italian)…….Wolfgang Amadeus Mozart

The Gods Have Heard My Vows…………………….Thomas Weelkes

Palomita……………………………………………………..Traditional Peruvian lament

Hoj, hura, hoj!………………………………………………………..Omar Macha

Madison Youth Choirs Cantabile

Cantabile and Ragazzi

Apple-Tree Wassail………………………Stephen Hatfield

MYC/Capitol Lakes Intergenerational Choir and Combined Choirs

Forever Young……………………………..Bob Dylan

4 p.m. Concert (Featuring Boychoirs)

Combined boychoirs, Purcell, Britten, Holst, Ragazzi

Intonent Hodie…………………………………..Anonymous (probably 12th century)

Sainte Nicholaes (sung in Latin)…………..Godric of Finchale

Purcell

Singt den Herrn (sung in German)…Michael Praetorius

Who Can Sail……………………………..Norwegian Folk Song, Arr. Jeanne Julseth-Heinrich

Rolling Down to Rio……………………Edward German

Britten (below with Purcell Choir in a photo by Karen Holland)

Rattlesnake Skipping Song……Derek Holman

Tit-for-Tat…………………………….Benjamin Britten

Jerusalem……………………………..Sir Hubert Parry, poem by William Blake

Madison Youth Purcell and Britten Choirs cr Karen Holland

Holst (below with Pucell and Britten choirs in a photo by Karen Holland)

Riu Riu Chiu (sung in Spanish)….Anonymous, from Villancicos de diversos Autores

Anima Mea (sung in Latin)……….Michael Praetorius

The Sound of Silence…………………Paul Simon

Ragazzi

Regina Coeli (sung in Italian)………Gregorian chant, ca. 10th century

Regina Coeli (sung in Italian)………Giovanni Pierluigi da Palestrina

Song of Peace……………………………..Vincent Persichetti

Dulaman (sung in Gaelic) ……………Michael McGlynn

Combined boychoirs, Purcell, Britten, Holst, Ragazzi

Hava Nashira (sung in Hebrew)……….Traditional Hebrew canon

Madison Youth Choirs boychoirs Purcell, Britten and Holst CR Karen Holland

7 p.m. Concert (Featuring Girlchoirs)

Choraliers

Hava Nashira (sung in Hebrew)……….Traditional Hebrew canon

You’ll Never Guess What I Saw………….Ruth Watson Henderson

Suo Gan…………………………………..Welsh Lullaby, Arr. by Alec Rowley

Tailor of Gloucester…………………..English Folk Song, Arr. by Cyndee Giebler

Con Gioia (below in a photo by Karen Holland)

Donkey Carol………………………….John Rutter

Mid-Winter…………………………….Bob Chilcott

Fancie……………………………………Benjamin Britten

Madison Youth Choirs Con Gioia Karen Holland

Capriccio (below in a photo by Mike Ross)

Sound the Trumpet………………………………Henry Purcell

An die Musik (D. 547, sung in German, heard at bottom in a YouTube video with soprano Elizabeth Schwarzkopf and pianist Gerald Moore)…..Franz Schubert

Palomita (sung in Spanish)……Traditional Peruvian lament, Arr. by Randal Swiggum

Niska Banja………………………….Serbian Gypsy Dance, Arr. by Nick Page

Madison Youth Choir Capriccio CR Mike Ross

About the Madison Youth Choirs (MYC): Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community. Cultivating a comprehensive music education philosophy that inspires self-confidence, personal responsibility and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.


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