The Well-Tempered Ear

Classical music: The third and final week of the Bach Dancing and Dynamite Society’s 26th season offers vocal music, four-hand piano music and instrumental chamber music of four centuries plus a Midwest premiere

June 22, 2017
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By Jacob Stockinger

Building on the success of the past two weekends and previous four programs, the Bach Dancing and Dynamite Society chamber music festival, which features top local and guest performers, concludes its season this weekend with a typically eclectic mix of vocal and instrumental music that ranges from the late 18th century up to today, including a Midwest premiere.

As usual, the BDDS venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Concerts are spiked with stories about the music, mystery guests and even door prizes.

This season’s theme is Alphabet Soup, because it’s BDDS’ 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

The final weekend of concerts welcomes back audience favorites Hye-Jin Kim, violin; Ara Gregorian, viola; Randall Hodgkinson, piano (below top); and Timothy Jones, bass-baritone (below bottom).

They are joined by the acclaimed local violinist Soh-Hyun Park Altino (below top), a new member of the UW-Madison music faculty, and by Madison Symphony Orchestra cellist Madeleine Kabat (below bottom, in a photo by Christian Steiner), who is filling in for UW-Madison professor and Pro Arte Quartet cellist Parry Karp, who has sustained a finger injury.

“Cs the Day” includes the Midwest premiere of “Cool Fire” for flute, string quartet and piano by Paul Moravec (below), and Mozart’s  “Coronation Piano Concerto” arranged for the entire ensemble.

Timothy Jones will be featured in the song cycle, “Let Us Garlands Bring” by Gerald Finzi. These are settings of carpe diem poems of Shakespeare. (Carpe diem is Latin for “seize the day” = “Cs the Day”— get it?) You can hear the songs in the YouTube video at the bottom.

At the center of this program is Carl Czerny’s Sonata in C minor for piano four-hands. BDDS will suspend a camera over the keyboard so the audience can see how the hands of the pianists cross and interlock throughout this virtuosic masterpiece. (Below is a view of a similar set up six seasons ago.)

Cs the Day will be performed at The Playhouse, Overture Center for the Arts on Friday, June 23, at 7:30 p.m.; and Spring Green at the Hillside Theater, Sunday, June 25, at 2:30 p.m. 

The final program of the season, “R&B,” features “Rounds for Robin, a short work by Kevin Puts (below top) for flute and piano written in memory of comedian Robin Williams, and the Flute Quintet in G minor by Luigi Boccherini (below bottom).

The “Santa Fe Songs” for baritone and piano quartet by Ned Rorem (below, in a photo by Christian Steiner) features the mesmerizing voice of Timothy Jones in one of the great American song cycles.

The 26th season concludes with Johannes Brahms’ towering Piano Quintet in F minor.

R&B will be performed at The Playhouse, Overture Center, Madison, on Saturday, June 24, at 7:30 p.m.; and Spring Green at the Hillside Theater, Sunday, June 25, and 6:30 p.m. 

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes will be on exhibit in The Playhouse through Sunday, July 9.

Single general admission tickets are $43. Student tickets are always $10.

For tickets visit: http://www.overture.org/events/bach-dancing

For more information about the programs, performers, performances and background, visit www.bachdancinganddynamite.org or call (608) 255-9866.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply).

Tickets are also available at the door at all locations.


Classical music: Mozart’s music requires the rhythms of both speech and dance, says maestro Gary Thor Wedow, who will also restore lost libretto text when he conducts two performances of “The Magic Flute” this weekend for the Madison Opera. Here is Part 2 of his interview with The Ear.

April 19, 2017
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By Jacob Stockinger

The Madison Opera will stage Wolfgang Amadeus Mozart’s The Magic Flute this Friday night, April 21, at 8 p.m. and this Sunday afternoon, April 23, at 2:30 p.m. in Overture Hall of the Overture Center. (Production photos are courtesy of the Arizona Opera from which the Madison Opera got the sets and costumes for its production.)

Yesterday’s post was the first of two parts. It has a plot synopsis and links to more information about the cast and production.

Here is a link to Part 1:

https://welltempered.wordpress.com/2017/04/18/classical-music-mozart-masterfully-melds-the-sensual-and-the-cerebral-says-maestro-gary-thor-wedow-who-will-conduct-two-performances-of-the-magic-flute-this-weekend-for-the-madiso/

The opera runs about 2 hours and 45 minutes with one intermission.

Tickets are $18 to $130.

“The Magic Flute” will be sung in German with English supertitles.

For more about the production and cast, go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/

And also go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/cast/

Here is Part 2 of The Ear’s recent email interview with conductor Gary Thor Wedow (below, conducting in an orchestra pit):

Are there certain “tricks” or “secrets” that you try to bring to conducting Mozart? Have you conducted “The Magic Flute” before? Do Mozart’s operas in general and this opera in specific present challenges? Where do you place the opera musically, both compared to other operas in general and in regard to its place in Mozart’s work?

I feel keenly that Mozart and all 18th-century music (probably continuing to this day) is either based on a rhetorical idea or a dance form; that music is either speaking or dancing. This style of music is “pre-French Revolution,” so No Two Notes are Created Equally! The lilt of language or the buoyancy of the dance has to infuse every moment; hierarchy and shape prevail.

I’ve been fortunate to have conducted The Magic Flute frequently, in many varied productions; it’s always been a part of my musical life. Because it’s a fairy tale, it lends itself to inventive and imaginative productions. Stage director Dan Rigazzi’s production (below) for Madison Opera is a whimsical one, influenced by the surrealist painter Magritte, steampunk and more, all rolled into one beautiful show.

Mozart was fascinated with German Singspiel, as it was opera in the language of the people. The Magic Flute is his masterpiece in this genre, though there are earlier works. There is the early Zaide – incomplete, but filled with gorgeous, innovative music –and also the more mature, sumptuous and comic The Abduction from the Seraglio; they are both rich and entertaining pieces.

The Magic Flute, I feel, has a special place in the opera repertoire for several reasons: its Masonic connections that were very important to Mozart, the drama, and its central themes that trace themselves back to ancient Egypt.

It also is a brilliant combination of comedy and deep spiritual drama in the guise of a heroic rescue tale. It uses an incredibly wide range of the most beautiful music written in every major genre: sacred music, opera seria, bel canto, folk song and complex Baroque counterpoint.

What would you like listeners to pay special attention to in the music of “The Magic Flute”?

I would say “Hang on!” Whatever style of music we are in, we are going to switch gears in a fairly short time. It’s a roller coaster, an Ed Sullivan Show, American Idol, and the Barnum and Bailey Circus all rolled into one.

This is your third time conducting at Madison Opera. Do you have an opinion about Madison musicians and audiences?

My previous two experiences in Madison have been the Opera in the Park concerts in 2012 and 2016 (below). These have been among the most sublimely satisfying moments of my musical life: a cornucopia of music played by this brilliant symphony orchestra with great singers.

The audiences have been magically focused and involved; the players are magnificent, dedicated musicians, and the community is very supportive of Madison Opera. It’s electric.

Is there anything else you would like to say about the music or this performance?

Magic Flute devotees might be startled to hear some new text in these performances, particularly in Tamino, Pamina and Sarastro’s arias and the duet with Pamina and Papageno. “Bei Männern” is now “Der Liebe.” (You can hear it in the YouTube video at the bottom.)

Let me explain by telling you a mystery story. After Mozart died, Constanze was desperate for money. Mozart’s Flute manuscript conducting score belonged to Schikaneder, the librettist and producer, but it seems that Constanze had another original score: the first original manuscript, which she then sold to a nobleman who eventually allowed it to be published.

This must have been a “composing score” that Mozart wrote first, before making the conducting score with the help of his assistant. The text deviates in several sections in notable ways. Probably Schikaneder, perhaps assisted by his Masonic brothers, “improved” the text, but Mozart had already shaped his music to the first text.

In most sections the differences are minimal and the new text was indeed an improvement. But in some cases I feel the original text was what inspired Mozart to write and orchestrate the way he did. Our marvelous singers have generously agreed to make the changes and I think we will all see how it fits the music so much better.

Sadly, Constanze’s manuscript was lost in the wars, but many scholars had already seen it and considered it to be genuine. I love how it shows how fluid the creative process is and how it spurs us to look anew at Mozart’s creative process.

On with the show!


Classical music: Here is a love story, Steinway-style, that benefits UW-Madison students

March 28, 2017
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By Jacob Stockinger

Take a Steinway vintage Model M baby grand piano from 1927.

Add in the love of music as well as the love between a husband-father and wife, and then between a mother and daughter (below, on the left is mother Julia Monteros Wooster and on the right is daughter Mariah Wooster-Lehman).

Finish it off with some rebuilding and repairing, and the desire to make a generous gift to a university under siege from budget cuts dictated by an anti-intellectual governor, Scott Walker, and the Republican state legislature.

What you end up with is a love story, Steinway-style, that took place at the University of Wisconsin-Madison Mead Witter School of Music. (And this piano is already in use in a practice room, 1268, of the George L. Mosse Humanities Building.)

It doesn’t need much introduction. The photos and the words, simple but eloquent and moving, written by the daughter, do the work.

The only thing to add is that The Ear recalls reading a new story that owning pianos in the home has become less popular nationwide. A lot of pianos even get junked or thrown out in the garbage, let alone neglected until they fall into disrepair and can’t be used any more.

So maybe there are more such pianos, with or without the love story, out there to benefit students and staff at the UW-Madison.

If so, leave a message in the COMMENTS section or call (608) 263-5615.

Here is a link to the story:

http://www.music.wisc.edu/love-story-steinway-piano/

Enjoy!


Classical music: University Opera’s “Turn of the Screw” is a completely satisfying production of a complex modern masterpiece by Benjamin Britten

March 5, 2017
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By Jacob Stockinger

The Opera Guy filed this review, with photos by Michael R. Anderson, for The Ear:

By Larry Wells

I attended the opening performance of Benjamin Britten’s 1954 chamber opera “The Turn of the Screw” that was presented by University Opera and directed by David Ronis.

It was a completely satisfying theatrical experience of a complexly organized musical work.

The libretto is based on Henry James’ serial novella of the same name. Whereas the James work is an ambiguous, psychological tale, Britten’s opera is an eerie ghost story laden with suggestions of psychosexual mischief.

Musically the opera is based on a 12-tone theme with each of its scenes preceded by a variation of the theme. There are further structural complexities in this highly organized work, but the music is very accessible and was admirably performed by 13 musicians ably led by conductor Kyle Knox. Particular praise goes to the percussionist Garrett Mendlow.

The beautiful, minimalistic set and stunning lighting enhanced the creepiness of the tale.

As for the singing, the cast tackled the complex vocal lines with aplomb, and there were several exceptional performances.

Particular praise goes to Anna Polum for her outstanding portrayal of the ghostly Miss Jessell. She sang beautifully and acted convincingly. (Below, from left, are Katie Anderson as the Governess and Anna Polum as Miss Jessell.)

Dress Rehearsal for "Turn of the Screw"

Dress Rehearsal for “Turn of the Screw”

Likewise Emily Vandenberg as Flora was realistic in the role of a young girl. I have seen performances of this opera that were brought down by unconvincing portrayals of this difficult child role, but Vandenberg acted naturally and sang beautifully.

The other child role, Miles, was capably performed by Simon Johnson, a middle school student. Cayla Rosché adeptly performed Mrs. Grose, the enigmatic housekeeper. (Below are Amitabha Shatdal  as Miles, Cayla Rosché  as Mrs. Grose and Elisheva Pront as Flora.)

Dress Rehearsal for "Turn of the Screw"

Dress Rehearsal for “Turn of the Screw”

The two major roles are The Governess and the spectral Peter Quint. Erin Bryan was convincing as the increasingly confused and hysteric governess, and she played off Rosché’s Mrs. Grose to great effect. At one point I was thinking that these were two extremely flighty women. (Below, from left, are Cayla Rosché  as Mrs. Grose; Elisheva Pront as Flora; Katie Anderson as the Governess; and Amitabha Shatdal as Miles.)

Dress Rehearsal for "Turn of the Screw"

Dress Rehearsal for “Turn of the Screw”

Alec Brown (below) as Quint had the unenviable task of following in the footsteps of singers like Peter Pears who made Quint an evil, threatening, nasty fellow. Brown’s Quint came off as slightly laid back, and his perfectly fine tenor voice was just not a Britten voice in the style of Pears, Philip Langridge or Ian Bostridge.

Dress Rehearsal for "Turn of the Screw"

Dress Rehearsal for “Turn of the Screw”

I had a couple of minor problems with the evening. First, I did not understand why the doors to Music Hall didn’t open until 7:20 for a 7:30 performance, which then actually started at 7:45. And, I was disappointed that the piano, which is a major contributor to the music’s sonority, was swapped for an electronic keyboard.

Yet I left feeling once again that Britten was a true musical genius of the 20th century and that I was eager to go to the 3 p.m. performance this afternoon to experience it all over again.

“The Turn of the Screw” will also be performed one last time on Tuesday at 7:30 p.m.

For more information about the opera, including how to buy tickets — admission is $25 with $20 for seniors and $10 for students, go to:

http://www.music.wisc.edu/2017/01/31/university-opera-presents-benjamin-brittens-the-turn-of-the-screw/


Classical music: Jazz and classical music are closely related and work well together, says composer Daniel Schnyder. He discusses “Charlie Parker’s Yardbird,” which the Madison Opera stages in its Midwest premiere this FRIDAY night — NOT Saturday — and Sunday afternoon

February 6, 2017
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By Jacob Stockinger

Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.

For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)

charlie-parkers-yardbird-logo-for-maidson-opera

The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)

Here is a link to more general information about the opera, tickets, the cast and the production:

https://welltempered.wordpress.com/2017/01/17/classical-music-madison-opera-will-present-the-midwest-premiere-of-charlie-parkers-yardbird-here-are-the-many-preparatory-events-for-the-public/

Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:

daniel-schnyder-2017

What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?

I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.

I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.

I do not see classical music and jazz as two completely different things. Jazz is by nature a synthesis of European music influences and African music.

The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.

lawrence-brownlee-as-charlie-parker-opera-philadelphia

How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?

In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.

The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.

The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts —  but there are a lot of R&B influences and jazz and Latin music grooves.

It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.

charlie-parker-1

In what ways do you see the characters and the story as offering lessons and being relevant to today?

I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.

If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.

We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.

The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.

In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.

He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”

The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.

charlie-parkers-yardbird-women-opera-philadelphia

Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?

There might be many different reasons for that:

1) There are very few operas using the modern jazz idiom.

2) There are very few operas in which the leading roles are African-American.

3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.

4) As mentioned above, the opera hits a nerve; it is about our time and about us.

5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.

6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.

7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.

The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.

8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.

I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.

9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.

charlie-parkers-yardbird-female-singer-opera-philadelphia

Is there something else you would like to say about yourself and the opera?

I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.


Classical music: Jacques Offenbach’s fantastical masterpiece “The Tales of Hoffmann” will be performed by Madison Opera on Friday night and Sunday afternoon. Here is Part 1 of a two-part preview

April 12, 2016
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ALERT: The concert by the UW-Madison Contemporary Chamber Ensemble that was scheduled for this Saturday has been CANCELED due to illness.

By Jacob Stockinger

The Ear’s friends at the Madison Opera write:

Madison Opera will present two performances of  “The Tales of Hoffmann” by French composer Jacques Offenbach (below) this weekend.

Jacques Offenbach

The production will be performed in Overture Hall of the Overture Center on Friday at 8 p.m. and on
 Sunday at 2:30 p.m. It will be sung in French with projected English translations.

Tickets are $18-$129. Student and group discounts are available. Tickets can be purchased at the Overture Box Office, 201 State St., Madison, and by calling (608) 258-4141 or visiting www.madisonopera.org

This will be the company’s first production in 20 years of Offenbach’s masterpiece, which moves in a fantasy world. It offers showpiece arias for the bravura cast, the gorgeous “Barcarolle,” and a moving tribute to what it means to be an artist. (You can hear the famous and familiar Barcarolle in a YouTube video at the bottom.)

THE STORY

As he sits in a tavern, the poet Hoffmann drinks, smokes and encounters Lindorf, his rival for his current lover, the opera singer Stella.

He recalls how his nemesis seems to appear constantly in his life, and urged on by his fellow bar patrons, tells the three tales of his loves: Olympia, who turns out to be a mechanical doll; Antonia, a singer who dies of a mysterious illness; and Giulietta, a courtesan who steals his reflection. His adventures take him from Munich to Venice, always accompanied by his most faithful love, his muse.

The opera ends back in the tavern, as Hoffmann’s muse consoles him and urges him on to the higher purpose of art.

Madison Opera Hoffmann set 2

PRAISE AND BACKGROUND

“The Tales of Hoffmann is one of my absolute favorite operas,” says Kathryn Smith (below in a photo by James Gill), the general director of Madison Opera. “I love the music, the story, the myriad facets to the characters, and the fact that no two productions of this opera are identical. It has comedy, tragedy, drinking songs, lyrical arias, and even some magic tricks.”

Offenbach’s final opera, “The Tales of Hoffmann” premiered in 1881 at the Opera-Comique in Paris. The title character was based on the writer E.T.A. Hoffmann, now most famous as the author of the original “Nutcracker” story; the different acts were adaptations of Hoffmann’s own short stories.

Offenbach was celebrated for over 100 comic operettas such as “Orpheus in the Underworld”; “Hoffmann” was intended to be his first grand opera. Unfortunately, he died before completing the opera, and other composers finished it. Over the past century, there have been many different versions of the opera, with different arias, different plot points, and even different orders of the acts.

Kathryn Smith Fly Rail Vertical Madison Opera

“The Tales of Hoffmann, for me, is the perfect blend of great music and
 great theater,” says John DeMain (below, in a photo by Prasad), the artistic director of Madison Opera and the music director of the Madison Symphony Orchestra. “It’s particularly fun to conduct because the orchestra plays a central role in
the moment to moment unfolding of the drama, and Offenbach achieves this at the same time as he is spinning out one gorgeous melody after another.”

John DeMain full face by Prasad

THE CAST

Madison Opera’s cast features a quartet of debuts in the leading roles. Harold Meers (below), who sang at Opera in the Park in 2015, makes his mainstage debut as Hoffmann, the poet.

Harold Meers

Sian Davies (bel0w) makes her debut singing three of Hoffmann’s loves – Antonia, Giulietta and Stella – a true vocal and dramatic feat. Jeni Houser returns to Madison Opera following her most recent role as Amy in Mark Adamo’s “Little Women” to sing the role of his fourth love, Olympia. She has also appeared here in George Frideric Handel’s “Acis and Galatea” and Stephan Sondheim’s “Sweeney Todd.”

Sian Davies

Baritone Morgan Smith makes his debut as Hoffmann’s nemesis, who appears in forms both sinister and comic.

Making her debut as Hoffmann’s sidekick Nicklausse, who also turns out to be his Muse, is mezzo-soprano Adriana Zabala.

Returning to Madison Opera as the four servants is Jared Rogers, who sang Beadle Bamford in Stephen Sondheim‘s “Sweeney Todd.” Thomas Forde, last here as Don Basilio in Giaocchino Rossini’s “The Barber of Seville,” sings the dual roles of Luther and Crespel. Robert Goderich, who sang Pirelli in “Sweeney Todd,” sings Spalanzani, the mad inventor. Tyler Alessi makes his debut as Schlemil.

Three Madison Opera Studio Artists round out the cast: Kelsey Park as the voice of Antonia’s dead mother and William Ottow and Nathaniel Hill as two students.

SETTING

Madison Opera’s production is set in the Roaring 1920s, with stylish costumes that are perfect for Offenbach’s fantasy that travels time and location.

Madison Opera Hoffmann set 3

Kristine McIntyre (below), who directed Jake Heggie‘s “Dead Man Walking” and Giuseppe Verdi’s “A Masked Ball” for Madison Opera, stages this complex story that has a vast dramatic scope.

Kristine McIntyre 2016

Tomorrow: Artistic and music director John DeMain and stage director Kristine McIntyre address the differences between the reputation and the reality of “The Tales of Hoffman.”


Classical music: The Oakwood Chamber Players will perform playful works by Elisenda Fabregas, Malcolm Arnold and Robert Schumann this Saturday night and Sunday afternoon.

January 12, 2016
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By Jacob Stockinger

The Oakwood Chamber Players (below) continue the concert season theme of “Play” with playful whimsy in a concert entitled Fairy Tales and Other Stories, on this Saturday, Jan. 16, at 7 p.m. and Sunday, Jan. 17, at 1:30 p.m.

Oakwood Chamber Players 2015-16

The concerts will both be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison‘s far west side.

Tickets can be purchased with cash or personal checks at the door. They are $20 for general admission, $15 for seniors and $5 for students. Visit www.oakwoodchamberplayers.com for more information.

This concert features the chamber ensemble’s talented pianist Vincent Fuh (below top) who will perform solo selections from “Scenes from Childhood” By Robert Schumann (below bottom, in 1850). This piece captures a wide range of expressivity and shifts in energy illuminated by the composer‘s musical imagination. (You can hear “Scenes From Childhood” performed by Martha Argerich in a YouTube video at the bottom.)

Vincent Fuh big

Schumann photo1850

The program will also include “Voces di mi Terra” (Voices of My Land) by the compelling Catalan/American composer Elisenda Fabregas (below), written for flute, cello and piano.

elisenda fabregas

The Quintet for violin, viola, flute, horn and bassoon by British composer Malcolm Arnold is a clever and varied composition that shows an upbeat and playful approach to a non-traditional combination of instruments.

malcolm arnold

Robert Schumann’s Fairy Tales, Op. 132, for clarinet, viola and piano will give the audience a glimpse into a dream world of music that is sometimes uplifting and sometimes mysterious.

This is the third of five concerts in the Oakwood Chamber Players 2015-2016 season series titled “Play.” Remaining concerts include Children’s Games on March 5 and 6; and Summer Splash on May 14 and 15.

The Oakwood Chamber Players is 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.

 


Classical music: Today is Thanksgiving. Famed New York City radio station WQXR offers its Top 5 musical expressions of giving thanks. Plus, Wisconsin Public Radio has lots of holiday fare to listen to.

November 26, 2015
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By Jacob Stockinger

Today is Thanksgiving Day, 2015.

Music is such a part of Thanksgiving Day, from hymns and songs, solo music and chamber music, symphonies and oratorios.

thanksgiving dinner

Today, Wisconsin Public Radio will feature a lot of music with the theme of Thanksgiving and giving thanks.

And from 10 until noon, will also feature band, choral and instrumental music from the Honors Concerts of the Wisconsin School Music Association. That involves middle school and high schools students from around the state.

wpt state honors concert 2014

Then from noon to 3 p.m. there is a special National Public Radio (NPR) program for Thanksgiving that includes the British pianist Stephen Hough, who has performed several times in Madison at the Wisconsin Union Theater and with the Madison Symphony Orchestra, and who also held master classes at the University of Wisconsin-Madison School of Music. (The NPR show features music and stories, and will also include Chris Kimball of the popular TV show and magazine America’s Test Kitchen, which he is leaving because of a contract dispute. By the way, you can stream Wisconsin Public Radio,)

But you might also be interested to stream some other music. WQXR, the famed classical music radio station in New York City, has put together the Top 5 musical expressions of giving thanks. The website has audio and visual performances of the works that you can stream.

Here is a link:

http://www.wqxr.org/#!/story/top-five-expressions-thanks-classical-music/

And if you have other ideas about music that is appropriate for Thanksgiving this year, please leave them in the COMMENT section, preferably with a YouTube link if possible.

The Ear wants to hear.

Happy Thanksgiving to all.

 


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