URGENT CORRECTION: The time for tonight’s performance of “Privilege” by the Madison Choral Project has been moved from 7:30 p.m. to 8:30 p.m. due to noise from a nearby football game in Camp Randall Stadium. For more about the concert, go to:
THIS JUST IN: Hi Jake: We’ve got cellist Karl von Huene and bassist John Dowling at the Malt House, at 2609 East Washington Avenue on the corner of Milwaukee Street, again this Saturday, from 3-5 p.m. Karl says the pieces they’ll play are by J.S. Bach, W. A. Mozart, Arcangelo Corelli, S. Lee, F. J. Haydn, G.F. Handel, Dmitri Kabalevsky, and Francesco Durante. It should be fun! Cheers, Bill Rogers
BIG ALERT: This is a reminder that, in this busy week of music, one stand-out concert is by the Grammy Award-winning Los Angeles Guitar Quartet. It will perform the annual Fan Taylor Memorial Concert this Saturday night at 8 p.m. in Shannon Hall of the Wisconsin Union Theater. (You can hear a sample of the Brandenburg Concerto No. 6 they will play in the YouTube video at the bottom.)
The acclaimed quartet will perform music by Bach, Bizet, Debussy, and Villa-Lobos as well as 17th-century Spanish music from the age of the novelist Cervantes For more information about the group, the program and tickets ($10-$48), go to: https://union.wisc.edu/events-and-activities/event-calendar/event/los-angeles-guitar-quartet/
By Jacob Stockinger
The Wisconsin Baroque Ensemble will give a concert of baroque chamber music on Saturday night, April 22, at 7:30 p.m.
It will take place in Saint Andrew’s Episcopal Church, 1833 Regent Street.
Members of the WBE are: Mimmi Fulmer, soprano; Nathan Giglierano, baroque violin; Brett Lipshutz, traverse flute; Eric Miller, viola da gamba; Sigrun Paust, recorder; Monica Steger, traverse flute and harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.
The program includes:
Georg Philipp Telemann – Quartet for two traversi, recorder and basso continuo, TWV 43:d1
Mr. De Machy – Pièces de Violle, Suite No. 3 (Pieces for Viol)
Francesca Caccini – “Lasciatemi qui solo” (Leave me here alone)
Quentin – Trio Sonata for two traversi and basso continuo, Op. 13, No. 3
Johannes Hieronymus Kapsberger – “Interrotte Speranze” (Vain Hope)
Johann Christoph Pepusch – Trio Sonata for recorder, violin and basso continuo
Georg Philipp Telemann (below) – Nouveaux Quatuors (Paris Quartets), No. 6 in E minor
Giulio Caccini – “Odi, Euterpe” (Hear, Euterpe)
Tickets at the door are $20, $10 for students.
A post-concert reception will be held after the concert at 2422 Kendall Ave, second floor.
For more information, go to: www.wisconsinbaroque.org
By Jacob Stockinger
A friend of The Ear and a fan of this blog writes:
I want to alert you and your readers that in February we have two performances scheduled at The Malt House (below), 2609 East Washington Avenue, on the corner of Milwaukee Street.
The Yahara String Quartet (below) plays on this coming Saturday, Feb. 4, from 4 to 6 p.m. YSQ says they will play “among others … music by Tchaikovsky, Borodin, Mendelssohn, Mozart, Holst, Haydn, Vivaldi … and more.” For information, go to:
The Cello and Bass Duo of Karl von Huene (cello, below) and John Dowling (contrabass) will play on Saturday, Feb. 11, from 3 to 5 p.m.
Adds Karl von Haene: “We play short pieces by Sebastian Lee (1805-1887) that are obscure enough that I will buy a beer for anyone who knows them. You see, there’s no opus number, they’re just “melodic studies/etudes.”
You can hear the first of Sebastian Lee’s “40 Melodic and Progressive Studies” in the YouTube video at the bottom. For information about Sebastian Lee, who performed and taught in France and Germany, go to:
For information, go to:
Performances are FREE, and the full bar is open for business. We open at 2 p.m. on Saturdays.
For more information about the highly rated tavern that specializes in artisan beers and ales, and also presents other forms of music, go to:
Bill Rogers, The Malt House
ALERT: The Madison Symphony Orchestra (MSO) will offer a free hymn sing with Principal Organist Samuel Hutchison in Overture Hall, 201 State Street, in this Saturday, April 30, at 11 a.m. All ages are welcome to join in the singing with the Overture Concert Organ. No tickets or reservations are needed for the free Hymn Sing, which will last approximately 45 minutes.
By Jacob Stockinger
The Madison Symphony Orchestra and Chorus will close out the current season this weekend with three performances of Carl Orff’s popular 1937 secular or profane oratorio “Carmina Burana” and Ottorino Respighi’s “The Pines of Rome.”
Also participating are Boychoir members from Madison Youth Choirs, Michael Ross, Artistic Director; soprano Jeni Houser, who was acclaimed for her role in the Madison Opera’s recent production of “The Tales of Hoffmann”; tenor Thomas Leighton; and baritone Keith Phares.
The concerts are in Overture Hall, 201 State Street, on Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m.
For more information, visit:
Single tickets are $16 to $85 each, available on the MSO website; 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 visit, www.madisonsymphony.org/groups
Student rush tickets can be purchased in person on the day of the concert at the Overture 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: www.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.
Here is a link to program notes by Michael Allsen:
Here is a link to translations of the Latin texts:
This season also marks the 20th anniversary of assistant MSO conductor Beverly Taylor, who also directs choral activities at the University of Wisconsin-Madison School of Music.
The ever-busy Taylor agreed to an email Q&A with The Ear about her duties and the program:
You are the very busy director of choral activities at the UW-Madison. But this is your 20th anniversary directing the Madison Symphony Chorus and serving as assistant conductor of the MSO. Can you take us behind the scenes and tell us what your MSO duties are?
They are three-fold.
First, I’m a “cover” conductor, meaning I’m supposed to be prepared to take over for John DeMain on short notice in case he’s suddenly sick or injured. This hasn’t happened in 20 years, but I HAVE covered some rehearsals by schedule when he’s been out of town or we fear a delayed plane arrival.
Normally the cover conductor conducts the concert if the delay or injury occurs at the beginning of the concert. If it happens in the second half, orchestras often just end the concert—like calling a baseball game after the five official innings.
My second job is preparing the chorus to sing for John De Main. Our rehearsals are like any other chorus rehearsal at first. We focus on notes, intonation, rhythmic accuracy, pronunciation and diction, beautiful phrasing and appropriate tone and balance.
Then closer to the performance, I check with Maestro De Main (below, in a photo by Prasad) on any special markings or tempos he may want. During my early years he often came to our last chorus rehearsal, but we’ve worked together for so many years now that he trusts me to put his choices into the chorus’ training.
In the long term, my duties also include programming and conducting our non-orchestral concerts, auditioning new singers and ensuring that returning singers keep their abilities high.
My third job is challenging, interesting and fun. It’s to give Maestro Demain information from the audience’s point of view. That means balances between guest soloist and orchestra, balances and rhythmic acuity between sections of the orchestra, and any other notes or opinions that he might find useful.
His own hearing is acute, but anyone who conducts can tell you that the instruments right in front of you make so much noise, that you can’t always judge the relative balances of the orchestra as they project outwards.
Depending on how much time is available in the rehearsal, I make fast notes as the orchestra plays, and give him the notes after the Maestro has done most of his rehearsing. If we’re out of time, I give him the notes backstage and occasionally am asked to pass these notes on to the players involved – for example, a little more triangle, less cello and bass on measures 45-48, etc.)
How has the chorus changed over the past two decades?
I think the biggest way in which the chorus has changed is that it sight-reads better and is more acute with a cappella intonation. The main point in having good sight-readers is that it is a HUGE time saver in rehearsal and allows us to get deeper into musical decisions and development. Having said that, we do still take some people with fast ears and good voices who can prove they can keep up.
What do you think explains the immense popularity of “Carmina Burana” by Carl Orff (below)? How does it compare in popularity to other choral works, especially modern ones?
I think the work is easy to understand. The rhythms are clear, pulsing, repetitive and engaging, and the melodies are memorable and singable. In many ways, it has the appeal of musical comedies. The use of percussion instruments also is appealing and is familiar to people used to bands or popular music. (You can hear the mesmerizing opening in a YouTube video at the bottom.)
While perhaps not the most profound work, it is well crafted. And who hasn’t heard the opening tune in commercial after commercial?
The “modern” style today can’t be well defined because so many composers do so many things. I giggle a bit when audiences say they don’t like dissonance when five minutes in a movie theater with eyes closed will make the listener aware of FAR more dissonant music than in most modern concerts.
Many modern works can be understood at first hearing. Others yield more with a little study. It’s not really different from sports. You may have one person go to a baseball game for the weather, popcorn and home runs who will be disappointed if they miss those. Others will go noticing bad calls for strikes and balls, the stance of the batter, and will quote statistics from past games. They may have a richer experience because they know more, but it doesn’t mean people can’t go and get what they want out of it. Just go to concerts with open minds!
Are there special things you would like to point out to the public about “Carmina Burana” in general and about this performance in particular?
There are three basic sections to “Carmina,” with an introduction and ending. The opening is based mainly on the subject of Fortune (the introduction) and songs that come out of the monk’s life—some of them were obviously sent to the monastery without a vocation!
The second section is for tenors and basses only—“At the Tavern,” and it’s operatic in its depiction of the fun of mocking life at the monastery, concluding in the great drinking song sung by the men in the style of Gilbert and Sullivan — excuses to toast everyone of every shape and size, and listing who drinks, which is everyone!
The third section, known as the court of love, is beautiful and emotional as the women who know the off-duty monks think about love and if they should yield or not. We finish off with the monumental “O Fortuna” — if Frank Sinatra was singing it would be “sometimes you’re up, sometimes you’re down.”
There are techniques commonly and cheekily attributed to late Romantic works, especially Tchaikovsky: fast is good, loud is better, fast and loud is best. Orff follows this: his pacing builds steadily so that you are swept up in the excitement.
Is there anything else you would like to say?
This isn’t the only thing on the program. Most people will adore the gorgeous “Pines of Rome” by Ottorino Respighi (below), full of color, majesty and the sound of trumpets all through the hall!
Plus, I give the pre-concert lecture this weekend. It’s free for all ticket-holders and is held in the hall an hour before the performance, lasting for half an hour. This means on Friday, it’s 6:30-7 p.m.; Saturday 7-7:30 p.m.; and Sunday 1:30-2 p.m.
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:
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.)
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.
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.
“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.”
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.
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.”
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.
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.
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.
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.”
By Jacob Stockinger
The Ear has received the following message from Bill Rogers, the owner of The Malt House tavern on Madison’s near east side. It fits in with the national and international trend of performing classical music in non-traditional venues such as bars, cafes and coffee houses, much like what the Classical Revolution movement does here and Le Poisson Rouge does in New York City do. So The Ear thinks what Rogers says will interest both performers and listeners.
Thanks for calling and asking about classical music at The Malt House (below). I love the name of your blog!
I put up a flier in Metcalfe’s seeking musicians who’d like a place to perform. I’ve got three bookings from that flier, and I will try other locations soon.
Upcoming performances include:
Jeff Larsen (below) — Classical Guitar – TODAY, Saturday Jan. 23, 3-5 p.m.
Yahara String Quartet (below) — (classical and love songs, “pops-style”) – Saturday, Feb. 13, 3-5 p.m.
Jeff Larsen and Inna Larsen — Classical Guitar and Violin — Saturday March 12, 3-5 p.m.
Karl von Huene (below)– Solo Cello – Saturday, March 26, 3-5 p.m.
Unfortunately, there is no piano to use. And patrons seem to prefer instrumental music to vocal music.
The musicians play 2 hours, including a beer break. Alas, these are not paid gigs. They play for tips and beer. People DO tip.
I don’t play, but I’ve been a fan of classical music since high school (40 years ago). I subscribed a few years ago to the Madison Symphony Orchestra at the Overture Center, but I found the atmosphere stifling although the music was amazing. Nobody bobbed their heads, tapped their toes or fingers, nobody “air conducted.” Meh. There was no life in the room!
I’m also not likely to seek out concerts in churches either, because I like a drink while I listen.
I wanted a more vibrant and intimate experience and, as a bar owner, I happen to have a small performance space.
So … I’m looking for chamber music-style experiences for our customers, and lively feedback for performers.
Chamber music is party music. That’s what it was written for, yes? It belongs in parties, bars, etc.
I think there’s an unmet need for intimate, relaxed, classical performances. I want my bar to be the place people come for weekend classics. A lot of University of Wisconsin faculty, staff, technicians and others who live near us come here, and they seem to respond well to these shows.
The Yahara String Quartet has played at The Malt House several times before. Attendance was decent, we sold a fair number of drinks, and everyone had a great afternoon. They’ve received a few wedding bookings because people heard them here.
I’m seeking other musicians because they’re often busy with other performances, and normal family life. I can’t book them as often as I’d like. Incidentally, I found them because one of the violinists also plays fiddle for the Oak Street Ramblers, a bluegrass band playing here monthly.
About the bar: We’ve been in business almost 8 years. Isthmus Readers voted us best craft beer bar five consecutive years, Madison Magazine named us 2nd best beer bar twice, and we’ve been named one of the 10 hottest places in America to drink whiskey by Zagat. Besides a great beer and whiskey selection, we have a full bar setup, so wine, cocktails, cider and other beverages are all available.
We’re at the corner of East Washington Avenue and Milwaukee Street. Red Letter News is kitty-corner from us, and that’s the landmark people recognize when asking “where are you on East Wash?”
Bill Rogers, Owner,
The Malt House
2609 East Washington Avenue
Madison, WI 53704
ALERT: The concert of chamber music by Mozart, Verdi and Puccini next Tuesday night, Feb. 25, by the Rhapsodie Quartet (below, in a photo by Greg Anderson) of the Madison Symphony Orchestra has been CANCELLED.
By Jacob Stockinger
Word reaches The Ear with an intriguing and appealing tavern concert with some outstanding music by the laudable local chapter of a national populist movement that brings classical music to non-traditional audiences in non-traditional venues such as bar, cafes and coffee houses. Many of the members and performers come from the University of Wisconsin-Madison School of Music:
“Classical Revolution Madison will be back with a jam-packed show of classical and contemporary favorites at Brocach Irish Pub (below) on the Capitol Square, 7 West Main Street) on Thursday, February 20th at 7 p.m.
From 7-8 p.m., members of CRM (below) will present a dynamic program featuring works by Brahms, Shostakovich, Haydn, and more! (See below for more information on the pieces and performers)
Then, from 8-9 p.m., we will open up the floor for anyone who wants to sight read or jam, so come with your fiddle or the sheet music of your favorite chamber work if you would like to join in on some casual music making!
We look forward to seeing you there!
Zou Zou Robidoux and Emily O’Leary
Here is the program for the Brocach appearance:
Clarinet Quintet by Johannes Brahms
Kai-Ju Ho, clarinet (below)
Thalia Coombs and Nathan Giglierano, violins
Mara Rogers, viola
Zou Zou Robidoux, cello
II. Poco adagio; cantabile
Tony Oliva and Keisuke Yamamoto, violins
Marissa Reinholz, viola
Chris Peck, cello
Excerpts from “Duo” by the 20th-century American composer Walter Piston (below)
Mara Rogers, viola
Tori Rogers, cello
Tom Leighton, tenor
Emily O’Leary, piano
III. Allegro non troppo
Thalia Coombs and Teddy Wiggins, violins
Mikko Utevsky, viola (below)
Rachel Bottner, cello