The Well-Tempered Ear

Classical music: What happens when Shakespeare and Benjamin Britten meet Andy Warhol and The Factory? The University Opera explores a new spin on an old tale

November 12, 2019
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ALERT: At 7:30 p.m. this Thursday night, Nov. 14 — the night before it opens the opera production below — the UW-Madison Symphony Orchestra, under conductor Oriol Sans, will perform a FREE concert in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art. The program offers Darius Milhaud’s “The Creation of the World,” Maurice Ravel’s “Mother Goose Suite” and Franz Joseph Haydn’s Symphony No. 101 “The Clock.”  

By Jacob Stockinger

The Big Event in classical music this week in Madison is the production by the University Opera of Benjamin Britten’s “A Midsummer Night’s Dream.”

It is a chance to see what happens when Shakespeare (below top) meets Britten (below bottom) through the lens of the Pop art icon Andy Warhol.

The three-hour production – with student singers and the UW-Madison Symphony Orchestra under conductor Oriol Sans — will have three performances in Music Hall, at the foot of Bascom Hill: this Friday night, Nov. 15, at 7:30; Sunday afternoon, Nov. 17, at 2 p.m.; and Tuesday night, Nov. 19, at 7:30 p.m.

Tickets are $25 for the general public; $20 for seniors; and $10 for students.

For more information about the production and how to obtain tickets, go to: https://www.music.wisc.edu/event/university-opera-a-midsummer-nights-dream/2019-11-15/

For more information about the performers, the alternating student cast and a pre-performance panel discussion on Sunday, go to: https://www.music.wisc.edu/wp-content/uploads/2019/10/A-Midsummer-Nights-Dream-Media-release.pdf

And here are notes by director David Ronis (below, in a photo by Luke Delalio) about the concept behind this novel production:

“When the artistic team for A Midsummer Night’s Dream met last spring, none of us expected that we would set Britten’s opera at The Factory, Andy Warhol’s workspace-cum-playspace.

“For my part, I wanted to find a way to tell this wonderful story that would be novel, engaging, entertaining, and thought-provoking.

“I only had one wish: that we did a production that did not feature fairies sporting wings – a representation that, to me, just seemed old-fashioned and, frankly, tired.

“As we worked on the concept, we found that The Factory setting allowed us to see the show in a new, compelling light and truly evoked its spirit and themes. The elements of this “translation” easily and happily fell into place and now, six months later, here we are!

“A Midsummer Night’s Dream tells the intersecting stories of three groups of characters – Fairies, Lovers and Rustics – and its traditional locale is that of a forest, the domain of Oberon, the Fairy King. (You can hear the Act 1 “Welcome, Wanderer” duet with Puck and Oberon, played by countertenor David Daniels, in the YouTube video at the bottom.)

“In our production, the proverbial forest becomes The Factory, where our Oberon, inspired by Andy Warhol (below, in a photo from the Andy Warhol Museum), rules the roost. He oversees his world – his art, his business, and “his people.” He is part participant in his own story, as he plots to get even with Tytania, his queen and with whom he is at odds; and part voyeur-meddler, as he attempts to engineer the realignment of affections among the Lovers.

“Tytania, in our production, is loosely modeled on Warhol’s muse, Edie Sedgwick (below top), and Puck resembles Ondine (below bottom), one of the Warhol Superstars.

The Fairies become young women in the fashion or entertainment industries, regulars at The Factory; the Lovers, people who are employed there; and the Rustics, or “Rude Mechanicals,” blue-collar workers by day, who come together after hours to form an avant-garde theater troupe seeking their 15 minutes of fame.

“For all these people, The Factory (below, in a photo by Nat Finkelstein) is the center of the universe.  They all gravitate there and finally assemble for the wedding of Theseus and Hippolyta – in this setting, a rich art collector and his trophy girlfriend.

“Magic is an important element in Midsummer. In the realm of the fairies, Oberon makes frequent use of magical herbs and potions to achieve his objectives. In the celebrity art world of mid-1960s New York City, those translate into recreational drugs.

“The people who work in and gather at The Factory are also are involved in what could be called a type of magic – making art and surrounding themselves in it. They take photographs, create silk screen images, hang and arrange Pop art, and party at The Factory.

“Not only does this world of creative magic provide us with a beautiful way to tell the story of Midsummer, but it also becomes a metaphor for the “theatrical magic” created by Shakespeare and Britten, and integral to every production.

“We hope you enjoy taking this journey with us, seeing A Midsummer Night’s Dream in perhaps a new way that will entertain and delight your senses and, perhaps, challenge your brain a bit.”

 


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Classical music: Cellist Amit Peled and pianist Daniel del Pino open the Salon Piano Series this Friday and Saturday nights. TODAY the Edgewood College Chamber Orchestra opens its new season in a new hall

September 29, 2019
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ALERT: The Edgewood Chamber Orchestra opens its new season TODAY at 2:30 p.m. in the new McKinley Performing Arts Center at Edgewood High School, 2219 Monroe Street. Blake Walter will conduct the program that  features Beethoven’s “King Stephen” Overture, composed to celebrate the opening of a new theater ; Handel’s “Water Music”; and Mozart’s Symphony No. 36 in C Major “Linz,” K. 425. Admission is $5 for the general public, FREE with an ID for Edgewood College or Edgewood High School.

By Jacob Stockinger

The Salon Piano Series will open its new and expanded season with a recital by cellist Amit Peled (below top, in a photo by Lisa Mazzucco) and pianist Daniel del Pino (below bottom) on this coming Friday and Saturday nights, Oct. 4 and 5, at 7:30 p.m.

The concerts, which are being dedicated to retired critic John W. Barker,  will be held at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Each artist has performed individually at Farley’s before, but this will be their first joint recital in Madison.

The program is:

John Eccles – Sonata in G Minor (1720)

Ludwig van Beethoven – Sonata No. 2 in G Minor, Op. 5, No. 2 (1796)

Gaspar Cassadó – Sonata in Old Spanish Style, G Minor, (1925)

Richard Strauss – Sonata in F Major, Op. 6 (1883)

A reception will follow the performances.

Tickets are $45 in advance and $50 at the door. Student tickets are $10 and can only be purchased online and are not available the day of the event.

You can buy tickets online, where service fees may apply, at: https://www.brownpapertickets.com/producer/706809

You can also call Farley’s at (608) 271-2626 to purchase tickets.

After hearing the Israeli-American Peled, The New York Times reported that he has “a glowing tone, a seductive timbre and an emotionally pointed approach to phrasing that made you want to hear him again.”

Daniel del Pino is a leading Spanish concert pianist on the international scene. He has performed in prestigious venues on five continents.

In the YouTube video at the bottom, you can watch a special concert preview and an enthusiastic message about specifically performing in Madison from Amit Peled.

You can also hear and see past performances from Peled and del Pino at the Salon Piano Series on YouTube:

From February 2016, Amit Peled performs on Pablo Casals’ cello: https://www.youtube.com/watch?v=3Yb-SE80eDg

From November 2015, Daniel del Pino performs Chopin: https://www.youtube.com/watch?v=-tnvbk_v2Xk

For more information about this concert and the full season of six concerts, including subscription tickets, go to: https://salonpianoseries.org

This concert is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


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Classical music: In Dvorak’s “Rusalka,” the Madison Opera demonstrated how beautiful music and convincing stagecraft can overcome a weak story

May 1, 2019
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By Jacob Stockinger

The Opera Guy for this blog – Larry Wells – took in last weekend’s production by the Madison Opera of “Rusalka” and filed the following review. Performance photos are by James Gill.

By Larry Wells

I thoroughly enjoyed attending the Sunday afternoon performance of Antonin Dvorak’s opera “Rusalka” presented by Madison Opera in Overture Hall. Until then I had only heard recordings of this lushly orchestrated work.

The opera is a fairy tale involving a rather dithering water sprite (below right) who does not follow her father’s wise advice not to pursue a mortal prince (below left) and to stick to her own kind. She ignores his advice, and this leads to her eventual unhappiness and to the death of her prince.

That she also becomes mute when in the presence of the prince adds to everyone’s woes, and it seems a peculiar device to have the lead soprano not be able to sing for most of the second act of the opera.

Her inability to communicate naturally leads to the prince’s frustration, and my companion suggested that she could simply have used paper and pencil to communicate. But since she had been brought up in a river, perhaps she never learned to read and write.

Nevertheless, common sense did not seem to inhabit either Rusalka or her prince. As my companion also pointed out, love isn’t always logical.

In any event, the production and the music made up for the libretto’s shortcomings.

The set featured beautiful projections, from the Minnesota Opera, of forest, water and woodlands during the first and third acts.

The second act took place at the prince’s palace. It appeared to be an International Style palace in the manner of architect Mies van de Rohe, which must have also been disconcerting for Rusalka. Nonetheless, the set was very striking and beautifully lit.

Tenor John Lindsey (below top) portrayed the prince and William Meinert (below bottom left, with Emily Birsan) was Rusalka’s father, a water goblin. Both sang well, although Lindsey had the distracting habit of casting his chin and eyes downward as he sang.


But the stage belonged to the women.

Emily Birsan (below) as Rusalka was a study in subtle shadings of her expressive soprano voice (below, singing the famous  aria “Song to the Moon”). She is a powerful singer and convincing actress who was engaging to watch and to hear.

Lindsay Ammann (below) as the sorceress Jezibaba was powerful in voice and in her command of the stage. Her third act aria was sensational, and her calling Rusalka a “empty little water bubble” was so apt it made the audience titter.

The villainous Foreign Princess portrayed by Karin Wolverton (below, standing over John Lindsey) seemed to be the only sensible character in the opera. She likewise commanded the stage and displayed a powerful voice with passionate commitment to her role.

Three water sprites – portrayed by Kirsten Larson, Saira Frank and Emily Secor (below, in order from left) – provided Rhine maiden-like commentary and gorgeous vocalizations despite having to wander around the stage at times seeming to be fascinated by twigs.

A shout-out goes to tenor Benjamin Liupaogo (below), still a student at the University of Wisconsin-Madison’s Mead Witter School of Music, who only sang a couple of lines but sang them very beautifully. He is someone to watch!

The Madison Symphony Orchestra was conducted by John DeMain (below, in a photo by Greg Anderson). The strings and winds sounded particularly good that day, and DeMain brought out all of the interesting Bohemian folky gestures Dvorak included in the score. I found Dvorak’s orchestral score engaging throughout the performance. (You can hear the opening Overture in the YouTube video at the bottom.)

Altogether it was charming afternoon of beautiful music, excellent singing and fetching staging of a strange tale.

Madison Opera has announced its upcoming season offerings, which are Giuseppe Verdi’s “La Traviata” (Nov. 1 and 3), Gregory Spears’ “Fellow Travelers” (here Feb. 7 and 9, it has already hit Chicago and Minneapolis and is slated for Tucson next season as well), and Jacques Offenbach’s comic “Orpheus in the Underworld” (April 17 and 19).

It seems a very interesting season, and subscription tickets will go on sale in early May. For more information, go to: https://www.madisonopera.org


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Classical music: Here are short takes about some chamber music, orchestral music and choral music concerts for this week, starting TODAY

April 7, 2019
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By Jacob Stockinger

It is another very busy week in Madison for classical music. Here are some short takes about various concerts, starting today and running through the week.

TODAY

Today — Sunday, April 7 — at 12:30 p.m., longtime chamber music partners UW-Madison cellist Parry Karp and UW-Oshkosh pianist Eli Kalman (below) will perform a FREE all-French recital at the Chazen Museum of Art in Brittingham Gallery 3. The concert  is part of the regular monthly series Sunday Afternoon Live at the Chazen.

The concert will also be STREAMED LIVE starting at 12:30 p.m.

For a streaming portal and details about the program, go to:

https://www.chazen.wisc.edu/index.php?/events-calendar-demo/event/sunday-afternoon-live-at-the-chazen31/

TUESDAY

On Tuesday night, April 9, at 7:30 p.m. in Music Hall, at the foot of Bascom Hill, students in the UW-Madison Opera Workshop class perform a variety of scenes from opera and musical theater, staged and with piano accompaniment.

Sorry, but there are no details available about the composers, opera or scenes.

WEDNESDAY, APRIL 10

On Wednesday night, April 10, at 7:30 p.m. in the Middleton Performing Arts Center that is attached to Middleton High School, 2100 Bristol Street, the largely amateur but critically acclaimed Middleton Community Orchestra (below) will perform.

The program, under guest conductor Kyle Knox, features the Symphony No. 2 in D Major by Ludwig van Beethoven and “The Wand of Youth” Suites by Sir Edward Elgar. (You can hear the opening of the Beethoven symphony in the YouTube video at the bottom.)

The box office opens at 6:30 p.m. and the auditorium opens at 7 p.m.

A meet-and-greet reception follows the concert.

Tickets are $15 for the general public. Admission is FREE to students.

For more information, including how to purchase tickets in advance and how to support the orchestra, go to:

http://middletoncommunityorchestra.org/concert_information

FRIDAY

On Friday, April 12, at 8 p.m. in Mills Hall, the UW Chorale will perform a FREE concert under conductor Bruce Gladstone.

Sorry, no details are available about the program.

SATURDAY

On Saturday, April 13, at 8 p.m. in Mills Hall, a FREE concert by UW-Madison Combined Choirs will be performed. The event features the Masters Singers, the University Chorus and the Women’s Chorus (below).

Sorry, there are no details available about the program.


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Classical music: Personal experience, artistic excellence and historical importance drew pianist Wu Han and cellist David Finckel into planning next year’s centennial season at the Wisconsin Union Theater

March 30, 2019
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By Jacob Stockinger

Now that Spring Break is over and subscription tickets are available for the Wisconsin Union Theater’s special centennial celebration next season – which includes superstar soprano Renée Fleming and pianist Emanuel Ax — here is an email interview that pianist Wu Han and cellist David Finckel (below, in a photo by Lisa-Marie Mazzucco), the wife-and-husband consultants and planners of that season, granted to The Ear.

For more about the season and tickets, go to two websites:

https://welltempered.wordpress.com/2019/03/04/classical-music-superstar-soprano-renee-fleming-and-pianist-emanuel-ax-headline-the-100th-anniversary-of-the-wisconsin-union-theaters-concert-series-next-season/

https://union.wisc.edu/visit/wisconsin-union-theater/seasonevents/concert-series/

Could you briefly introduce yourselves to readers and tell them both your past and current activities?

We have been performing on the world’s many concert stages for almost our entire lives. In addition to our careers as concert performers, we serve as the founding Artistic Directors of Music@Menlo, the premier chamber music festival in Silicon Valley, as well as the Artistic Directors of the Chamber Music Society of Lincoln Center (CMS) in New York City.

Our main responsibility as concert performers is to give the best concerts we possibly can, and we are constantly striving to achieve the highest possible level of artistry in our performances.

In our roles as artistic directors, our responsibilities lie in the programming, casting and designing of concert series and chamber music projects for our organizations. At CMS, this includes designing the programming for our seven different satellite series around the country, plus international partnerships in Taiwan, Korea and Europe.

We are also involved in chamber music programming endeavors beyond Music@Menlo and CMS, having just completed a first-ever chamber music residency at the Society of the Four Arts in Palm Beach, Florida. Furthermore, Wu Han is serving as Artistic Advisor to Wolf Trap Chamber Music at the Barns, which entails thematically programming eight concerts per season for the 2018–19 and 2019–20 seasons.

As artistic directors, we spend much of our time putting ourselves in the shoes of our listeners, measuring their experience and receptivity to chamber music of all periods and styles, and putting together the best programs and artists who will move our audiences forward into ever-increasing engagement with and love of the art.

David was the cellist of the Emerson String Quartet for 34 seasons, and we have been performing together as a duo for about 35 years, and continue to do so as one of our main performance activities.

What are your personal relationships to the Wisconsin Union Theater, and what do you think of it as a concert venue?

Our engagement with the Wisconsin Union Theater goes back quite a few years, but certainly not even close to the beginning of the Theater’s distinguished history. For any performer setting foot on its stage, there’s a sense of slipping into an ongoing tradition of artistic excellence that makes us feel both privileged and obligated to do our best.

The Wisconsin Union Theater and its story in American cultural life is larger than any of us; only the music we play rises above and beyond it all, and as performers, our lucky moment is to represent that incredible literature in a venue as significant and storied as the Wisconsin Union Theater. (Below is the theater’s main venue, the renovated and restored Shannon Hall.)

Why did you agree to be artistic advisors and artists-in-residence for the centennial season? Did your personal experiences in Madison play a role in that decision?

As seasoned artists, we deeply admire and respect the very special place in the classical music tradition and history that the Wisconsin Union Theater (below) inhabits, and the invitation to participate in the Theater’s 100th anniversary was an honor for us to receive. Our experiences playing on this distinguished stage and forming a relationship with the local audience have made our pursuit of the common goal of artistic excellence in the centennial season incredibly fulfilling.

Of course, having performed there in the past gave us a hint of confidence through our familiarity with the place, but we must say we have learned perhaps double what we knew originally through this planning process. Without interfering, but at the same time sharing our uncompromised commitment to artistic excellence, we hope that our presence during the process has been useful, and we know that we look so much forward to seeing the careful thought and hard work of all involved come to fruition.

Is there a unifying or guiding principle to the season you have put together?

The guiding principle behind our work on this historic season is artistic excellence, which in our opinion is what most inspires audiences and best serves the art form of classical music.

Our area of expertise is chamber music, and, as we wanted to share the best of what we can do with the Theater, our focus has been on ensuring that the chamber music offerings during this historic season, and hopefully beyond, reflect the best of the world of chamber music.

In our suggestions, we looked for variety of instrumentations, of composers and periods—in other words, giving as much of an overview of the art as we could within a season.

What would you like the public to know about the Wisconsin Union Theater and the upcoming centennial season?

In the Theater’s centennial season, the audience will have the opportunity to savor a variety of different genres of chamber music, from solo piano to vocal music, as well as a sampling of the very best works of the chamber music canon. Between these various genres, the great composers left a wealth of chamber music that could sustain the art form on its own, but that’s still only the tip of the iceberg.

Our chamber music offerings will include the Kalichstein-Laredo-Robinson Trio, which has a long history of performing for the Madison audience. Their December program will include celebrated cornerstones of the piano trio repertoire, including Mendelssohn’s D minor Trio and Beethoven’s “Archduke” Trio. (You can hear the opening of the Archduke Trio in the YouTube video at the bottom.) Both pieces have achieved monumental historical significance through their influence in propelling the art form forward from the Classical period to the Romantic period.

The Escher String Quartet performance in January represents the best of the next generation of young string quartets. Their program includes a quartet by Franz Joseph Haydn—the father of the string quartet genre—and the sole quartet of none other than revered violin virtuoso Fritz Kreisler, who performed in the Wisconsin Union Theater nearly a century ago. Kreisler set foot on the Theater’s stage numerous times, and his rarely heard string quartet nods to the Theater’s long, distinguished history. David will join the Escher Quartet for the beloved Schubert Cello Quintet, which is the “desert island” must-have piece for many music lovers.

Furthermore, in March, we will bring two of the most fantastic musicians in the world to join us for a program of Antonin Dvorak, Josef Suk and Johannes Brahms. This multigenerational cast of musicians includes the incredible young French violinist Arnaud Sussmann (below top, in a photo by Matt Dine) as well as the most important violist of our generation, Paul Neubauer (below bottom). This program is all about the passing down of the baton and the continuous investment in the next generations of artists: Brahms was the one who discovered Dvorak, and Dvorak in turn discovered Suk.


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Classical music: Mozart’s “Don Giovanni” meets “The Sopranos” when an all-female mob gets even in Fresco Opera Theatre’s new show this Thursday, Friday and Saturday nights

March 19, 2019
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By Jacob Stockinger

The Ear has received the following information about what promised to be another unusual take, perfect for the age of the MeToo movement, on the standard opera repertoire from Fresco Opera Theatre.

The show takes place on this coming Thursday, Friday and Saturday nights in Promenade Hall of the Overture Center. Dinner table seats are $50 and other seats are $35.

We are doing a production called the “The Sopranos: Don Giovanni’s Demise,” which is our re-imagining of Wolfgang Amadeus Mozart’s “Don Giovanni.”

We feature an all female-mob, who put a hit on “The Don.” And who can blame them? “The Sopranos” is the story of a score settled, and a scoundrel silenced. Don Giovanni is a rat, who has pushed the family too far. And the family has put out a hit on him.

“This is a fun production, which retains the music of “Giovanni,” but with a slightly different take using 20th-century Mafia imagery. (You can hear the dark and ominous Overture to the “Don  Giovanni” in the YouTube video at the bottom.)

“We have a strong cast, featuring Ryan White as Don Giovanni, Erin Sura as Donna Elvira, Katie Anderson as Donna Anna, Ashley McHugh as Zerlina and Diana Eiler as Leporello. We are excited to have Vincent Fuh as our piano accompanist, and Melanie Cain will be directing.

“We will have limited seating on stage, which will be tables on which meals will be served, adding to the ambiance. Fresco is very excited to present our interpretation of this classic tale, including the timeless music.”

Adds director Melanie Cain:

“I’ve always been intrigued with the way Mozart portrayed female characters in his operas. They are daring, courageous and bold. He also was not afraid to give the women who were from the non-privileged classes, such as his spunky maids, the task of fixing all their bosses messes and oftentimes saving the day.

“Don Giovanni” resonates so well in today’s social landscape. The idea of women uniting to take down the males who take advantage, suffocate and demoralize the female gender runs through the core of this opera.

“What better way to portray a bunch of strong women than to have them run the male dominant world of the mob? As I was thinking about the look of this show, I came across the art of Tamara de Lempicka, a painter of the Art Deco era, best known for her portraits of powerful women. She was a brave, strong-willed openly bisexual artist who wasn’t afraid to be herself at a time that wasn’t accepted.

“Not only will you hear some vivacious female singers, you will see many of Lempicka’s works displayed throughout the production, which really resonates not only with this show, but in the way I like to create opera: “I live life in the margins of society and the rules of normal society don’t apply to those who live on the fringe.””

For tickets and a plot summary, here is the link to Overture Center:

https://www.overture.org/events/sopranos?fbclid=IwAR280iCL1zZLagO31ke0AUXYrYtrDHlr2cMyRaPzksrg8HaL4cK3FEg-mQ8

And for more information about Fresco Opera Theatre, here is link to its home page:

http://www.frescooperatheatre.com/?fbclid=IwAR0_Oq62sQ2I41z79HMYlnm7XDmMFqZKKiButDW5OmWa4kUX5oOH02SJ6Ws


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Classical music: “Into the Woods” proved a complete, first-rate theatrical experience

February 26, 2019
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By Jacob Stockinger

Larry Wells – the very experienced Opera Guy for The Well-Tempered Ear blog  – attended two performances of “Into the Woods” at the Wisconsin Union Theater, and filed this review. (Photos are by Beau Meyer for the UW-Madison Department of Theatre and Drama.)

By Larry Wells

The University Theatre and University Opera’s recent joint production of “Into the Woods” was a feast for fans of Stephen Sondheim (below). It was a complete theatrical experience with excellent singing, a nuanced orchestral accompaniment, skilled acting and enchanting staging.

The nearly three-hour work is an amalgamation of several well-known fairy tales exploring themes such as parent-child relationships, loss of innocence, self-discovery, the consequences of wishes being fulfilled, and death – but all in an amusing, literate, fast-paced kaleidoscope of witty dialogue, catchy music and sophisticated lyrics.

The production employed an attractive, ever-changing set, designed by John Drescher, that was vaguely reminiscent of Maurice Sendak.

Stage director David Ronis (below, in a photo by Luke DeLalio) utilized the large cast and what had to be an equally large number of backstage crew members in a captivating succession of ensemble pieces and solo numbers. I was never aware of the passing of time. Not looking at my watch is my acid test of a production’s success.

Among the many standout performances, Bryanna Plaisir (below) as the Witch was comical in her delivery and quite amazing in the physicality of her performance. There were a number of times when she flew, and each time I was taken by surprise at her effortlessness. Her initial song, accompanied mostly by percussion, was mesmerizing.

There were two roles that were double cast: Elisheva Pront and Miranda Kettlewell (below) as the Cinderellas; and Meghan Stecker and Zoe Bockhorst as the two Little Red Riding Hoods.

Both Pront and Kettlewell possess excellent voices.

Stecker was the more girlish of the two Red Riding Hoods, whereas Bockhorst (below left) portrayed a slightly more canny character.  Both were very funny in their encounter with Cobi Tappa’s Wolf (below right).

Tappa is a physical actor whose tall lankiness conveyed the Wolf’s lupine nature flawlessly. He also portrayed the Steward, and I was completely captivated by his performance, as was the appreciative audience.

Joshua Kelly (below) was the narrator and also played the baker’s father.  His was a professional quality performance from beginning to end – enunciating so clearly that he was completely understandable throughout.

Jack was played by Christian Michael Brenny. His portrayal of a simple-minded boy was touching, and his singing was outstanding.

Emily Vandenberg (below left) as the wife of the baker (played by Michael Kelley, below right) was another outstanding performer – an excellent comic actress and an accomplished vocalist.

Mention must also be made of Rapunzel and Cinderella’s princes, Tanner Zocher  and Jacob Eliot Elfner. Their two duets, “Agony” and “Agony Reprise,” were enthusiastically received by the audience not only for their delivery but also for such lyrics as “…you know nothing of madness ‘til you’re climbing her hair…”.

Sondheim’s way with words continues to amaze me. In describing a decrepit cow, Jack’s mother gets to sing “…while her withers wither with her…”.  The Wolf gets to sing the line “…there’s no possible way to describe what you feel when you’re talking to your meal…”

Chad Hutchinson (below) conducted the orchestra in a finely shaded performance – never overpowering and always supportive.

There were many other excellent performances and memorable moments. Suffice it to say that altogether cast, crew, artistic and production staff created a show that I enjoyed on two consecutive evenings. In fact I was completely entranced both times.

Postscript: The first evening I sat in front of a person who coughed more or less continually the entire first act.  Mercifully she left at the intermission. Next to me was a woman who alternated between audibly clearing her throat and blowing her nose — when she wasn’t applying moisturizer to her hands — throughout the entire show. Stay home if you’re sick. And remember that you are not at home watching your television.  You are in a theater.


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Classical music: “Into the Woods” is a big deal in many ways for the UW-Madison. There are five performances at the Memorial Union between this Thursday night and Sunday afternoon

February 20, 2019
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By Jacob Stockinger

Make no mistake.

The modern musical and theatrical retellings by Stephen Sondheim (below) of well-known childhood fairy tales do not offer your usual versions of Little Red Riding Hood, Prince Charming, Cinderella and Rapunzel among others.

Moreover the local production of the acclaimed 1986 Broadway musical “Into the Woods” – the woods being a dark, adult and disturbing Freudian metaphor of deeper meanings — is literally a big deal. (You can hear a sample of Sondheim’s music and supremely clever lyrics, taken from the 2014 movie version by Walt Disney, in the YouTube video at the bottom.)

It involves both the University Opera and the University Theatre and Drama Department. The ambitious joint production – the first in a dozen years – took almost two years and involves over 90 people.

You can see the promising results for yourself in five performances starting this Thursday night in Shannon Hall at the Wisconsin Union Theater. Performances are at 7:30 p.m. on Thursday, Friday and Saturday nights; and at 2 p.m. on Saturday and Sunday.

Happily, there are a lot of ways to check out background and prepare for the show, which faced its own trials.

You’ll notice, for example, that  the rehearsal picture below —  taken by Beau Meyer of Elisheva Pront (Cinderella) with Jake Elfner (her Prince Charming) — was taken with no costumes, even though such photos were planned. But during the recent deep freeze and big thaw, Vilas Hall got hit with flooding from broken pipes and the costumes got clobbered, so such photos are delayed.

Still, the show must go on — and did.

Here is an interview with David Ronis (below, in a photo by Luke DeLalio), the prize-winning director of University Opera and other members of the production team and actors:

https://arts.wisc.edu/2019/02/15/into-the-woods/

Here is more information, including a plot summary, a cast and ticket information from the University Opera:

https://www.music.wisc.edu/2018/12/27/opera-theatre-sondheim-into-the-woods/

Here is a story from the Department of University Theatre and Drama, including interviews with the two women who play Cinderella:

https://www.music.wisc.edu/event/university-opera-and-university-theatre-sondheims-into-the-woods/2019-02-22/

From the Wisconsin Union Theater, here is the complex and complete ticket pricing information ($10-$40):

https://union.wisc.edu/events-and-activities/event-calendar/event/into-the-woods/#additional

And here is a complete list of the student cast, who will sing under the baton of UW-Madison professor Chad Hutchinson (below)  who will conduct the orchestra:

https://theatre.wisc.edu/2018/10/18/into-the-woods-cast/


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Classical music: Organist and composer Chelsea Chen debuts at Overture Hall on Tuesday night

February 18, 2019
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By Jacob Stockinger

Organist Chelsea Chen (below) makes her Madison debut on this Tuesday night, Feb. 19, at 7:30 p.m. in Overture Hall as part of the Madison Symphony Orchestra’s Concert Organ series.

Ticket information is below.

Chen brings to her Overture Hall premiere an array of widely known classical pieces plus her own original composition.

Chen’s performance begins with Ola Gjeilo’s Sinfonietta and Edvard Grieg’s First Peer Gynt Suite, Op. 46— continuing with Chen’s original work, the Taiwanese Suite, Camille Saint-Saens’ Finale from “Organ” Symphony No. 3, Ad Wammes’ Miroir, and finally, selections from Gustav Holst’s The Planets.

Composer Gjeilo (below) has praised Chen’s interpretation of Sinfonietta, which the organist has performed at the Walt Disney Concert Hall in Los Angeles and the Kimmel Center in Philadelphia.

The First Peer Gynt Suite, Op. 46, by Grieg is one of the most easily recognizable compositions within the musical art form. Subtitled “Morning,” it is the first of two suites that Grieg (below) transcribed from Henrik Ibsen’s 1867 Norwegian play Peer Gynt.

The opus, albeit a short first movement from the suite, intends to instill imagery of the sunrise over the North African desert. Despite this, it is more commonly associated with the sweeping mountains, fjords and lakes that mark Norway’s landscape.

Chen’s own Taiwanese Suite combines the dynamic range of the organ with inflections of traditional Asian folksongs. It is composed of three movements: “Hills in the Springtime,” “Moonlight Blue” and “Mountain of Youth.”

Inspired by the works of Richard Wagner, Franz Liszt and others, Saint-Saens (below) composed a variety of arrangements and selections for numerous occasions. By age 10, the French composer and child prodigy had given his first concert. His Finale from “Organ” Symphony No. 3 is, as some consider, the pinnacle of his body of compositions. (You can hear Chen’s playing of the Finale from the “Organ” Symphony by Saint-Saens in the YouTube video at the bottom.)

Miroir was composed by Dutch composer Ad Wammes (below) for Stephen Taylor to celebrate the organist’s appointment to the Nicolaïkerk, a church in the Netherlands. In an unconventional mirroring — hence the title — the right hand repeats the higher voices in the same pattern throughout the song, whereas the left hand varies texture, voice and tone in the lower registers. The result is a calming, low hum that is lifted by the glistening echoes of the upper registers.

To Holst, The Planets suite could be framed as “a series of mood pictures,” with its seven movements. Ironically, Holst (below) seemed to heavily dislike his explosive popularity resulting from the suite’s compositional structure. Despite his supposed negativity towards the piece, its inherent superb qualities of each movement — no two are alike — became a staple of evocative composition.

Following an academic career at the Juilliard School and Yale University, Chelsea Chen has practiced under the tutelage of known names in the musical world, such as Paul Jacobs and John Weaver. For more information about her, go to: https://madisonsymphony.org/event/chelsea-chen/

Single Tickets are available for $20 each and can be purchased online at http://madisonsymphony.org/chen, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://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 tickets for $10 each. More information is at: https://madisonsymphony.org/studentrush

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

This performance is sponsored by Friends of the Overture Concert Organ (below) that was custom-built by Klais Orgelbau of Germany. Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund. With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra commissioned the Overture Concert Organ.


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