The Well-Tempered Ear
Did any composer ever capture the quiet, timeless and motionless cold of deep winter better than Debussy?
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By Jacob Stockinger
It was one of those deep subzero days of the polar vortex that we seem locked in now right now.
The Ear looked out a window.
It was a chilly scene of winter, as the American writer Ann Beattie once described it.
The Ear saw the snow piled up.
He listened to the windless quiet.
Time, like motion, seemed to stop– or at least slow down — in the severe cold.
He saw tracks in the snow.
He couldn’t say whether they came from a rabbit or a squirrel or some other critter.
But it brought to mind a piano prelude by Debussy (below) that contains a kind of frozen minimalism.
Life was once again imitating art, as Oscar Wilde once observed, remarking that “there was no fog in London until the Impressionists painted it.”
Has any piece ever captured the cold, the quiet, the feeling of time and motion slowing down or stopping as Debussy did in “Des pas dans la neige” (Tracks in the Snow)?
Especially as it was played by Arturo Benedetti Michelangeli (below) who, like Sviatoslav Richter, wasn’t afraid to risk taking a slower-than-usual tempo if it right felt right and created the appropriate atmosphere. (You can hear Michelangeli playing the Debussy prelude in the YouTube video at the bottom.)
Do you agree about the Debussy piece?
About Michelangeli’s interpretation?
Do you know of another piece that captures the Arctic cold spell we are in?
Please leave a comment and a YouTube link, if possible.
The Ear wants to hear.
Stay safe and warm.
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Classical music: Super-virtuoso pianist Marc-André Hamelin makes his Madison debut with the Madison Symphony Orchestra this weekend in concertos by Richard Strauss and Maurice Ravel
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By Jacob Stockinger
As a pianist, he is known as someone who can play more notes faster and more clearly than anyone one – in short, a “super-virtuoso.”
He is the Canadian pianist Marc-André Hamelin (below), who will make his Madison debut this weekend with the Madison Symphony Orchestra when he performs two concertos: “Burlesque” by Richard Strauss and the Piano Concerto in G Major by Maurice Ravel.
The program opens with Wolfgang Amadeus Mozart’s Symphony No. 38, “Prague,” and closes with Claude Debussy’s La Mer (The Sea).
Performances take place in Overture Hall, 201 State St., on Friday, April 12, at 7:30 p.m.; Saturday, April 13, at 8 p.m.; and Sunday, April 14, at 2:30 p.m.
An Open Rehearsal will be held on Thursday, April 11 — free and open to the public. Limited space is available (RSVP required by calling 608 257-3734). Patrons must arrive by 6:45 p.m. For more information about the concerts and rehearsal, go to: https://madisonsymphony.org/event/an-auspicious-debut-marc-andre-hamelin/
Maestro John DeMain (below, in a photo by Greg Anderson), who will conduct the concerts, says: “Marc-André Hamelin is one of the major pianists of our time. This program features two of the greatest German composers and two great French Impressionists. Always inspired by Mozart, I am delighted to open with his Prague symphony.
“Then comes Strauss’ Burlesque with Marc-André performing virtuosic and delightful musical fare. After intermission comes another favorite of mine, Ravel’s Piano Concerto with its sultry, cabaret-like slow movement that climaxes with a raucous but fun last movement. (In the YouTube video at the bottom, you can hear Martha Argerich play that second movement with conductor Claudio Abbado and the Berlin Philharmonic.)
“The concert closes with Claude Debussy’s La Mer, his amazing tone poem that conjures up images of the sea both raging and calm, placing ultimate demands on the orchestra and creating an aural thrill for the audience.”
ABOUT MARC-ANDRÉ HAMELIN
The Oregonian summarizes the featured soloist concisely: “Is there anything Marc-André Hamelin can’t do at the piano?” Pianist Marc-André Hamelin is known worldwide for his unrivaled blend of consummate musicianship and brilliant technique, as well as for his exploration of the rarities of the 19th, 20th, and 21st centuries — in concert and on disc.
Although primarily a performer, Hamelin has composed music throughout his career. He was a distinguished jury member of the 15th Van Cliburn Competition in 2017, where each of the 30 competitors in the Preliminary Round were required to perform Hamelin’s “L’Homme armé.” It marked the first time the composer of the commissioned work was also a member of the jury.
A prolific maker of recordings, Hamelin (below) was honored with the 2014 ECHO Klassik Instrumentalist of Year (Piano) and Disc of the Year for his three-disc set of “Busoni: Late Piano Music.” An album of his own compositions, “Hamelin: Études,” received a 2010 Grammy nomination and a first prize from the German Record Critics’ Association. Hamelin is the recipient of a lifetime achievement award from the German Record Critics’ Association.
CONCERT AND TICKET DETAILS
The lobby opens 90 minutes prior to each concert. One hour before each performance, Michael Allsen will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket-holders.
The MSO recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the Prelude Discussion.
Program notes for the concerts are available online: http://bit.ly/april2019programnotes
- Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/hamelin through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
- Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.madisonsymphony.org/groups.
- Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $15 or $20 tickets. More information is at: https://www.madisonsymphony.org/studentrush
- Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
- Flex-ticket booklets of 10 vouchers for 2018-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
- Out at the Symphony tickets include a seat in the Circle level of Overture Hall (regular price ($70-93), plus the after-party, for $45. Reception-only tickets are available for $25 each. Learn more at: https://madisonsymphony.org/out
Discounted seats are subject to availability, and discounts may not be combined.
Major funding for these concerts was provided by Madison Gas & Electric Foundation, Inc., Fred and Mary Mohs, Skofronick Family Charitable Trust and WPS Health Insurance. Additional funding was provided by Forte, James and Joan Johnston, Gary and Lynn Mecklenburg, Rodney Schreiner and Mark Blank, Stafford Rosenbaum LLP, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
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Classical music: Madison Opera’s “Florencia en el Amazonas” took listeners on an enchanting and moving voyage into love and fine singing of Puccini-like lyricism
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By Jacob Stockinger
Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the Madison Opera and filed this review, with photos by James Gill:
By Larry Wells
I looked forward enough to Madison Opera’s premiere production of Daniel Catán’s Spanish-language “Florencia en el Amazonas” that I attended both performances at Overture Hall this past weekend.
Based on repeated hearings of the recording and numerous favorable reviews of other productions, I was fairly certain that I would be in for a treat. I was not disappointed.
The action takes place on a boat on the Amazon heading for Manaus where the title character Florenica (below), an opera singer of high repute, is to perform.
Other passengers (below), unaware of her presence onboard, also have the opera house as their destination in order to hear her sing.
Rosalba, her unauthorized biographer, and Paula and Alvaro, a bickering older couple, are joined onboard by the Captain, his nephew Arcadio, and a Puckish character Riolobo, who acts as narrator and supervises the magic in this tale of magical realism.
Below, starting at the top and moving clockwise, are: Kanopy Dancers, Ashraf Sewailam (The Captain), Mackenzie Whitney (Arcadio), Rachel Sterrenberg (Rosalba), Elizabeth Caballero (Florencia Grimaldi), Adriana Zabala (Paula), Levi Hernandez (Alvaro) and Nmon Ford (Riolobo)
The boat (our life) floats along the Amazon (life itself) in this parable of longing, regret, the fickleness of love, love lost and regained, and transformation.
Aiding in the unfolding of the tale are water sprites, referred to at times as Amazons. Six willowy dancers from the Kanopy troupe did not seem particularly Amazonian, but their waving of billowy fabric evoked the river and their retrieving twice from the water careless Rosalba’s precious manuscript added to the magic.
Riolobo and the sprites also bring Alvaro back to life after he appears to drown during a storm. (We should be attentive to water sprites since Dvorak’s “Rusalka,” which also features these denizens, is on the schedule for next year’s season.)
And, in the end, just when you think that all conflicts have been resolved and love is at hand, the boat reaches Manaus only to find it impossible to make landfall due not only to cholera but also to rabies, scurvy, leprosy and beriberi. Florencia’s transformation into a butterfly (below) ends the voyage.
This odd but magical plot is a vehicle for lush, rhapsodic music by a Mexican composer whose life ended too soon. The orchestral and vocal writing featured soaring melodies, which at times reminded me of Puccini had his life extended further into the 20th century. The orchestral writing continually evokes the river and flowing water, reminding me of music of the Impressionists.
John DeMain ably led the wonderfully sounding Madison Symphony Orchestra. He once again proved himself to be a master of pacing, tempo and dynamics.
The opera was very evenly cast. Nmon Ford (below top on right), as Riolobo, had a rich baritone voice and an impressive physicality. His transformation at the end of the first act into a feather-clad river spirit (below bottom) was hypnotic.
As Rosalba, Rachel Sterrenberg (below, top right), who made a memorable appearance last season as the wife Chan in “Charlie Parker’s Yardbird,” was a soprano of great flexibility who rendered her character’s opulent melodic lines with mounting ecstasy. Hers was a thrilling performance.
Her foil, full-voiced tenor Mackenzie Whitney (below, bottom left) as Arcadio, produced some of the most Puccini-like moments of sheer soaring lyricism.
Their duets, including a rather dark anti-love duet, were highlights of the work. Catán’s writing for mixed voices is inspired, and all of the ensemble numbers – duets, a quintet, a septet – are entrancing.
Baritone Levi Hernandez as Alvaro and mezzo-soprano Adriana Zabala as his wife, Paula, had moments of bickering and moments of tenderness. His robust vocalization perfectly complemented the creamy richness of hers. Zabala’s second act lament was very touching.
Bass Ashraf Sewailam, in his debut appearance with Madison Opera, produced some of the best singing of the show. He was both profound and lyrical with a total lack of affectation. His acting was subtle, and his outstanding performance demands his return.
Elizabeth Caballero as the diva Florencia Grimaldi was impassioned, focused yet fluid, sumptuous and rapturous. Her ravishing singing, particularly during her metamorphosis — heard in another production in the YouTube video at the bottom — was truly moving.
The set, lighting, projections and costumes were all understated and perfectly blended. The only false step was what appeared to be coffins flying through the air out of Manaus. It took me a moment to realize they were intended to be floating in the river.
The audience seemed enchanted and moved by the opera. I was, too. Let’s have more works like this.
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