The Well-Tempered Ear

Classical music: On Saturday and Sunday, the Madison Savoyards and Central Wisconsin Ballet team up in Gilbert and Sullivan’s “Pineapple Poll” and “Trial by Jury.” Plus, the first Stoughton Chamber Music Festival starts Saturday

August 15, 2019
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ALERT: The two concerts of the first Stoughton Chamber Music Festival will take place on this Saturday afternoon, Aug. 17, at 3 p.m. and on Monday night, Aug. 19, at 7 p.m. at the Stoughton Opera House, 381 East Main Street. Admission is FREE with a suggested donation of $15.

Featured is music by Johann Sebastian Bach, Johannes Brahms, Samuel Barber, Edvard Grieg, George Gershwin and Paul Schoenfield as well as Norwegian folk music. The Ear did not receive details, but here is more information from a story in Isthmus: https://isthmus.com/events/stoughton-chamber-music-festival/

By Jacob Stockinger

This weekend, the Madison Savoyards and Central Midwest Ballet Academy team up to present two of the less well-known works by Gilbert and Sullivan: the comic ballet Pineapple Poll and the operetta Trial by Jury (below, in a photo by Kat Stiennon).

The performances of the two one-acts are in the Mitby Theater at Madison College (formerly Madison Area Technical College), located at 1701 Wright Street on Madison’s east side, at 7:30 p.m. on Saturday night, Aug. 17, and at 3 p.m. on Sunday afternoon, Aug. 18.

Tickets are $30 for adults; $28 for seniors; and $15 for young people and students. Children 3 and under get in for free.

For more information, call the Mitby Theater Box Office at (608) 243-4000 or got to: www.TrialbyPineapple.com

The music director and conductor of the professional orchestra, who is making his debut with the Madison Savoyards, is Sergei Pavlov (below), who teaches at Edgewood College and directs the Festival Choir of Madison.

The “Pineapple Poll” choreography is by Marguerite Luksik (below) of the Central Midwest Ballet Academy.

The stage director of “Trial by Jury” is J. Adam Shelton (below).

PROGRAM NOTES

Here are some program notes provided by The Madison Savoyards:

In an age of international copyright and patent tension, Pineapple Poll ballet suite is an intriguing story. The composer, Arthur Sullivan, had died in 1900. The 50-year copyright moratorium on his music expired in 1950, but his librettist partner, W.S. Gilbert, died in 1911. So in 1950, the leading 20th-century conductor, the late Sir Charles Mackerras (below), could only use the work of the former to create a new work in their honor.

From this legal oddity came the only ballet based on the works of Gilbert and Sullivan (below) and, according to The Times of London, one of the best loved of English ballets. It was first performed in the United States in 1970 by the Joffrey Ballet in New York City; and, most recently, in El Paso, Tulsa, Pittsburgh, Seattle, Livermore, Sarasota and Northampton, Mass.

The music for Pineapple Poll,as a suite, has been played in numerous venues in the U.S., including a performance with band director Mike Leckrone at the UW-Madison in 2008 and at the UW-La Crosse in 2015, thus indicating a strong Wisconsin interest in the music alone.

From its opening notes leaping off the pages of Mikado, Pineapple Poll is a vigorous listen and a visual delight. Clement Crisp of the Financial Times called it, “that rarest of delights, a true balletic comedy.” The National Association for Music Education had identified it as a model piece for elementary school children. In 2003, Christopher Rawson of the Pittsburgh Post-Gazette observed that, in its pairing with Trial by Jury, “if there’s ever been a Gilbert and Sullivan show for people who don’t like Gilbert and Sullivan, this is it.”

Trial by Jury contrasts with the non-verbal Pineapple Poll, showcasing Gilbert’s lyric style in songs that tell the Victorian tale of marital promissory breach with the resulting farcical trial ending in marriage. It was Gilbert and Sullivan’s second collaboration and established their successful reputations. (In photos by Aimee Broman, below top shows Thore Dosdall playing the defendant Edwin (at left) getting the feeling that the jury is not on his side. Below bottom shows the plaintiff Angelina, played by Megan McCarthy).

The Central Midwest Ballet Academy’s Marguerite Luksik and Michael Knight have created original choreography for Pineapple Poll, and performances will feature students from the Academy’s pre-professional level.

In contrast to the tragic-dramatic plots of traditional ballets, the lighthearted nature of Pineapple Poll appeals to a broader audience. Pineapple Poll presents a combination of balanced spectacle and the challenge of experimental work.

Yoked to Trial by Jury, the two productions spark social and artistic novelty, critique and entertainment.

It is worth noting that the performances this weekend are a new collaboration between two homegrown Madison troupes. The Savoyards have been performing every summer since 1963, while Central Midwest Ballet has been active since 2015.

Here is an example of the Sullivan operetta tunes patched together in the Opening Dance of “Pineapple Poll.” (You can hear the Overture in the YouTube video at the bottom):

    1. The Mikado, Opening Act 1.
    2. Trial By Jury, “Hark, the hour of Ten is sounding.”
    3. The Mikado, “So please you, sir, we much regret” (“But youth, of course, must have its fling. . .”
    4. Patience, “The Soldiers of our Queen.”
    5. Trial by Jury, “He will treat us with awe” (“Trial-la- law”).
    6. The Gondoliers, “Good Morrow, Pretty Maids” (orchestral accompaniment).
    7. Trial By Jury, “Hark, the hour of Ten is sounding.”
    8. The Mikado, “So please you, sir, we much regret.”


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Classical music: Madison Opera gives completely satisfying and nearly perfect performances of “Cavalleria Rusticana” and “Pagliacci.” Here are four reviews

November 8, 2018
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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 performance photos by James Gill:

By Larry Wells

I attended performances of Pietro Mascagni’s “Cavalleria Rusticana” and Ruggero Leoncavallo’s “Pagliacci” presented by the Madison Opera at Overture Hall last Sunday afternoon.

Each of the operas is an hour and a quarter long. At least for “Cavalleria” (below), the time flew by while I was captivated by the good singing, excellent playing and charming staging. The opera is tightly constructed and the production flowed effortlessly to its dramatic conclusion.

The feckless mama’s boy Turridu was ably portrayed by tenor Scott Piper (below top) who sang beautifully throughout. His nemesis, Alfio, was sung by baritone Michael Mayes (below bottom). Mayes has an excellent voice and terrific musicianship, but he tended to overact.

The star of the show was soprano Michelle Johnson (below) as Santuzza.  Her big aria “Voi lo sapete” and her duets with Piper were rapturously dramatic. Her supple and nuanced performance had me uncharacteristically leaping to my feet and shouting “Brava!” as she took her curtain call. Hers is a voice I hope to hear again soon.

The Madison Symphony Orchestra shone throughout the performance, ably led by guest conductor Joseph Mechavich (below). I cannot recall hearing before such subtle control of its orchestral voices, and the ensemble glimmered in the well-known intermezzo. (You can hear that famous and beautiful Intermezzo, used in the film “The Godfather” and conducted by Gustavo Dudamel, in the YouTube video at the bottom.) 

The set and costumes, the bravura singing by the chorus, and the lighting were all above expectations. It was a completely satisfying experience.

“Pagliacci” is a more troublesome work for me. It has moments of lyrical genius but also what to me seems like filler – the chorus going on too long about getting to vespers, for example.

Mayes (below) portrayed the villainous Tonio in this opera.  Although his prologue was beautifully sung, his creepy overacting was a bit too much. For example, when Nedda spat at him in contempt, he wiped the spittle from his face and then licked his hand. His final utterance “La commedia e finita” was overly dramatic and lacking irony.

Piper sang the clown Canio (below), and by the time he got to the showpiece aria “Vesti la giubba” I was nervous that he would not be able to hit all the high notes. He did hit the notes, but it will take a couple more years for this role to fit his voice comfortably.

Nedda was portrayed by sensational Talise Trevigne (below bottom). Her big aria “Stridono lassù” was sung beautifully, and the orchestra shimmered in its accompaniment. Her duet with her lover Silvio, ably sung by baritone Benjamin Taylor (below top), was another highlight of the production.

Once again, the orchestral interlude was beautifully played.

Altogether, this was almost a perfect afternoon at Madison Opera. There appeared to be a gratifyingly large number of younger people attending, which I took as a good sign for the future. (Below is the tragic final scene of “Pagliacci” with Robert Goodrich, Michael Mayes and Scott Piper.)

I look forward to the next production: Stephen Sondheim’s “A Little Night Music” on Feb. 8 and 10. I saw it recently at Des Moines Metropolitan Opera, so I am interested to see how it will compare.

When all is said and done, I enjoyed “Pagliacci” but feel it is inferior to “Cavalleria.” Although both operas are frequently performed together, I have attended other pairings for “Cavalleria” including one with Puccini’s comic short opera “Gianni Schicchi.” That combination worked well. I wonder: Do readers have other suggestions for pairings?

Editor’s note: Everyone has an opinion. How did you and other critics find the Madison Opera productions? Leave your opinion in the COMMENTS section. And here are links to some other reviews:

Here is the review John W. Barker wrote for Isthmus: https://isthmus.com/music/satisfying-double-bill/

Here is the review, with a historical bent, that Greg Hettmansberger wrote for his blog “What Greg Says”: https://whatgregsays.wordpress.com/2018/11/06/madison-opera-goes-old-school/

 And here is what Lindsay Christians wrote for The Capital Times newspaper: https://madison.com/ct/entertainment/arts_and_theatre/theatre/love-revenge-passion-violence-open-the-season-at-madison-opera/article_1c27e195-cc2f-5826-9502-00544b88fae6.html


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Classical music: Madison Opera offers preview events leading up to performances of “Cavalleria Rusticana” and “I Pagliacci” on Nov. 2 and 4

October 13, 2018
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By Jacob Stockinger

The Ear has received the following information to post:

The Madison Opera presents the classic double-bill of Cavalleria Rusticana and I Pagliacci, by Pietro Mascagni and Ruggero Leoncavallo respectively, on Friday, Nov. 2 ,at 8 p.m. and Sunday, Nov. 4, at 2:30 p.m. in Overture Hall.

“Cav and Pag” – as they are traditionally known because they are usually presented together — feature some of the most emotionally dramatic music in the repertoire, these two operas offer the ultimate portrayal of passion and jealousy on stage.

Both operas are set in rural Italy and follow characters whose human emotions lead to tragic endings. (The sets, below, used in Madison, come from the New Orleans Opera.)

Cavalleria Rusticana (“Rustic Chivalry”) tells the story of Turridu, who has abandoned his lover, Santuzza, to rekindle an affair with his now-married former girlfriend. As Easter Sunday unfolds, Santuzza and Turridu engage in a battle of emotions that will end with violent consequences.

I Pagliacci (“The Clowns”) tells of a small theatrical troupe arriving in a village for a performance.  Nedda, wife of the troupe’s leader Canio, agrees to run off with her lover, Silvio, that evening.  Another troupe member, Tonio, tells Canio, who responds violently.

But the show must go on, and as Nedda and Canio enact the play-within-a-play, reality bleeds over onstage and tragedy follows. (You can hear the famous aria “Vesti la giubba” sung by Luciano Pavarotti in the YouTube video at the bottom.)

“When people think of the phrase ‘Italian opera,’ it’s Cavalleria Rusticana and Pagliacci that often come to mind,” says Kathryn Smith (below, in a  photo by James Gill), Madison Opera’s general director.  “The intense emotions of both the characters and the music they sing has never been equaled. I vividly remember the first time I saw Cavalleria and was overwhelmed by the power of it. I am so delighted to produce these operas in Madison for the first time in over 30 years, with this fantastic cast and production team.”

Cavalleria Rusticana by Pietro Mascagni (below) was written for a one-act opera competition in 1890. Based on a short story and play of the same name, it was an immediate smash hit, with 185 productions around the world within three years, making Mascagni an international icon of Italian music.

Ruggero Leoncavallo (below) wrote I Pagliacci two years later in direct response, hoping for a similar success with a one-act opera about real people caught up in an emotional web. Like Mascagni, he had an immediate success, and the two operas have been paired together intermittently for much of the 20th century.

Madison Opera’s cast features both returning artists and debuts.

Making her debut in the role of Santuzza in Cavalleria Rusticana is soprano Michelle Johnson, who has been praised for her “extraordinary breath control and flawless articulation.”

Also making her Madison Opera debut is soprano Talise Trevigne in the role of Nedda in Pagliacci; Trevigne has received acclaim for her “luxuriant vocalism [and] unwavering commitment to character.”

Returning to Madison Opera are tenor Scott Piper(below top) in the dual roles of Turridu/Canio and baritone Michael Mayes(below bttom) in the dual roles of Alfio/Tonio. Piper was last seen in Madison as Cavaradossi in the 2013 production of Puccini’s Tosca; Mayes returns to Madison after his electrifying performance as Joseph De Rocher in Jake Heggie’s Dead Man Walking in 2014.

Rounding out the Cavalleria Rusticana cast are Kirsten Larson as Lola and Danielle Wright as Mamma Lucia, both in their Madison Opera debuts.

Pagliacci will also feature baritone Benjamin Taylor in his Madison Opera debut as Silvio and Madison favorite Robert Goodrich as Beppe.

Kristine McIntyre (below) returns to direct, after her highly acclaimed production of Daniel Catan’s Florencia en el Amazonas last season.

Conducting this production will be Joseph Mechavich (below), who made his Madison Opera debut with Mozart’s Don Giovanni and most recently conducted Opera in the Park 2017. Says Mechavich, “Seeing Cavalleria Rusticana and Pagliacci is the ultimate in an Italian operatic experience.  Audiences will have a visceral reaction to synthesis of music and drama.”

Cavalleria Rusticana and Pagliacci both have magnificent choral writing, from the celebrated Easter Hymn in Cavalleria Rusticana to the Chorus of the Bells in Pagliacci, as well as sumptuous orchestral music.

Rounding out the musical forces are the Madison Opera Chorus, members of the Madison Youth Choirs, and the Madison Symphony Orchestra.

Events leading up to the opera can help the community learn more about Cavalleria Rusticana and Pagliacci. Community preview will be offer an entertaining look at “reality opera” – the “verismo” school, which produced works like Cavalleria Rusticana and Pagliacci.

Cinematheque and Madison Opera will co-sponsor a showing of the 1928 silent film Laugh, Clown, Laugh on Oct. 22.  Opera Up Close provides an in-depth discussion of the operas, including a cast roundtable, on Oct. 28.

RELATED EVENTS

Laugh, Clown, Laugh (1928); Saturday, Oct. 20, 7 p.m.; UW Cinematheque, 4070 Vilas Hall (http://cinema.wisc.edu)

FREE and open to the public; doors open 30 minutes before showtime

Lon Chaney (below), the “Man of a Thousand Faces,” plays Tito, a smiling-on-the-outside circus clown heading for heartbreak after he becomes smitten with the fetching Simonetta (Loretta Young). This reworking of the Pagliacci story offers a great showcase for the two leads and talented director Herbert Brenon. The silent film will feature live piano accompaniment by David Drazin and will be preceded by Acrobatty Bunny (1946), starring Bugs Bunny.

Opera Up Close; Sunday, Oct. 28, 1-3 p.m.; the Margaret C. Winston Opera Center, 335 West Mifflin Street

$20 general admission; free for full-season subscribers; $10 for two-show subscribers

Join Madison Opera for a multimedia behind-the-scenes preview of Cavalleria Rusticana & Pagliacci.  General Director Kathryn Smith will discuss the composers and the history of these two pieces. Principal artists, stage director Kristine McIntyre and conductor Joseph Mechavich will participate in a roundtable discussion about Madison’s production and their own takes on these masterpieces.

Pre-Opera Talks: Friday, Nov. 2, at 7 p.m. and Sunday, Nov. 4, at 1:30 p.m. in the Wisconsin Studio at Overture Center, free to ticket holders. Attend an entertaining half-hour introduction to “Cavalleria Rusticana” and “Pagliacci” one hour prior to curtain.

Post-Opera Q&A: Friday, Nov. 2, and Sunday, Nov. 4, following the performance in the Wisconsin Studio at Overture Center, free to ticket holders

You’ve seen the operas and loved them. But are you perhaps wondering about …?  Join General Director Kathryn Smith immediately after the performances to ask questions about what you have just seen.

More information — including a blog that has interviews with the cast members — is available at www.madisonopera.org


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Classical music: Madison Bach Musicians, with dancers and guest vocal soloists, will perform a tragic Purcell opera and comic Bach cantata this Saturday night and Sunday afternoon

April 2, 2018
2 Comments

By Jacob Stockinger’

This coming weekend the Madison Bach Musicians — an acclaimed local group devoted to period instruments and historically informed performance practices — will present a double bill that features the tragic opera “Dido and Aeneas” by British composer Henry Purcell (below top) and the comic “Coffee” Cantata, BWV 211, by Johann Sebastian Bach (below bottom).

Both performances take place in the Atrium Auditorium (below in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive.

On Saturday, April 7, there is a 6:45 p.m.  lecture by MBM founder and artistic director Trevor Stephenson followed by a 7:30 p.m. performance.

On Sunday, April 8, there is a 2:45 p.m.  lecture by Trevor Stephenson followed by a 3:30 p.m. performance.

Purcell’s vivid and eloquent operatic masterpiece, Dido and Aeneas is based on the tragic love story told in Book IV of Virgil’s epic Latin poem “Aeneid”and is depicted in the 1815 painting (below) by Pierre-Narcisse Guérin.

The performance of the Baroque opera uses a full baroque orchestra.

In addition there are three guest singers as soloists: Chelsea Shepherd (below top) as Dido; Elijah Blaisdell (below middle) as Aeneas; and Nola Richardson (below bottom) as Belinda.

Adding to the production are dance sequences, all coming together thanks to the collaboration of director David Ronis (below top in a photo by Luke Delalio) of the University Opera; Karen McShane-Hellenbrand (below middle) of the UW-Madison Dance Department; and Baroque-performance specialist conductor and UW bassoonist Marc Vallon (below bottom in a photo by James Gill).

J. S. Bach’s witty Coffee Cantata will add some mischievous fun to the program.

This work suggests that perhaps Johann Sebastian himself was a coffee enthusiast at a time when coffee was sweeping the Continent and often seen as a sinful new fad.  “Ah! How sweet coffee tastes! Lovelier than a thousand kisses, sweeter than muscatel wine! I must have my coffee….” sings Lieschen in an aria that you can hear in the YouTube video at the bottom.

Bach even premiered and performed many of his works at Zimmermann’s Coffeehouse in Leipzig, which he frequented and which is depicted below in an 18th-century engraving by Georg Schreiber.

As usual, MBM artistic director Trevor Stephenson (below) will offer his insightful and entertaining commentary on these two diverse masterworks in his lecture preceding each concert.

Tickets are $38, $35 for seniors and $10 for student rush tickets at the door if the concert is not sold out.

Advance tickets are available at the Willy Street Coops East and West. More information about the production and tickets can be found at madisonbachmusicians.org


Classical music: The Wisconsin Chamber Orchestra opens its new season at 7:30 p.m. – NOT 8 — this coming Friday night. The program includes symphonies by William Boyce and Franz Schubert along with the Violin Concerto by Tchaikovsky

October 10, 2016
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By Jacob Stockinger

One by one, the major groups in town are getting their new concert season under way.

The Wisconsin Chamber Orchestra (below) will take its turn this coming Friday night in the Capitol Theater of the Overture Center.

PLEASE NOTE: The traditional starting time for the WCO Masterworks concerts has been changed from 8 p.m. to 7:30 p.m. The Ear isn’t sure whether it is for the convenience of audiences or because of the new security measures at the Overture Center. But he likes the earlier starting time since WCO programs are usually very generous.

WCO lobby

True to his programming philosophy, WCO music director and conductor Andrew Sewell is mixing the very popular with the rarely heard and the almost completely unknown.

andrewsewell

The most popular and well-known work, the Violin Concerto in D major by Peter Ilych Tchaikovsky features Russian violinist Ilya Kaler (below) at the soloist in the surefire work.

Kaler sounds very promising, since he is the only violinist ever to won gold medals at three prestigious competitions — the Tchaikovsky, Sibelius and Paganini competitions. In the YouTube video at the bottom, you can hear him perform a work by Fritz Kreisler at the Heifetz Festival.

ilya-kaler

The Symphony No. 4 in C minor by Franz Schubert (below) is a youthful work, but it possesses a surprisingly mature power deriving from its mood and mystery — perhaps because he composed it in the favorite key of his mentor and idol Ludwig van Beethoven. Hence its nickname, “Tragic.”

It should also be an outstanding performance because Schubert’s music is one of conductor Sewell’s many strengths.

Franz Schubert big

William Boyce (1711-1779) was a Baroque-era English composer, a contemporary of George Frideric Handel, who was more popular in his own day. But who has been making something of a comeback, thanks to the early music movement.

Boyce (below) wrote six symphonies, and No. 5 in D Major on this program promises some pleasant surprises. The Ear doesn’t recall ever hearing Boyce performed live in Madison, though that is hardly the definitive word. Maybe he just missed it.

william-boyce

Single tickets are $10 to $80. For tickets, a sample of Ilya Kaler’s playing and background information, visit:

http://www.wisconsinchamberorchestra.org/performances/masterworks-i-2/


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