The Well-Tempered Ear

Classical music: University Opera succeeded brilliantly by setting Britten’s “A Midsummer Night’s Dream” in the 1960s at Andy Warhol’s The Factory

November 23, 2019
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By Jacob Stockinger

Larry Wells — the Opera Guy for this blog – took in two performances last weekend of the University Opera’s production of Benjamin Britten’s “A Midsummer Night’s Dream,” which played to three sold-out houses at Music Hall. He filed this review. Performance photos are by Benjamin Hopkins and Michael Anderson.

By Larry Wells

The University Opera’s production of Benjamin Britten’s “A Midsummer Night’s Dream” was set in Andy Warhol’s Factory of the 1960s with countertenor Thomas Alaan (below) as a Warhol-like Oberon presiding over the antics.

The opera by Britten (below) follows Shakespeare’s play fairly closely. The magical transformations and herbs of the original were translated to a hallucinogen-filled milieu of go-go dancing fairies, master-slave relationships and same-sex liaisons.

And for me it worked. That is to say, this production contained the same strangeness and wonder as the traditional productions I have seen. The play itself is very strange and wonderful.

Alaan is a fine singer and played a manipulative and somewhat slimy Warhol/Oberon whose flat affect seemed to be reflected in the relative lack of expressivity in the voice. Pitted against Oberon were Amanda Lauricella and Kelsey Wang alternating as Tytania.

Although the program stated that the portrayal of Tytania was loosely based on Edie Sedgwick in this production, without the platinum hair I missed the references. Both portrayals were much more assertive than Edie ever was, and both singers’ ardent coloratura voices tended to overshadow Oberon’s, which may have been intentional. Wang (below, far right) was an intense actress who put sparks into her portrayal, while Lauricella really has a superb voice.

(Below, from left, are Michael Kelley as Puck; Thomas Alaan as Oberon; Tanner Zocher as a young man; and Kelsey Wang as Tytania.)

The four lovers (below left) seemed to be employees at The Factory. Tenor Benjamin Liupaogo portrayed Lysander. The vocal part has an uncomfortable upper range, but Liupaogo’s singing in the second act particularly was up to the challenge.

His rival Demetrius was portrayed by baritone Kevin Green. Their contending affections for Hermia and Demetrius’ initial scorn for Helena were oddly lacking in ardor.

Hermia was double cast with Julia Urbank, a promising soprano, and Chloe Agostino, who was also a very good singer. Poor Helena, first ignored and then pursued by both men, was also double cast with a terrific Rachel Love and an equally gifted Jing Liu.

(The four lovers, below from left, were: Benjamin Liupaogo as Lysander; Chloe Agostino as Hermia; Jing Liu as Helena;, Kevin Green as Demetrius; and Paul Rowe as Theseus with Lindsey Meekhof as Hippolyte.)

As I have noted before, the female singers in the opera program often seem to be very solid performers. (You can hear the lovers’ quartet in the YouTube video at the bottom.)

And then there were the “Rustics” (below), the workers who have come together to put on the play “Pyramus and Thisbe” for the upcoming wedding of the local duke, or in this case a rich art patron.

(The six rustics, below from left, were: James Harrington as Bottom; Jacob Elfner as Quince; Benjamin Galvin as Snug; Jack Innes as Starveling; Thore Dosdall as Flute; Jeffrey Larson as Snout; with Kevin Green as Demetrius, seated.)

The six men were each talented comic actors and provided many of the performance’s laughs. Foremost was James Harrington’s Bottom. Not only a very funny actor, he produced in my opinion the finest singing among the many talented students.

Mention must be made of the very amusing Flute, hysterically portrayed by Thore Dosdall, and the promising bass Benjamin Galvin as the slow learner Snug.

These men not only sang well together and separately, but also provided many guffaws whenever they appeared. (Below are: Jacob Elfner as Quince; Jeffrey Larson as Snout; James Harrington as Bottom; Jack Innes – back row up on box – as Starveling; Benjamin Galvin as Snug; and Thore Dosdall as Flute.)

Additionally we had the fairies — all female voices in this production — who sounded wonderful together and got to demonstrate their incongruous ‘60s dance moves to Britten’s score.

Professor Paul Rowe (below left, with Lindsey Meekhof as Hippolyta) made an appearance as Theseus, the duke. His singing was that of a mature artist, a quality to which the students are clearly aspiring.

As the opera drew to a close with a beautifully harmonious chorus, one felt the transformation from dissonance to harmony in the opera and conflict to resolution embodied in the original play.

Many mentions of woods and forest are made in the libretto.  Director David Ronis had the walls of the factory cleverly hung with changing arrays of Warhol-like multiple images of flowers and animals. With the amount of weed being smoked and who knows what being ingested onstage, it was easy to believe that the characters might think they were in a forest despite being in a Manhattan warehouse (below).

(The cast, below from left, included Amanda Lauricella and Thomas Alaan in the foreground as Tytania and Oberon. Others were: Julia Urbank on the floor; Benjamin Liupaogo, on the floor; Chloe Flesch; Maria Steigerwald; Amanda Lauricella; Maria Marsland; Angela Fraioli; Thomas Aláan; and James Harrington lying on the couch.)

Presiding over all of this were members of the UW Symphony Orchestra led by new conductor Oriol Sans (below). I have heard maestro Sans conduct the students several times this fall, and I feel he is an outstanding addition to the music school. His control over the forces was amazing, and the subtlety he drew from the players was remarkable.

Ronis (below, in a photo by Luke Delalio) has tried original twists in several of his previous productions, but I think this has been the most outlandish. And I have to say that I really loved it. So carry on, please.

He has a penchant for Britten, one of my favorite composers. His previous productions included “Albert Herring” and “Turn of the Screw.” I wonder if readers have suggestions for another Britten opera he could conceivably produce here. I have my own wish list.

 


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Classical music: Sonata à Quattro does justice to the spiritual piety and beautiful music in Haydn’s “Seven Last Words of Christ”

April 28, 2019
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

Marika Fischer Hoyt’s newest ensemble is called Sonata à Quattro (below), using the Italian Baroque expression for instrumental works scored for three upper parts and basso continuo. That idiom was the background to the more integrated balance of the string quartet.

It was Franz Joseph Haydn (below) who really consolidated that transformation, and so it was appropriate that the new group should at this early point in its development pay a major tribute to that composer.

Responding to a commission from a Spanish prelate, in 1786-87 Haydn composed a set of seven orchestral adagios  — plus opening and closing pieces — to be played in a Good Friday ceremony celebrating the seven final statements by Christ from the cross (below, in a painting by Diego Velazquez) that are cumulatively reported by the Gospel writers.

At the same time, Haydn made a reduction of those orchestral movements into the string quartet format. That version he published outside his regular sets of string quartets, which had opus numbers.

Especially in the quartet form, this music achieved wide circulation, so much so that several attempts were made by others to create an oratorio out of this music, prompting Haydn himself to make his own oratorio version in 1795-96. Along the way, someone else made a keyboard transcription of the music that Haydn sanctioned.

It was, of course, the string quartet version — The Seven Last Words of Christ — that the Sonata à Quattro performed. It did so, first as part of a Good Friday church service in Milwaukee on April 19, and then as an independent one-hour free and public concert at the Oakwood Village West auditorium last Thursday night.

Fischer Hoyt (below), the group’s founder and violist, gave an introductory talk about the group’s name and about its decisions as to instrumentation.  (It usually plays on period instruments, but chose this time to use modern ones with period bows.) Cellist Charlie Rasmussen added some comments about the music and its history. Violinists  Kangwon Kim and Nathan Giglierano were happy just to play.

Haydn’s music was written in the deepest piety and sincerity, and that comes through in the individual components, which cost him much effort. (You can hear the second half of the work in the YouTube video at the bottom.)

The seven Sonatas are framed by a solemn Introduction and a furious evocation of the “earthquake” that we are told followed the death of Jesus. Each successive Sonata is cast in very tight and concentrated sonata form. Haydn makes the Latin form of each statement or “word” the theme of each sonata. In all, the cycle makes the most deeply absorbing combination of spirituality and ingenuity.

The players brought out both those dimensions in a performance of rapt beauty. This score has quite a few recordings, but it is not heard in concert all that often, so it was a treasure to be given this wonderful presentation.

And now we know that Sonata à Quattro has great possibilities to develop.


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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

May 1, 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 photos by James Gill:

By Larry Wells

I looked forward enough to Madison Opera’s premiere production of Daniel Catán’s Spanish-languageFlorencia 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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Classical music: Farley’s underappreciated Salon Piano Series shines again with duo-pianists Robert Plano and Paola Del Negro

September 29, 2017
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

Roberto Plano appeared last season in a four-piano concert in the Salon Piano Series at Farley’s House of Pianos. This year, to open the 2017-18 season in the same series on last Sunday afternoon, the Boston-based pianist brought along his pianist wife, Paola Del Negro, for a duo program of utter fascination. (They are below.)

The first half of the program was devoted to music for piano-four hands, the duo alternating between primo and secondo parts. Robert Schumann’s six “Pictures From the East,” Op. 66, are examples of the composer’s important duo output.

Burgmein was the pen name of the covert composer better known as the influential music promoter and publisher Giulio Ricordi (below). His set of six duet pieces evoking characters from the Italian Renaissance Commedia dell’Arte tradition followed.

Then came two of the Hungarian Dances (No. 2 and 5) by Johannes Brahms in their original piano-duo form. (You can hear them play Hungarian Dances by Brahms in the YouTube video at the bottom.)

Ending the program’s first half was one of its biggest hits. After composing the great orchestral cycle of six patriotic scenes called “My Country,” Bedrich Smetana (below) made four-hand piano arrangements of each. Plano and Del Negro played that for the popular “Moldau.” This arrangement managed to capture a good deal of the orchestral original’s coloristic and dramatic effects, and was played with particular power.

The entire second half was devoted exclusively to a major work by Brahms, his Sonata for Two Pianos, Op. 34b. This work was created first as a string quintet, then later discarded. But the two-piano version (below) was superseded by Brahms’ transformation of its material into a Quintet for Piano and Strings (reckoned as plain Op. 34).

The Quintet — which, by the way will be performed by the UW’s Pro Arte Quartet in the Salon Series next March — is, of course, one of the composer’s masterpieces. But the Two-Piano Sonata survives on its own merits. The parallel material is presented cogently, all of it redistributed in consistently keyboard terms, as against the mixed media of the Quintet.

The duo played it with the necessary Brahmsian burliness and power, and on Farley’s wonderful vintage pianos it sounded simply magnificent.

As an encore, the duo played a two-piano arrangement of an energetic tango piece by Astor Piazzolla, but then followed with another, in this case, an eight-hand piano trifle in which the Plano-Del Negro duo were joined as parents by their two young daughters (below). The audience could hardly resist that!

Plano and Del Negro are great discoveries. And once again, the Salon Piano Series has shown itself as one of the exciting, if too-little-known of Madison’s musical treasures.

For more information about the Salon Piano Series and its upcoming concerts, go to: http://salonpianoseries.org


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