The Well-Tempered Ear

Classical music: Madison Bach Musicians cancels its performances in late April of the Monteverdi Vespers of 1610. Here are details about ticket donations and refunds

April 1, 2020
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By Jacob Stockinger

The Ear has received the following note from founder and artistic director Trevor Stephenson (below top) and associate artistic director Kangwon Kim (below bottom) of the Madison Bach Musicians regarding the cancellation of the April performances of Monteverdi’s Vespers of 1610.

Dear Friends of Madison Bach Musicians,

We hope everyone is staying well and hanging in there during this global health crisis and massive shutdown. We’re all monitoring the news and looking for any indication that things might improve soon.

Unfortunately, the chances of improvement coming soon enough for public concerts scheduled even near the end of April are overwhelmingly remote.

Madison Bach Musicians (MBM) is very sorry to have to cancel the Vespers of 1610 by Claudio Monteverdi (below) on April 25 and 26. We were all greatly looking forward to it, and of course the piercing irony of having to cancel is that the joy this music brings is what we now, as a culture, need more than ever.

The global economic impact of the coronavirus and COVID-19 pandemic is certainly catastrophic. And, in the music world we are feeling this directly. As a non-profit organization, cancelling a performance is one of the hardest decisions to make ― but the health and well-being of our audience, musicians and staff absolutely come first.

Madison Bach Musicians (below) has offered the Vespers musicians 40 percent of their fee ― we regret we are not a large enough organization to offer full payment.

Several of the players, however, in a show of great generosity, immediately requested that their portion be distributed among the other players. Considering the economic hardship that most freelance musicians will be facing in the coming months, every degree of financial support is deeply appreciated.

MBM is so very grateful to those of you who have purchased tickets to the Vespers. As MBM will feel the economic effects of the Vespers cancellation for a long time, we ask for your support and careful consideration as you decide what to do with your unused Vespers tickets.

If you have purchased tickets, please let us know by April 26, 2020 whether you would like to:

Make your Vespers tickets a tax-deductible donation to MBM. Thank you ― we appreciate it!

A. If you purchased tickets as part of a 2019-20 MBM season subscription or as individual tickets online, please email MBM manager Karen Rebholz at madisonbachmusicians.manager@gmail.com. She will email you your donation tax receipt.

B.  If you purchased tickets at one of our outlet locations (Orange Tree Imports or Willy Street Co-op East and West), please mail your tickets to MBM by U.S. mail, provide us with your email address, and we will email you your donation tax receipt.

Request a refund. We’re happy to provide your money back, and look forward to seeing you again in 2020-21 season.

A. If you purchased tickets as part of a 2019-20 MBM season subscription or as individual tickets online, please email MBM manager Karen Rebholz at madisonbachmusicians.manager@gmail.com. MBM will mail you your refund check.

B. If you purchased tickets at one of our outlet locations (Orange Tree Imports or Willy Street Co-op East and West), please mail your tickets to MBM by the U.S. mail, provide us with your street address, and MBM will mail you your refund check.

Our mailing address is: Madison Bach Musicians, 5729 Forsythia Place, Madison WI 53705. If you have questions, please email Karen Rebholz, MBM manager, at madisonbachmusicians.manager@gmail.com or call us at (608) 238-6092

Thank you for your understanding. We look forward to seeing you in the 2020-21 season

Very best wishes―and please stay safe.


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Classical music: Acclaimed local soprano Sarah Brailey explains why performing artists and presenters need help during the COVID-19 pandemic

March 23, 2020
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By Jacob Stockinger

Sarah Brailey (below) is worried.

And with good reason.

Chances are good that you have seen the local soprano or heard her sing.

She is the artistic director of the Handel Aria Competition, which she herself won in 2015. (In the YouTube video at the bottom, you can hear Brailey sing the aria “Will the Sun Forget to Streak” from Handel’s oratorio “Solomon,”  with the Trinity Baroque Orchestra under conductor Julian Wachner, in the St. Paul Chapel in New York City.)

Brailey is a co-founder of and participant in the monthly free Just Bach concerts here. In addition, while pursuing graduate studies at the UW-Madison, she is a concert artist with a budding international career. For more about her, including a rave review from The New York Times and sample videos, go to: https://sarahbrailey.com

But right now the Wisconsin native is especially concerned about the lasting impact that the Coronavirus pandemic will have on her own career as well as on the careers of others like her and on the well-being of arts presenters.

Brailey (below, in photo by Miranda Loud) sent The Ear the following essay:

By Sarah Brailey

This is a scary time for everyone, but particularly for anyone who works as an independent contractor.

I am a freelance classical soprano based in Madison. I maintain a very active performing career, traveling all over the globe, and I am also a doctoral student at the UW-Madison Mead Witter School of Music.

When COVID-19 hit the United States, presenting organizations on the east and west coasts started canceling concerts to comply with social distancing recommendations.

I initially thought I was lucky to be living in the middle of the country where our lesser population density might save us. Plus, I am a Teaching Assistant at the UW right now, so I will still be getting my stipend — although teaching virtual voice lessons will be its own special challenge!

But many of my colleagues are not so lucky and are facing bankruptcy. If the government doesn’t include independent contractors in its relief packages, a lot of people are going to be insolvent.

And I myself am not immune. As the seriousness of the situation became clear, all my concerts in the next two months soon disappeared one by one.

While not being able to perform is emotionally devastating, these cancellations are also financially devastating.

There exists a clause in every standard performance contract called “force majeure” (superior force), which is idiomatically referred to as, “an act of God.” This clause excuses a party from not honoring its contractual obligations that becomes impossible or impracticable, due to an event or effect that the parties could not have anticipated or controlled.

This can come in handy for a presenter if there is, say, a blizzard that necessitates the cancellation of a concert. (This happened to me a few seasons ago with the Boston Symphony.) If the presenter will not make any money on ticket sales, they are not then further injured by having to pay the musicians for the canceled concert. (Below, Brailey sings Samuel Barber’s “Knoxville: Summer of 1915” with the Colorado Symphony.)

The ramifications of this pandemic are unprecedented. Every freelance musician I know is suddenly out of work. The current conventions put all of the upfront financial burden on the artists. We are paid in one lump sum at the end of a project. We do not get a fee for the countless hours of preparation.

We often book travel and lodging on our own dime, and are not reimbursed until the end of the gig. We pay for our own health insurance, and we cannot file for unemployment because our work is paid via IRS Form 1099 and not W2s. The abrupt work stoppage caused by this pandemic means insolvency – or even bankruptcy — for many artists. (Below, Brailey sings Handel’s “Messiah” at the famed Trinity Church on Wall Street in New York City.)

Many institutions — and, unfortunately, many of the bigger players like The Metropolitan Opera — are invoking force majeure without much regard for how their artists are struggling.

My colleague, tenor Zach Finkelstein, is covering this in great detail on his blog The Middle Class Artist, as is Alex Ross, the prize-winning music critic for The New Yorker. Read his piece on force majeure here.

However, there are also thankfully some good stories to tell. The Bach Society of Minnesota reimbursed all my travel expenses and is paying 75 percent of my fee, as is the Lyra Baroque Orchestra.

I am helping Zach keep track of the organizations that are helping their artists in this time of need. (Read about them here. Madison Opera is on the list.)

The arts are not just cultural enrichment; they are an essential part of our economy. In 2017, the industry contributed $877.8 billion, or 4.5 percent, to U.S. Gross Domestic Product (GDP) and employed over 5 million workers. We cannot afford to let this industry disappear. I fear that many individual artists and arts organizations will not recover from this. (Below, Brailey sings Johann Sebastian Bach’s “Magnificat” at the Bucknell Bach Festival.)

While we wait out this storm, I implore you to donate to a Madison arts organization. Here is a short list of recommendations along with some national relief funds for artists.

Local Arts Organizations

Madison Bach Musicians

Handel Aria Competition

Madison Early Music Festival

Madison Opera

Madison Youth Choirs

List of National Relief Funds


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Classical music: The coronavirus forces the cancellation of Bach Around the Clock plus concerts by pianist Drew Petersen and violinist Gil Shaham. Other groups will wait and see. Read local and national overviews

March 13, 2020
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By Jacob Stockinger

The pandemic of the coronavirus (below, from by the federal Centers for Disease Control) has now put Wisconsin into a public health emergency, as declared Thursday morning by Gov. Tony Evers, and continues to take its toll on the local art scene – and does so very quickly.

Since yesterday, the threat posed by the coronavirus and COVID-19 has forced the cancellation of three more major musical events:

The biggest is the cancellation of Bach Around the Clock 2020 on Saturday, March 28.

BATC is the FREE annual event celebrating the birthday of Johann Sebastian Bach (1685-1750). It runs for 12 hours, from 10 a.m. to 10 p.m., and offers dozens of performances by student, amateur and professional musicians.

A Saturday night concert and Sunday afternoon master class by up-and-coming pianist Drew Petersen (below)  — for the Salon Piano Series at Farley’s House of Pianos– has been cancelled and postponed until the summer.

And the March 28 recital by violinist Gil Shaham (below) and pianist Akira Eguchi at the Wisconsin Union Theater has been cancelled

Some other major groups are taking a wait-and-see approach about cancelling events. They include: the Madison Opera, the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra.

You can read more about them, and about other local arts events, including pop music as well as museum openings and exhibitions, in a comprehensive overview by Michael Muckian in Isthmus: https://isthmus.com/news/news/coronavirus-impacts-arts-events/

And here is an excellent story from National Public Radio (NPR) about the national context of how the Coronavirus is impacting the arts across the U.S. https://www.npr.org/2020/03/12/814992409/in-the-age-of-covid-19-event-cancellations-precipitate-a-large-economic-impact

DETAILS ABOUT POSTPONEMENTS AND REFUNDS

Here is the announcement from BATC artistic director Marika Fischer Hoyt (below):

“Dear friends and colleagues,

“We on the BATC board have been carefully monitoring this rapidly-developing situation:  the exponentially increasing number of cases being diagnosed in the U.S., the recommendations from the medical community, and responses from other organizations large and small.

“After careful consideration, we have decided, regretfully, that the most responsible course of action is to cancel the BATC festival this March.

“We on the board are so grateful to the performers, hosts and donors, who have invested time, talent and resources in this year’s festival. Our hope is to reschedule for a date in the fall. Stand by for more information on that soon.

“But for now, we ask for your understanding.

“I hope, even though we can’t celebrate his music together on the March 28, that we will all find ways to enjoy Bach’s music this month.”

For more information, go to: https://bachclock.com and facebook.com/batcmadison

Here are details about the Drew Petersen cancellations:

“Sadly, we are postponing both the Drew Petersen concert on March 14 and his master class on March 15 until the summer.

“New dates for the concert and master class are yet to be determined. We will announce them via email, the Salon Piano Series website and on social media for the Salon Piano Series.

“We know you’ll understand that our concern for your health and well-being made this decision necessary.

“You may request a refund or keep your ticket for the concert in the summer. Everyone who bought a ticket will have one week after the announcement of the new concert date to request a refund.

“If you would like a refund immediately, please follow the instructions below. Please allow several business days for refunds to be processed.

Paper Tickets: If you have a paper ticket, please take a photo of your ticket and email the photo to cristofori@salonpianoseries.org

explaining that you would like a refund.

Online Tickets: “If the ticket is not part of a season ticket, call Brown Paper Tickets at 1-800-838-3006.

If your ticket is part of a season ticket, contact Salon Piano Series at 608-271-2626. Refunds for season ticket holders will be issued through Salon Piano Series by check, not through Brown Paper Tickets.

Tickets Ordered by Phone

If you purchased a ticket by phone, contact Salon Piano Series at 608 271-2626 to request a refund.


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Classical music: This Sunday afternoon at Farley’s, pianist Shai Wosner performs sonatas by Beethoven, Schubert, Scarlatti and Rzewski. On Saturday afternoon, he gives a FREE public master class

February 18, 2020
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ALERT and CORRECTION: Earlier this week, The Ear mistakenly said the concert by UW Concert Band is Wednesday night. He apologizes for the error.

It is TONIGHT at 7:30 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave. In addition, the School of Music website has updated information about the program to be played under director and conductor Corey Pompey. Go to: https://www.music.wisc.edu/event/uw-concert-band-3/

By Jacob Stockinger

This coming Sunday afternoon, one of the today’s most interesting and creative concert pianists will return to Madison to make his solo recital debut.

His name is Shai Wosner (below, in a  photo by Marco Borggreve) and he is an Israeli-American who is acclaimed for his technique, his tone and his subtle interpretations.

But what also makes Wosner especially noteworthy and one of the most interesting musical artists performing today is his eclectic, thoughtful and inventive approach to programming.

For more information about Wosner, go to his home website: http://www.shaiwosner.com

Wosner returns to Madison to perform his first solo recital here at 4 p.m. this coming Sunday afternoon, Feb. 23, on the Salon Piano Series at Farley’s House of Pianos, at 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Born in Israel and now teaching in Boston while touring, Wosner will play sonatas by Beethoven, Scarlatti, Rzewski and Schubert.

He has performed with orchestras throughout the U.S. and Europe, and records for Onyx Classics. “His feel for keyboard color and voicing is wonderful,” said The Washington Post.

The Madison program is: Beethoven’s Sonata No. 15 in D Major (“Pastoral”), Op. 28; Scarlatti’s Sonata in D minor, K. 141, Allegro, with Rzewskis’ Nanosonata No. 36 (“To A Young Man”); Scarlatti’s Sonata in D minor, K. 9, Allegro, with Rzewski’s Nanosonata No. 38 (“To A Great Guy”); Scarlatti’s Sonata in C minor, K. 23, with Rzewski’s Nanosonata No. 12; and Schubert’s last Sonata in B-flat Major, D. 960.

An artist’s reception will follow the concert.

Tickets are $45 in advance (students $10) or $50 at the door. Service fees may apply. Tickets are also for sale at Farley’s House of Pianos. Call (608) 271-2626.

Student tickets can only be purchased online and are not available the day of the event.

To purchase tickets, go to: https://www.brownpapertickets.com/producer/706809

For more information about Wosner’s FREE public master class at 4:30 p.m. on Saturday, Feb. 22, including the names of local students and their teachers plus the titles of works by Mozart, Debussy and Ravel to be played, go to: https://salonpianoseries.org/concerts.html

Wosner (below) recently did an email Q&A with The Ear:

In concerts and recordings, you like to mix and intersperse or alternate composers: Brahms and Schoenberg; Haydn and Ligeti; Schubert and Missy Mazzoli; and Beethoven, Schubert, Chopin, Liszt, Dvorak, Ives and Gershwin. Why do you pair sonatas by Domenico Scarlatti (1685-1757) and the American composer Frederic Rzewski (1938-) in this program?

I like to pair together composers from very different periods in ways that, hopefully, bring out certain things they have in common in spite of the differences.

Perhaps it is a way of looking for the underlying principles that make music work, for the ideas that go beyond styles and time periods and that stimulate composers across centuries.

In the case of Scarlatti (below top) and Rzewski (below bottom), it is the extreme conciseness of their sonatas and also their almost impulsive kind of writing with ideas and twists and turns kept unpredictably spontaneous, almost in the style of stream-of-consciousness.

Their sonatas are closer to the literal meaning of the word – “a piece that is played” as opposed to sung (which was more common in Scarlatti’s time perhaps). They are also very much about treatment of the keyboard and gestural writing rather than the more essay-type sonatas that were the dominant idiom for Beethoven and Schubert.

Why did you pick these particular sonatas by Beethoven and Schubert to bookend the program?

The sonata by Beethoven (below top) is quite unusual for him, without many contrasts and very lyrical, which perhaps is a certain parallel with the Schubert sonata. (You can hear Wosner playing an excerpt from another Beethoven sonata in the YouTube video at the bottom.)

But they are also very different. Beethoven’s sonata looks around it and is about idyllic nature — the title “Pastoral” isn’t by Beethoven but it is written in that kind of style — and the sonata by Schubert (below bottom) is more introspective, perhaps about human nature.

What would you like the public to know about specific works and composers on your Madison program?

I think it’s always stimulating to challenge preconceptions we have about composers.

Beethoven is often associated with a certain “heroic” style and bold, dramatic gestures while this piece is quite understated in many ways.

Schubert’s last sonata is often seen as a farewell to the world. But at the same time Schubert himself may not have been aware of his impending death as much as we think – he made some plans right near the end that may suggest otherwise.

I prefer to let everyone find in this music what they will, of course. But I think these works reveal other aspects of these composers that we don’t always think of. Is Schubert’s piece really about his own tragedy? It is probably much broader than that.

Now that your acclaimed Schubert project is completed, what are your current or upcoming projects?

I am currently working with five other composers on a project that is a collection of five short pieces written as “variations” for which the theme is a quote from a 1938 speech by FDR: “remember, remember always, that all of us… are descended from immigrants and revolutionists.”

Each composer chose a figure of an immigrant — some famous, some not — to write about. The composers are Vijay Iyer, Derek Bermel (below top), Anthony Cheung, Wang Lu and John Harbison (below bottom).

These “variations” will be paired with Beethoven’s “Diabelli” Variations.

What else would you like to say about your career and, after several concerto appearances with the Wisconsin Chamber Orchestra, about your solo recital debut in Madison?

Madison has a lovely audience that I was fortunate to meet in the past, and I certainly look forward to being back there!

 


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Classical music: This weekend, the Madison Symphony Orchestra celebrates Valentine’s Day with violinist Pinchas Zukerman and cellist Amanda Forsyth in the Romantic “Double Concerto” by Brahms

February 10, 2020
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra, under the baton of John DeMain, will celebrate Valentine’s Day.

The program “Romantic Encounter” examines the brashness of French composer Hector Berlioz’s Le Corsaire” Overture, as well as the thundering seriousness of American composer Aaron Copland’s Symphony No. 3.

The husband-and-wife duo (below) of violinist Pinchas Zukerman, and cellist Amanda Forsyth make their return to Madison to reprise their performance of German composer Johannes Brahms’ Double Concerto for Violin and Cello in A minor. (You can hear the passionate slow movement in the YouTube video at the bottom.)

Performances will be held in Overture Hall, 201 State Street, on Friday, Feb. 14, at 7:30 p.m.; Saturday, Feb. 15, at 8 p.m.; and Sunday, Feb. 16, at 2:30 p.m.

Tickets are $19 to $95. See below for details.

Says maestro DeMain (below, in a photo by Greg Anderson) about the world-renowned duo: “The married team of Pinchas Zukerman and Amanda Forsyth return to recreate their exciting interpretation of the Brahms Double Concerto for violin, cello and orchestra.

“One of Berlioz’s finest overtures, the exhilarating Le Corsaire opens the concert. And Aaron Copland’s majestic, powerful and lyrical Third Symphony — which is one of Copland’s great masterpieces and includes his Fanfare for the Common Man — is heard on the second half of the program.”

Eight minutes long, Berlioz’s swashbuckling Le Corsaire” was composed in Nice, France, after the final break-up of his marriage. The composer resided in a tower above the sea, which explains the ruined fortification’s depiction in his overture. “Corsaire” translates to “a ship used for piracy,” but this meaning is not related to the work.

 The Double Concerto was Brahms’ final work for orchestra. He composed the concerto for his old but estranged friend, violinist Joseph Joachim, as well as for cellist Robert Hausmann. With few recent precedents, the closest comparison to this work would be the Baroque concerto grosso, in which a soloist or small group is contrasted with an entire ensemble.

Copland’s monumental Symphony No. 3 was commissioned by conductor Serge Koussevitsky and the Boston Symphony Orchestra. The work perfectly reflects the spirit of post-war America and impressively holds the title of “Greatest American Symphony.” In writing this piece, Copland (below) borrowed from himself by incorporating his triumphant Fanfare for the Common Man.

ABOUT PINCHAS ZUKERMAN

With a celebrated career encompassing five decades, Pinchas Zukerman reigns as one of today’s most sought-after and versatile musicians — violin and viola soloist, conductor and chamber musician. He is renowned as a virtuoso, admired for the expressive lyricism of his playing, singular beauty of tone, and impeccable musicianship, which can be heard throughout his discography of over 100 albums.

Born in Tel Aviv, Zukerman came to the United States where he studied at the Juilliard School with Ivan Galamian as a recipient of the American-Israel Cultural Foundation scholarship. He received the National Medal of Arts from President Ronald Reagan and is a recipient of the Isaac Stern Award for Artistic Excellence in Classical Music.

ABOUT AMANDA FORSYTH

The Canadian and Juno Award-winning Amanda Forsyth is considered one of North America’s most dynamic cellists. She has achieved her international reputation as soloist, chamber musician and was principal cello of Canada’s National Arts Centre Orchestra from 1999 to 2015. Her intense richness of tone, remarkable technique and exceptional musicality combine to enthrall audiences and critics alike.

PROGRAM NOTES, TICKETS AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. 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 that takes place one hour before each concert.

Program notes are available at: http://www.allsenmusic.com/NOTES/1920/5.Feb20.html

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

Major funding for the February concert has been provided by NBC 15; The Madison Concourse Hotel and Governor’s Club; Marvin J. Levy; Fred and Mary Mohs; Nancy Mohs; and David and Kato Perlman.

Additional funding has been provided by Robert Benjamin and John Fields; Boardman and Clark LLP; Forte; Barbara Melchert and Gale Meyer; 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: The Wisconsin Chamber Orchestra expands its Masterworks series this Friday night in Madison and Saturday night in Brookfield with piano soloist Orion Weiss and music by Mozart, Mendelssohn and Donald Fraser

January 21, 2020
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CORRECTION: The Ear received the following correction to the story about the Wisconsin Chamber Orchestra and apologizes for the error:

“There was a change to our rollout in Brookfield. We are only repeating the fifth Masterworks concert on Saturday, May 9. at 7:30 p.m. at the Sharon Lynne Wilson Center for the Arts. We are NOT repeating this Friday’s concert in Brookfield.

“We will perform a Family Series concert of “Beethoven Lives Next Door” on Sunday, March 29, at 3 p.m. at the same Brookfield venue.”

By Jacob Stockinger

The Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) is about to take a Great Leap Forward.

This weekend will see the WCO — now in its 60th year of existence and its 20th season under music director Andrew Sewell (below bottom, in a photo by Alex Cruz) – take a major step in its evolution as a statewide music ensemble. It is a development comparable to when John DeMain took the Madison Symphony Orchestra from single performances to “triples.”

That is because, for the first time ever, the WCO is going to “doubles.” It will perform Masterworks concerts in Madison on Friday nights at 7:30 p.m. in the Capitol Theater of the Overture Center. Then the WCO will repeat the same concert on the following Saturday night in the Milwaukee suburb of Brookfield at the Sharon Lynne Wilson Center for the Arts.

For a full story with lots of background and quotes about future plans for the WCO, you can’t do better than read the story by Michael Muckian that appeared last week in Isthmus:

Here is a link: https://isthmus.com/music/wisconsin-chamber-orchestra-turns-60/

The opening program has a couple of points of special interest.

First, this concert will mark the Madison debut of pianist Orion Weiss, a former student of Emanuel Ax who is increasingly booked for concerts and recordings.

Weiss (below in a photo by Jacob Blickenstaff) will solo in perhaps the most popular and famous of Mozart’s 27 piano concertos: No. 21 in C Major, K. 467. It is also known as the “Elvira Madigan” concerto because the beautiful  slow movement was used as the soundtrack to the movie of that same name. (You can hear the slow movement at the bottom in a YouTube video that has more than 59 million views.)

You can learn more about Weiss at his website: https://www.orionweiss.com

Another unique facet of the WCO concert is the U.S. premiere of “Sinfonietta for Strings” (2018) by the award-winning British composer Donald Fraser, now an American resident who lives in Illinois and is married to Bridget Fraser, the executive director of the Wisconsin Youth Symphony Orchestras (WYSO).

Fraser (below) – whose music is tonal and accessible — is especially well known, not only for his original compositions but also for his orchestral arrangements of chamber music by Brahms, Elgar, Marin Marais and others. His 2018 recording of “Songs for Strings” features many of those transcriptions.

For more about Fraser, go to his website: https://donaldfraser.com/index.html

The concert will conclude with the Symphony No. 4 – the “Italian” Symphony – by Felix Mendelssohn. It is a sunny, tuneful and energetic work that is the most popular and best-known symphony by Mendelssohn. It was also used in a movie as the soundtrack to the Italian bicycle race in the coming-of-age film “Breaking Away.”

Tickets are $10-$77. For more information about the program and the soloist, as well as about pre-concert dinners and how to buy single and season subscription tickets, go to: https://wisconsinchamberorchestra.org/performances/masterworks-i-5/

 


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Classical music: This Sunday afternoon, the Madison Symphony Orchestra takes listeners “Behind the Score” of the Symphony No. 5 by Prokofiev

January 16, 2020
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By Jacob Stockinger

This Sunday afternoon, Jan. 19, at 2:30 p.m. in Overture Hall, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) and MSO music director John DeMain will present the story behind Prokofiev’s Symphony No. 5 with “Beyond the Score®: Sergei Prokofiev Symphony No. 5: Pure Propaganda?”

The one performance-only concert is a multimedia examination of the Russian composer’s musical celebration of the end of World War II. (You can hear the second movement in the YouTube video at the bottom.)

The presentation stars American Players Theatre actors James Ridge (below top), Colleen Madden (below second), Marcus Truschinski (below third) and Sarah Day (below bottom).

Along with MSO pianist Dan Lyons (below), the concert experience features visual projections, photos and musical excerpts.

Then in the second half comes a full and uninterrupted performance of the Symphony No. 5 by the orchestra conducted by John DeMain (below, in a photo by Prasad).

“This is one of the great offerings of Beyond the Score,” says DeMain. “Three generations of great Russian composers influenced Sergei Prokofiev (below) from childhood into his adult years, helping him create the most popular of his big symphonies, his fifth.

Adds DeMain: “I have so much fun working with the great actors from the American Players Theatre as they interweave the backstory with the orchestra. The visuals for this production are spectacular. After intermission, we play this wonderful symphony in its entirety.”

Prokofiev’s Symphony No. 5 was published in 1944. Taking inspiration from his experiences in America and his return to the Soviet homeland after the war, Prokofiev expresses the heroic, beautiful and strong nature of the music.

This Beyond the Score production joins Prokofiev at the end of World War II and discovers his inspiration for Symphony No. 5.

Incorporating war video footage and propaganda photos, the program presents the historical context behind the classical piece turned masterpiece.

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. The symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations.

Program notes are available online for viewing in advance of the concerts: http://bit.ly/msojan20programnotes

  • Single Tickets are $16-$70 each and are on sale now at: https://madisonsymphony.org/event/beyond-the-score-2020-prokofiev/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.
  • Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

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

ABOUT BEYOND THE SCORE®

For newcomers to classical music and longtime aficionados alike, each Beyond the Score® presentation is a dramatic exploration of a composer’s music.

Through live actors, stunning visual projections and virtuosic fragments of live music performed by members of the orchestra, the compelling story of the composer’s life and art unfolds, illuminating the world that shaped the music’s creation. Beyond the Score presentations weave together theater, music and design to draw audiences into the concert hall and into a work’s spirit.

The popular program seeks to open the door to the symphonic repertoire for first-time concertgoers as well as to encourage an active, more fulfilling way of listening for seasoned audiences.

At its core is the live format of musical extracts, spoken clarification, theatrical narrative, and hand-paced projections on large central surfaces, performed in close synchrony.

After each program, audiences return from intermission to experience the resulting work performed in a regular concert setting, equipped with a new understanding of its style and genesis.

Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Score®

Exclusive funding for this concert is provided by the Pleasant T. Rowland Foundation.

 


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Classical music: Background discussions, lectures and documentaries lead up to Madison Opera’s production of the LGBTQ-themed, McCarthy-era opera “Fellow Travelers” on Feb. 7 and 9

January 14, 2020
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By Jacob Stockinger

The Madison Opera continues its foray into 21st-century operas with Gregory Spears’ Fellow Travelers on Friday night, Feb. 7, at 8 p.m. and Sunday afternoon, Feb. 9, at 2:30 p.m. in the Capitol Theater at the Overture Center.

(Production photos below are by Dan Norman of the Minnesota Opera production, which is being encored in Madison. You can see and hear a preview of the Minnesota Opera production in the YouTube video at the bottom.)

The acclaimed 2016 opera is set in 1950s Washington, D.C. The “Lavender Scare,” in which suspected homosexuals saw their livelihoods and lives destroyed, has enveloped the U.S. government. (Below are Andres Acosta as Timothy Laughlin and Sidney Outlaw as Tommy McIntyre.) 

Against this backdrop, Timothy Laughlin, a recent college graduate and an ardent supporter of Wisconsin’s anti-Communist Republican Senator Joseph McCarthy, meets Hawkins Fuller, a State Department official.

The two men (below, Acosta on the right) embark on a relationship, tangled in a web of fear and necessary deceit. Their friends and colleagues fill out a story of individuals grappling with their beliefs and emotions.

With a libretto by Greg Pierce that is based on Thomas Mallon’s 2007 novel, Fellow Travelers was praised as “a near-perfect example of fast-flowing musical drama” by The New York Times and tells of the very human consequences of prejudice and fear, with compassion, nuance and incredible beauty.

The opera will be sung in English with projected text.

The performance will last approximately 2 hours 25 minutes, including one intermission.

For more information, go to: www.madisonopera.org/FellowTravelers

Tickets are $26 to $118 with discounts available for students and groups. Go to the Overture Center box office at 201 State Street or call it at (608) 258-4141 or go online to www.MadisonOpera.org/Tickets

“When I saw Fellow Travelers, I knew before it was over that I would be producing it in Madison,” says Madison’s Opera’s General Director Kathryn Smith (below in a photo by James Gill). “I fell in love with the haunting music and the well-drawn characters, and the emotional impact at the end was even more powerful than I had anticipated. I am truly looking forward to sharing this modern masterpiece with our community.”

Peter Rothstein (below) directs this production in his Madison Opera debut. Rothstein, who received his MFA from the UW-Madison, directed Fellow Travelers for Minnesota Opera in 2018.

The Twin City Arts Reader called his production “equal parts sweeping love affair and tragic circumstance. To some, the events will feel comfortably distant for this doomed period romance. For others, they will seem all too real and possible in this day and age. It’s a powerful combination.”

Making his Madison Opera debut as Timothy Laughlin is Andres Acosta (below), who performed this role to acclaim at the Minnesota Opera.

Ben Edquist (below), who debuted at Opera in the Park this past summer, sings Hawkins Fuller.

Adriana Zabala (below, of Florencia en el Amazonas) returns as Mary Johnson, who works with Hawkins and is a friend and voice of conscience for him and Timothy.

Returning to Madison Opera are Sidney Outlaw (below top, of Gounod’s Romeo and Juliet) as Tommy McIntyre, a political insider, and Alan Dunbar (below bottom, in a photo by Roy Hellman, of Mozart’s The Magic Flute) in multiple roles, including Senator Joseph McCarthy and a government interrogator who puts Hawkins through a lie detector test.

Andrew Wilkowske (below) debuts in several roles, including Senator Potter and General Arlie.

Filling out the cast is Madison Opera Studio Artist Emily Secor (below top) as Miss Lightfoot, who works in Hawkins’ office; soprano Cassandra Vasta (below bottom) as Lucy, whomHawkins marries; and Madison Opera Studio Artist Stephen Hobe in five different roles.

John DeMain (below, in a photo by Greg Anderson) conducts, with the Madison Symphony Orchestra in the pit.

Madison Opera’s production of “Fellow Travelers” is sponsored by: Fran Klos; Sally and Mike Miley; David Flanders and Susan Ecroyd; John Lemke and Pamela Oliver; Sharyn and Carl Stumpf; and Dane Arts. Community events are sponsored by The Capital Times.

RELATED EVENTS

In addition to the two performances, Madison Opera offers several events to allow deeper exploration of the opera and its historical background.

They include a free discussion of the “Wisconsin Dimension” of this period in history at the Madison Central Library and a free showing of The Lavender Scare documentary at PBS Wisconsin (formerly Wisconsin Public Television).

OPERA NOVICE: WELCOME TO THE 21st CENTURY

This Friday, Jan. 17, 6-7 p.m. FREE and open to the public at the Madison Opera Center (below), 335 West Mifflin Street

New to opera? Not sure how you feel about modern opera? Come to the Madison Opera Center for a short, fun and informative evening, led by General Director Kathryn Smith.

Learn about some of the new American operas that are shaping the operatic landscape in the 21st century, including Fellow Travelers. Studio Artist Stephen Hobe (below) will sing an aria from Fellow Travelers, and there will be plenty of time for questions. It’s the perfect jump-start for the opera-curious.

FELLOW TRAVELERS: THE WISCONSIN DIMENSION

This Sunday, Jan. 19, 3–4:30 p.m.; FREE and open to the public at the Madison Central Library, 201 West Mifflin Street

 Join us for a discussion of how the Lavender Scare and its fallout was felt in Wisconsin, led by R. Richard Wagner (below top), activist and author of We’ve Been Here All Along: Wisconsin’s Early Gay History (below middle), and Susan Zaeske (below bottom), a UW-Madison campus leader in the arts and humanities who has taught an experiential-learning course on LGBTQ history.

THE LAVENDER SCARE– Documentary Screening

Friday, Jan. 24, 7 p.m.; FREE and open to the public at PBS Wisconsin, 821 University Avenue

PBS Wisconsin (formerly Wisconsin Public Television) presents a screening of The Lavender Scare, the first documentary film to tell the little-known story of an unrelenting campaign by the federal government to identify and fire all employees suspected of being homosexual.

Narrated by Glenn Close, the film was praised as “a gripping, nimbly assembled documentary… vivid, disturbing and rousing” by the Los Angeles Times. The screening will be followed by a discussion.

OPERA UP CLOSE: FELLOW TRAVELERS

Sunday, Feb. 2, 1-3 p.m.; FREE for full-season subscribers; $10 for two-show subscribers; and $20 for non-subscribers; at the Madison Opera Center, 335 West Mifflin Street

Join the Madison Opera for a multimedia behind-the-scenes preview of Fellow Travelers. General Director Kathryn Smith will discuss many aspects of the opera, including the historical events that provide the story’s backdrop, the novel on which it is based, and how this 2016 opera swiftly spread across the country.

Principal artists, stage director Peter Rothstein, and conductor John DeMain will participate in a roundtable discussion about Madison’s production and their own takes on this acclaimed 2016 work.

PRE-OPERA TALKS

Friday, February 7, 2020, 7 p.m. and Sunday, February 9, 2020, 1:30 p.m. FREE to ticket holders at the Wisconsin Studio in the Overture Center

Join General Director Kathryn Smith one hour prior to performances for an entertaining and informative talk about Fellow Travelers.

 


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Classical music: Award-winning prodigy pianist Maxim Lando performs a recital at Farley’s on Sunday afternoon and gives a free public master class on Saturday afternoon

November 15, 2019
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ALERT: At noon this Saturday, Nov. 16, Grace Presents offers a FREE one-hour concert by Lawren Brianna Ware and friends. The concert is at Grace Episcopal Church, 116 West Washington Avenue, downtown on the Capitol Square.

Pianist and composer Ware, the 2017 Grand Prize Winner of the Overture Rising Stars Competition, will perform a program of original, contemporary and classical solo and chamber works entitled “These Are a Few of My Favorite Things.” Featured are works by Aram Khachaturian, Fazil Say, Frederic Chopin, Ludwig van Beethoven, Robert W. Smith, Martin Ellerby  and Eric Ewazen.

By Jacob Stockinger

You have to hand it to Farley’s House of Pianos and its Salon Piano Series: They sure know how to book young up-and-coming performers to stay ahead of the curve.

Last season, they presented Kenneth Broberg, a silver medalist at the last Van Cliburn International Piano Competition, before he was accepted into the International Tchaikovsky Competition in Moscow, where he won a bronze medal.

This weekend, the Salon Piano Series presents another timely choice.

This Sunday afternoon, Nov. 17, at 4 p.m., the 17-year-old American piano prodigy Maxim Lando (below, in a photo by Matt Dine) will perform a solo recital at Farley’s showroom, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Once again, Lando was booked just before winning a big award and honor.

In addition, at his Salon Piano Series premiere, Lando will have grandparents in the audience, as well as an aunt, uncle and cousins, all from the Madison area.

The son of pianist Pippa Borisy, who grew up in Madison, and clarinetist Vadim Lando, Maxim was raised in Great Neck, Long Island, New York, and has a full-time career as a touring pianist while still finishing high school.

Lando first received national attention in 2017 when he performed with superstar Chinese pianist Lang Lang and jazz great Chick Corea with the Philadelphia Orchestra at Carnegie Hall’s Gala Opening Night.

He won the 2018 Young Concert Artists auditions at the age of 16 and Susan Hall of Berkshire Fine Arts has described him as having “a very old musical soul.”

This fall he received a Gilmore 2020 Young Artist Award, which recognizes the most promising of the new generation of U.S.-based pianists, age 22 or younger. He will perform a series of concerts this season at the Gilmore Keyboard Festival as part of the recognition.

For this Salon Piano Series concert, Lando will perform the same program he performed for recent sold-out performances at the Kennedy Center in Washington, D.C., and Carnegie Hall in New York City.

Lando’s program includes: Nikolai Kapustin’s Concert Etude “Toccatina”; Ludwig van Beethoven’s Sonata No. 30 in E Major, Op. 109 (you can hear the opening movement in the YouTube video at the bottom); Alexander Scriabin’s Prelude in B major and Etude in D-sharp minor; and Franz Liszt’s “Transcendental Etudes.”

Tickets are $45 in advance (full-time students are $10) or $50 at the door (if any remain). Service fees may apply.  Student tickets can only be purchased online and are not available the day of the concert.

Tickets can be purchased at: https://www.brownpapertickets.com/event/4275212

An artist’s reception will follow the concert.

For more information, go to: https://salonpianoseries.org/concerts.html

MASTER CLASS

Also, on this Saturday, Nov. 16, at 4 p.m., Maxim Lando will teach a master class at Farley’s House of Pianos, where he will instruct four local students.

This is a free event that the public is invited to observe.

For a complete list of the music by Beethoven, Prokofiev and Clementi to be performed as well as the names of the local students and their teachers, go to: https://salonpianoseries.org/concerts.html

The master classes for the 2019-20 season are supported by the law firm of Boardman and Clark LLP.

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: UW countertenor Gerrod Pagenkopf returns to sing on Sunday night with Chanticleer. Here’s how he got there with the right teacher, hard work, good luck and a push from mom. Part 2 of 2 

October 1, 2019
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By Jacob Stockinger

This coming Sunday night, Oct. 6, at 7:30 p.m. in the new Hamel Music Center, the a cappella singing group Chanticleer (below) will kick off the centennial anniversary celebration of the Concert Series at the Wisconsin Union Theater.

Tickets are $45 for the public; $40 for faculty staff and Union members; and $10 for students. For more information about the performers and the “Trade Winds” program, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/chanticleer/

Among the 12 members of Chanticleer is Gerrod Pagenkopf, who is in his fifth year with the group as both a countertenor and the assistant music director.

For a biography of Pagenkopf, go to: https://www.chanticleer.org/gerrod-pagenkopf

Pagenkopf is a graduate of the UW-Madison. When he performed as a student, his high, clear countertenor voice was a new experience and made those of us who heard him sit bolt upright and take notice. “He is going places,” we said to each. And so he has.

But Pagenkopf’s story is not only about him. It is also about the rediscovery of countertenors, about the changing public acceptance of them, and about the challenges that young musicians often face in establishing a professional performing career.

So The Ear is offering a longer-than-usual, two-part interview with Pagenkopf (below).

Part 1 appeared yesterday. Here is a link: https://welltempered.wordpress.com/2019/09/30/classical-music-uws-first-countertenor-gerrod-pagenkopf-returns-to-perform-on-sunday-night-as-a-member-of-the-acclaimed-choral-group-chanticleer-heres-how-he-got-from-here-to-there/

Here is Part 2:

Back when you were a student here, were you the only countertenor at the School of Music? How did you find out you were a countertenor and pursue that training?

As I recall, I was the only countertenor — certainly the only one studying in the voice department. I had been studying as a tenor with Ilona Kombrink (below, in photo by UW-Madison News Service) for a few semesters, and it just didn’t seem as easy as it was supposed to.

I didn’t sound like other tenors in my studio or on recordings. I remember that a famous countertenor had just come out with an album of Handel arias, and, upon hearing it, I thought to myself, “I can sing like that!”

I asked Professor Kombrink about it, and she told me to learn “Cara Sposa” from Handel’s “Rinaldo” over the summer. When I came back in the fall, if it sounded legitimate she agreed I could pursue countertenor singing.

I remember that first lesson of the fall. After I sang this Handel aria for her, she sat back and mused in her sage-like manner, “Yes, this must needs be.”

I never looked back. I think I was on the early edge of the re-emergence of countertenors. Certainly there were countertenors working professionally, but there weren’t that many. There weren’t any other countertenors in Houston when I went to grad school, and even when I moved to Boston, there were only a handful of working countertenors.

Since then, how has the treatment of countertenors changed in the academic and professional worlds?

By the time I left Boston a few years ago, you couldn’t throw a stone without hitting a countertenor. We now see young countertenors winning major competitions and earning places in young artist programs around the country. The competition is fierce now.

I was lucky enough to be one of just a few fish in the pond, but now countertenors are everywhere—and a lot of them are really good! I also remember that there was a stigma so that it would be difficult to find a voice teacher who would teach countertenors.

A lot of pedagogy books by reputable technicians said that countertenors weren’t real — they just sing in falsetto, which isn’t a real voice. I was lucky that Professor Kombrink was willing to explore that with me. I think now that there are so many successful countertenors singing everywhere, I hope this antiquated view of the voice type has changed.

What would you like the public to know about the program you will perform here? Are you featured in certain pieces?

Our “Trade Winds” program explores several different aspects of the wayfaring sailor. They include Monteverdi madrigals about water and nature; a wonderful mass setting by a largely unknown century Portuguese composer, Filipe de Magalhaes; several charming folksongs from around the Pacific Rim; and even a few sea shanties.

It’s a varied program that includes repertoire from as early as the 15th century up to just a few months ago. One of Chanticleer’s missions is to further the art of live music through new compositions, and we’ve commissioned a fantastic young Chinese-American composer, Zhou Tian (below), to write a new multi-movement piece for us, entitled “Trade Winds,” from which our program also gets its title.

Lots of listeners are scared of “new music,” but Zhou has given us a gem. It’s easy to listen to, and I think listeners will instantly understand what it’s all about.

What are your plans for the future?

Personally, I can’t say that I have anything coming up. As wonderful as Chanticleer is, the job pretty much limits any amount of outside freelance work. (At the bottom, you can hear Chanticleer singing “Shenandoah,” its most popular YouTube video – and a piece with a prominent countertenor part — with well over 1.6 million hits.)

One of the truly fantastic parts of singing in Chanticleer (below, performing on stage) is all the places we travel to. We started off this season with a three-week tour of Europe, which was actually the ensemble’s third trip to Europe in 2019.

We love traveling around the U.S., and as I’ve said, traveling back to Madison is certainly the highlight for me. The Midwest is always a special place for us to sing, as several of our members are from this region.

We’re very excited to travel to Australia in June 2020. I think it’s Chanticleer’s first visit “Down Under.” We will also be going back to the studio in January to record a new album for release sometime later in 2020. We have lots of exciting events coming down the pipeline.

Is there something else you would like to say?

Prior to singing with Chanticleer, I had been living in Boston for almost eight years, pursuing professional singing as a freelance artist.

To make ends meet, I had been working at Starbucks, which I actually started doing when I still lived in Madison, and my gigging was getting lucrative enough that I eventually decided to take a leave of absence from slinging lattes.

While I was in Wisconsin on Christmas vacation, I received a message from Chanticleer’s music director, William Fred Scott, letting me know that there was an immediate vacancy in the ensemble, and would I be interested in singing for them.

I thought I was being spammed, so I didn’t respond, and continued to enjoy the bliss of spending the entirety of the holidays with my family.

When I eventually got back to Boston a few days later, another email arrived from Mr. Scott: “Did you get my email? We’d really like to hear from you.” Ok, how do I tell them I’m clearly NOT the countertenor they’re looking for?

Well, after much soul-searching, calling my mother (“Just do it!” she exclaimed), and figuring out the logistics of liquidating a one-bedroom apartment, I decided to run away and join the circus. It was a complete leap of faith, but I think I made the right decision.

Don’t give up on your dreams. Singing in Chanticleer was the first legitimate dream I remember having. Although my musical path took me in several other directions, that path eventually led me to where I am today, and I wouldn’t trade it for the world.


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