By Jacob Stockinger
The Ear’s friends at the Madison Symphony Orchestra write:
Valerie Kazamias will receive the 2015 John DeMain Award for Outstanding Commitment to Music at the Madison Symphony Orchestra League’s annual Symphony Gala, Sept. 18, 2015, at The Madison Concourse Hotel.
The Madison Symphony Orchestra League (MSOL) is presenting the second annual John DeMain Award for Outstanding Commitment to Music in recognition of an individual or individuals for their longstanding and unwavering support of the League, the Madison Symphony Orchestra (MSO) and music in the community. The award is sponsored by CUNA Mutual Foundation.
Valerie Kazamias (below) has been a philanthropist and volunteer with the Madison Symphony Orchestra (MSO) since moving to Madison with her family over 50 years ago. Her tireless efforts and keen fundraising abilities have been instrumental to the success of the MSO, where she has served on the MSO Board and been an active member of the Madison Symphony Orchestra League for over four decades.
Kazamias has contributed to the MSO through her involvement with the Development, Marketing, and Nominating Committees. With the MSOL, she has given her time and talent to fundraising committees for a variety of events such as the Symphony Show House, POPS concerts, fashion show and galas.
She has been involved with the Arts Ball fundraiser since its inception 45 years ago and has coordinated the event for the past 40 years. The Arts Ball supports both the MSO and Madison Museum of Contemporary Art. It is one of the only dual arts fundraisers in the nation.
“The arts, both performing and visual, are my passion,” Valerie explained. “I have been very fortunate that I have been afforded the opportunity to pursue this love affair in a community that appreciates the arts.”
Valerie’s involvement with the MSO is rooted in the satisfaction of being a part of bringing the best of classical music to the Madison area through fundraising and outreach. In her words, “A day without music is like a day without sunshine!”
The Madison Symphony Orchestra League presents the Symphony Gala as a benefit and all proceeds support the MSO’s nationally recognized Education and Community Engagement Programs. These programs enrich the cultural life of the entire community and help build the future of classical music.
To learn more about the Gala or to register, visit: http://www.madisonsymphony.org/gala
The Madison Symphony Orchestra marks its 90th concert season in 2015-2016 with Music Director John DeMain (below) in his 22nd year leading the orchestra.
The MSO engages audiences of all ages and backgrounds in classical music through a full season of concerts with established and emerging soloists of international renown, an organ series that includes free concerts, and widely respected education and community engagement programs. Find more information at www.madisonsymphony.org.
By Jacob Stockinger
This is the closing weekend of this summer’s Token Creek Festival.
The closing “Buoyant Baroque” program, featuring the Lydian Quartet and others performing music by Johann Sebastian Bach, Arcangelo Corelli and Georg Frideric Handel among others, will be performed tonight at 8 p.m. and Sunday afternoon at 4 p.m. (The Ear sees that Sunday’s performance is sold out, but you should check for yourself. Sometimes spots open up form cancellations.)
Here is a link to find out more:
Harbison is a very accomplished man and musician. He has played the piano this summer for the festival, and he is also a preeminent contemporary composer who teaches at MIT. He has won a Pulitzer Prize and a MacArthur genius grant among his many honors. And at the Token Creek Festival, he is the most enlightening commentator on composers and specific works that The Ear has ever heard.
So it seemed a good time to bring to your attention a story done by NPR or National Public Radio about the Tanglewood Festival of the Boston Symphony Orchestra since it features John Harbison as a major source and interview. This summer the festival turned 75.
Harbison is, after all, the co-director – with fellow composer Michael Gandolfi — of the composing program at Tanglewood Music Center, which is where he often premieres his own new works and where he was busy working just before he came to Madison for the Token Creek Festival.
The Ear finds it interesting to hear how, ever since the festival’s beginning, the creativity of young composers and young performers has always been cultivated and encouraged, with an emphasis on creating new music and keeping the classical music world vibrant and current.
Below is a photo of this summer’s world premiere of a new work by Michael Gandolfi, with famed soprano Dawn Upshaw (on the far right in purple) working with student performers.
By Jacob Stockinger
The Ear’s friends at the University of Wisconsin-Madison School of Music and the Bach Dancing and Dynamite Society write:
The U.S. component of a major international research project, “Performing the Jewish Archive,” led by the University of Leeds, in England, has attracted significant funding to shine new light on forgotten works by Jewish artists.
The University of Wisconsin–Madison and the City of Madison are uniquely situated as the sole hosts for the global project’s performance events within the United States; one of the premier public research-intensive universities in the world, located in a community that lives and breathes diverse arts, while striving for social change.
Here, in Madison, under the leadership of Teryl Dobbs, Chair of Music Education at the UW-Madison, “Out of the Shadows: Rediscovering Jewish Music, Literature and Theater” will be a full-day event held on this Sunday, August 30, 2015.
Local partners include the UW-Madison School of Music, Mosse-Weinstein Center for Jewish Studies, the Mayrent Institute for Yiddish Culture, and the Arts Institute at UW-Madison; and the Bach Dancing andDynamite Society.
Yesterday The Ear posted the schedule of all FREE events.
Here is a link to that post:
Today’s post focuses on the classical music in the event:
The Ear’s friend Jeffrey Sykes of the Bach Dancing and Dynamite Society writes:
The Bach Dancing and Dynamite Society is proud to partner with Performing the Jewish Archive’s “Out of the Shadows” event by performing neglected and suppressed Jewish music from the early 20th Century.
The FREE concert will be held this Sunday 2:30-4:30 p.m. in the Atrium Auditorium of the First Unitarian Society, 900 University Bay Drive.
The program includes music from two composers who died at Auschwitz. Erwin Schulhoff’s flute sonata is a passionate mix of impressionism and jazz. Dick Kattenburg’s quartet for flute, violin, cello and piano is an irrepressible romp full of Gershwin-esque melodies and harmonies.
Robert Kahn (below) is a composer from an earlier generation whose work was suppressed by the Nazis. We perform his gorgeous song cycle “Jungbrunnen” (The Fountain of Youth) for soprano, violin, cello and piano.
The program concludes with two works by the Viennese wunderkind Erich Wolfgang Korngold (below). Already well-known in Austria, Korngold had begun to compose music for Hollywood movies. He was working California in 1938 when the Anschluss took place, and he never returned to his homeland.
We begin with three beautiful songs he composed for his mother and continue with his Suite for piano left-hand, two violins and cello based on those songs. A thrilling and important composition, the Suite was written for the Austrian pianist Paul Wittgenstein, who had lost his right arm in World War I.
Adds BDDS flutist Stephanie Jutt:
Dutch composer Dick Kattenburg (1919-1944, below) barely got started before his career and his life ended at Auschwitz at age 24. A supremely gifted young composer, bursting with originality and ingenuity, his love of jazz and the popular idioms of the day make his music irresistible – by turns a bit of Stravinsky, a bit of Wizard of Oz, a bit of Duke Ellington. His two dozen complete works were hidden in the attic where his mother had kept them, and were discovered by his sister, Daisy.
The music of Czech composer Erwin Schulhoff (1894-1942, below) has become widely known over the last 20 years. Denounced as “Entartete Musik” (degenerate music) by the Nazis, he died in Wülzburg concentration camp. During the 30 years of his active career he wrote sonatas, quartets, sextets, jazz piano pieces, stage music, an opera, eight symphonies, and at least one oratorio.
Schulhoff, like Kattenburg, also fell in love with American jazz, and his flute sonata of 1927 reflects the infectious American rhythmic vitality with his great interest in the traditional music of Czechoslovakia.
Bach Dancing and Dynamite Society performers are: Emily Birsan, soprano; Stephanie Jutt, flute; Parry Karp, cello; Leanne League, violin; Axel Strauss, violin; and Jeffrey Sykes, piano.
Erwin Schulhoff (1894-1942): Flute Sonata (1928). Jutt, Sykes
Robert Kahn (1865-1951): Seven Songs from Jungbrunnen, op. 46, for soprano and piano trio (1906). Birsan, League, Karp, Sykes
Dick Kattenburg: Quartet for flute, violin, cello and piano. Jutt, Strauss, Karp, Sykes.
Erich Wolfgang Korngold (1897-1957): Three Songs, op. 22, for soprano and piano (1930). Birsan, Sykes
Erich Wolfgang Korngold (1897-1957): Suite, op. 23, for piano left hand, two violins, and cello (1930). Strauss, League, Karp, Sykes
For more about the performers, visit bachdancinganddynamite.org.
Here are biographies of the performers:
Founding Artistic Director STEPHANIE JUTT (below) is professor of flute at the University of Wisconsin-Madison and principal flute of the Madison Symphony Orchestra. She is a winner of the International Pro Musicis Competition.
Founding Artistic Director and pianist JEFFREY SYKES (below) is a faculty member of the University of California-Berkeley. He is a member of the San Francisco Piano Trio.
Soprano EMILY BIRSAN (below) has completed her third year as a member of the Patrick G. and Shirley W. Ryan Opera Center at the Lyric Opera of Chicago. A graduate of the University of Wisconsin-Madison School of Music, she is appearing with the Boston Lyric Opera this year.
Cellist PARRY KARP (bel0w) is artist-in-residence and professor of chamber music and cello at the University of Wisconsin-Madison. He has been cellist of the Pro Arte Quartet for the past 37 years.
Violinist LEANNE KELSO LEAGUE (below) is assistant concertmaster of the Wisconsin Chamber Orchestra, and associate concertmaster of the Madison Symphony Orchestra. She also teaches at the University of Wisconsin-Whitewater and is a member of the Ancora String Quartet.
Violinist AXEL STRAUSS (below), winner of the International Naumburg Award, is professor of violin at the Schulich School of Music of McGill University in Montreal. He is also a member of the San Francisco Piano Trio.
By Jacob Stockinger
The Ear’s friends at the Token Creek Festival write:
On this Tuesday, August 25, the Token Creek Festival shines a lens on one of Wisconsin’s most important artists: the American poet Lorine Niedecker (1903-1970), whose recognition and appreciation have been delayed until recently.
Many poets of the 20th century have worked in what is broadly known as the Imagist mode: short lines, brief phrases, elusively stated thoughts. At its most eloquent it can give us the great range and imagination of William Carlos Williams, as well as decades of other very convincingly compressed writers from Emily Dickinson through Gary Snyder.
In Lorine Niedecker we feel the pressure of what has been left out, the hard journey to final shape. We infer a “story” behind it, and we marvel at the courage and art that set it down so briefly.
We can also admire the persistence that drove her to continue to write all through her life, when she received little support or recognition. Niedecker cleaned hospital rooms, and hung barely above the poverty level throughout her life, which she led mainly in a cottage on Blackhawk Island (below) near Fort Atkinson, Wisconsin. (You can hear a reading of her poem “My Life by Water” in a YouTube video at the bottom.)
According to Ann Engelman, president of the Friends of Lorine Niedecker, she “has been called the poet of place because her imagery is so grounded in the area where she lived. Basil Bunting called her “the Emily Dickinson of this century.”
As an objectivist poet, the simplicity of her images helps us sense our own experiences with the elements around us.” Niedecker (below, in a photo from her later years, courtesy of the Poetry Foundation) had a strange life that included a truncated college education and long stretches of isolation as well as an extended epistolary (and, briefly, physical) friendship with fellow poet Louis Zukofsky; her existence resonates in her verse.
Three years ago the Token Creek Festival began a concerted look at the land where the festival takes place (below, in a photo by Jess Anderson), exploring intersections between art and nature. The theme continues in the multi-part Niedecker-inspired event, “Paean to Place,” on this Tuesday.
Here is a schedule:
McCullough and Fitz Gibbon’s recital on themes of nature and place and longing includes works by Henry Purcell, Kaija Saariaho, Nicholas Vines and Robert Schumann, as well as new song cycles by John Harbison — a co-founder and co-director of the Token Creek Festival — and Niccolo Athens.
Harbison’s settings of Niedecker poems, commissioned by the Boston Symphony’s Tanglewood Music Festival and premiered there this summer, “let the words speak clearly, syllable by syllable, but he adds expressive space into the texts’ phrases and expands its melodic contours, heightening the sense of the poems being mediums of internal, very personal, monolog” (from the Tanglewood program booklet, July 2015).
“Paean to Place” is presented in collaboration with the Friends of Lorine Niedecker, Fort Atkinson, Wisconsin.
Tickets are $15-$30 (students $10). Packages are available.
Tickets can be purchased by using the order form at the Token Creek website www.tokencreekfestival.org, by phone at 608-241-2525, by email at email@example.com, or by U.S. mail at P.O. Box 5201, Madison WI, 53705.
Performances take place at the Festival Barn, on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison) with ample parking available. The concert venue (below), indoors and air-conditioned, is invitingly small—early reservations are recommended.
More information about the Token Creek Festival and all events can be found at the website, http://www.tokencreekfestival.org or by calling 608-241-2525.
By Jacob Stockinger
The Ear’s friends at the Madison-based woodwind quintet Black Marigold (below) -– founded in 2012 — write with the following information:
The Marigolds are in bloom!
The program includes: “Calder’s Circus” by Robert Cohen; Diversions for Wind Quintet by Lee Hoiby (below), who studied at the UW-Madison School of Music; Wind Quintet, Op. 10, by Pavel Haas; and Quintet No. 1 by Jean Francaix.
All concerts are free and open to the public.
Here is a schedule:
MONDAY, August 24, 2015 – 7 p.m.
1705 Monroe St – Madison, WI
SATURDAY, August 29, 2015 – 7 p.m.
333 West Main Street, Madison, WI
FRIDAY, September 4, 2015 – 7 p.m.
6201 Mineral Point Rd – Madison, WI
Sunday, September 6, 2015 – 12:30 p.m.
750 University Avenue
Madison, WI 53706
This performance will also be live streamed on the Chazen website.
For more information, contact or visit firstname.lastname@example.org
By Jacob Stockinger
The Ear’s multi-talented friend Mikko Rankin Utevsky (below) -– who is a singer, violist and conductor -– writes:
The Madison Area Youth Chamber Orchestra (MAYCO, below) closes its fifth season with works by Franz Joseph Haydn, Ernest Bloch and George Frideric Handel in a program titled “Concerto Grosso II: Surprise!”
The concert is this Friday at 7:30 p.m. in the Old Music Hall on Bascom Hill. Tickets are $7 at the door (students are admitted by donation). The program is presented with the support of the Wisconsin Youth Symphony Orchestras (WYSO), and co-sponsored by the UW-Madison School of Music.
This concert will also feature the most returning players in five seasons — fully 20 of the 30-odd members of the orchestra have performed with the group before, some throughout all five years.
The program opens with a Concerto Grosso by Handel — Op. 6, No. 5 in D major — whose contributions to the form (which has been our theme for the season) were many and varied. This one opens with a majestic French Overture, followed by a light-footed Presto, a weeping Largo, a graceful Minuet, and a spirited Allegro to close.
Trevor Stephenson (below top), of the Madison Bach Musicians, joined the orchestra this past weekend for a wonderful workshop on the music of Handel as part of our new historical performance program, which also included coaching on Haydn with UW-Madison bassoon professor Marc Vallon (below bottom, in a photo by James Gill).
Next up is another Concerto Grosso, the first by Swiss-American composer Ernest Bloch (below top). Written in 1925 for piano obbligato and string orchestra, it is an exciting and powerful work encompassing a broad emotional range. Our piano soloist is Jason Kutz (below bottom), currently finishing his master’s degree at the UW-Madison School of Music with Professor Martha Fischer.
Our second Haydn symphony of the summer closes the concert, the famous “Surprise” Symphony, No. 94. I’m excited to explore both ends of his career this season.
Our last program opened with his Symphony No. 6 (“Le Matin” or Morning), written for the Esterhazy family; the “Surprise” belongs to his final series of 12 “London” symphonies. Everyone is well acquainted with the slow movement — heard at the bottom in a YouTube video — but how many people remember the fantastic Finale?
By Jacob Stockinger
The Ear’s friends at Edgewood College write:
Edgewood College Professor Sergei Pavlov (below) is bringing his talent to a unique stage.
This special concert is at 7:30 p.m. on this coming Monday, Aug. 17, at the Orpheum Theater, 216 State Street, in Madison.
The concert is FREE to attend, but there will be a freewill offering in support of Porchlight.
Here is a link to the performers — some from the University of Wisconsin-Madison School of Music — the sponsors and the program that will include music by Aaron Copland, Samuel Barber and Leonard Bernstein.
Some of the performers in the People’s Chorus are homeless themselves.
“Music can be one of the ways to address challenges in society, and to hopefully make compassionate choices to meet those challenges,” Pavlov says. “Of course it is our way.”
The concert benefits Porchlight (below), a social services organization in Madison that seeks to decrease the homeless population by providing shelter, housing, supportive services and a sense of community in ways that empower residents and program participants to positively shape their lives.
By Jacob Stockinger
Get out your datebooks.
The final schedules for the upcoming season by most major classical music groups in the area are now available.
Last but not least is the biggest of them all: The University of Wisconsin-Madison School of Music, which offers some 300 events in a season, most of them FREE to the public.
Some things are new. For example, you will note that the UW Choral Union has gone to just ONE performance instead of two, as in the past for many years.
Concert manager and public relations director Kathy Esposito (below) writes:
The UW-Madison School of Music is jazzed about its upcoming season and we’d like the world to know. Please make plans to attend!
Here is a link to the online calendar, which is now complete except for specific pieces on programs and last-minute changes: http://www.music.wisc.edu/events/
Our events of 2015-2016 range from performances by a vocal dynamo (soprano Brenda Rae, Sept. 27) to a in-demand LA jazz woodwind musician (Bob Sheppard in April) plus an enterprising young brass quintet (Axiom Brass, October) and a dollop of world music in March (duoJalal). In addition, we offer ever-popular opera productions, faculty concerts and student ensembles ranging from classical to jazz to percussion.
Full concert calendar link: http://www.music.wisc.edu/events/
Other social media connections include:
Our Newsletter, A Tempo!
Hear our sound: https://soundcloud.com/uw-madisonsom
Here’s a partial list with highlights (Semester 1 is posted today; Semester 2 will be posted tomorrow):
August 30: “Performing the Jewish Archive”: Shining a Spotlight on Forgotten Jewish Performance Works. Various venues and times; click link for details.
The U.S. component of an international research project led by the University of Leeds, England, with UW-Madison leadership provided by Teryl Dobbs, chair of music education. Featuring a Sound Salon with Sherry Mayrent and Henry Sapoznik (below) of the Mayrent Institute; Chamber Music with the Bach Dancing and Dynamite Society; and a Cabaret Performance with Mark Nadler. Events continue in May, 2016. All events are free.
September 7: 37th Annual Karp Family Concert. Mills Hall, 7:30 PM.
Chamber music of the 19th and 20th centuries for piano and strings. Pianist and patriarch Howard Karp (below center) passed away last summer, but the family continues with a long-standing tradition. With Suzanne Beia, Violin; Katrin Talbot, Viola; Parry Karp, Violoncello; Frances Karp, Piano; Christopher Karp, Piano. Free.
September 26: Soprano Brenda Rae with the UW-Madison Symphony Orchestra. Mills Hall, 7:30 PM.
On the program: Reinhold Gliere’s Concerto for Coloratura Soprano. A benefit for University Opera.
Brenda Rae (below) is a 2004 graduate of the School of Music, and has been impressing audiences and critics all over Europe for many years. Her 2013 U.S. debut as Violetta in Verdi’s “La Traviata” won her praise from James R. Oestreich of The New York Times: “Ms. Rae soared beautifully in the early going, but it was in her pianissimo singing that she really shone.”
Master class: Friday, September 25, Music Hall, 5-7 PM.
October 7: Pro Arte Quartet (below top, in a photo by Rick Langer) with Violist Nobuko Imai (below bottom, in a photo by Marco Borggreve). Mills Hall, 7:30 PM.
Nobuko Imai is considered to be one of the most outstanding viola players of our time. After finishing her studies at the Toho School of Music, Yale University and the Juilliard School, she won the highest prizes at both the Munich and the Geneva international competitions.
Master class: October 6, 7:30 PM, Mills Hall. Both events are free.
October 9-10-11: BRASS FEST II!
Last year’s Celebrate Brass festival was so much fun, we decided to program another. Three days of exhilarating music from leading brass players and ensembles, including the award-winning Axiom Brass Quintet (below, now in residence at the Tanglewood Music Festival) and trumpeter Adam Rapa. With the Wisconsin Brass Quintet and students from the UW-Madison School of Music.
October 9: Axiom Brass, Mills Hall, 8 PM. Tickets $15.
October 10: Festival Brass Choir with Axiom Brass, the Wisconsin Brass Quintet and trumpeter Adam Rapa. Tickets $15.
October 11: Trumpeter Adam Rapa and vocalist Elizabeth Vik. Classical and jazz. Free concert.
Buy tickets for both concerts for $25.
October 23-24-25-27: University Opera presents Mozart’s “The Marriage of Figaro.” Mozart and da Ponte’s masterpiece of comedy and intrigue, shows the two geniuses at the height of their powers. Directed by David Ronis (below, in a photo by Luke De Lalio); music conducted by James Smith.
Music Hall. Tickets $25/$20/$10.
November 5-6: Celebrating Alumni Composers. UW-Madison prize-winning alumni composers of new music Andrew Rindfleisch (below), Paula Matthusen, Jeffrey Stadelman, Bill Rhoads and Kevin Ernste return for a two-day event featuring their acoustic and electronic music.
November 5, Mills Hall, 7:30 PM: Performances by the Wisconsin Brass Quintet, the Wingra Woodwind Quintet, and smaller ensembles of faculty and students.
November 6, 7:30 PM: Performance with the UW Wind Ensemble, Scott Teeple, conductor.
Both concerts are free.
November 13: Debut Faculty Concert with Violinist Soh-Hyun Park Altino (below in a photo by Caroline Bittencourt). Altino takes the stage as the newest member of the school’s string faculty. With pianist Martha Fischer.
Mills Hall, 8 PM.
Tickets $12. Students free
December 10: Wingra Woodwind Quintet (below, in a photo by Michael Anderson). With Stephanie Jutt, flute; Marc Vallon, bassoon; Kostas Tiliakos, oboe; and welcoming new members Wesley Warnhoff, clarinet; and Joanna Schulz, horn.
Morphy Hall, 7:30 PM. Free.
December 12: UW Choral Union & UW Symphony Orchestra with Beverly Taylor, conductor. Presenting “Gloria” of Francis Poulenc and “Symphony of Psalms” by Igor Stravinsky.
Mills Hall, 8 PM.
Tomorrow: Highlights of Semester 2
By Jacob Stockinger
You probably don’t know the name Ethel Smyth (pronounced smaith, below).
The Ear certainly didn’t.
But then he came across this fascinating account of her life and work.
An early feminist leader for same-sex equality, she fell in love with the much younger writer Virginia Woolf.
And her muscular music and politically charged operas reminded people of Richard Wagner.
Now she has been resurrected thanks to Leon Botstein, the president of Bard College who also directs the American Symphony Orchestra and the Bard Music Festival. He staged her 1904 opera “The Wreckers.” (At bottom, you can hear a YouTube performance of the Overture to “The Wreckers.”)
By Jacob Stockinger
First it was a best-selling and prize-winning novel.
Then it became a popular Oscar-winning Hollywood movie.
Now it is an opera that received its world premiere at the Santa Fe Opera this past week and is proving so popular with audiences that an extra performance has been added and regional premieres are already booked around the country. (The Minnesota Opera will give the Midwest premiere.)
It is “Cold Mountain,” a Civil War story about a Confederate soldier’s return home that is loosely based on Homer’s epic poem “The Odyssey.”
Here is a review, posted on Facebook, by our own John DeMain, the music director and conductor of the Madison Symphony Orchestra and the artistic director of the Madison Opera, who attended the world premiere performance. DeMain came to Madison, by the way, from his post as director of the Houston Grand Opera, where he gave the world premiere of John Adams’ “Nixon in China.” So he is a fan of new operas.
DeMain (below, in a photo by Prasad) writes:
“How wonderful “Cold Mountain” was last night at its world premiere in Santa Fe. Jennifer Higdon is simply a wonderful composer and her piece with Gene Scheer‘s compelling libretto, soared to great heights. Great directing from Leonard Foglia, with a brilliant design concept, and a great cast. Emily Fons was magnificent as Ruby. Fabulous orchestral writing, beautiful choral work, and compelling duets and ensembles. A very sad, grim piece given a dynamic treatment by all involved.”
Such discerning enthusiasm makes you wonder if DeMain and the Madison Opera’s general director Kathryn Smith might not be looking to bring “Cold Mountain” to Madison in a couple of seasons. (The male lead Nathan Gunn has already sung in Madison at the Wisconsin Union Theater and with the Madison Symphony Orchestra, by the way.) One can hope! (Below are the leads mezzo-soprano Isabel Leonard as Ada and baritone Nathan Gunn as Inman in a photo by Ken Howard for the Santa Fe Opera.)
You can hear the creators of the opera discuss it in a YouTube video at the bottom.
Here are some other sources for previews and reviews:
Here is a story from NPR or National Public Radio:
The PBS NewsHour aired a lengthy feature by Jeffrey Brown that includes lots of video and interviews with the cast; with Charles Frazier (below right), who wrote the best-selling novel; and with Jennifer Higdon (below left), the composer of the opera who teaches at the Curtis Institute of Music in Philadelphia:
And here is a short news story and a longer, more negative or critical review from Zachary Woolfe of The New York Times: