The Well-Tempered Ear

Classical music: UW-Madison cellist Parry Karp and his longtime collaborator pianist Eli Kalman perform a FREE mostly French recital this Thursday night

October 23, 2019
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By Jacob Stockinger

The new Hamel Music Center, located at 740 University Avenue next to the newer wing of the Chazen Museum of Art, hasn’t even officially opened yet at the University Wisconsin-Madison Mead Witter School of Music, but already it is beginning to feel like the new normal.

Adding to that feeling is a FREE chamber music recital at 7:30 p.m. this Thursday night, Oct. 24, in Collins Recital Hall.

The always-reliable performers and longtime music partners are UW-Madison cellist Parry Karp (below left), who is an artist-in-residence and the longest serving member of the Pro Arte Quartet in its more than a century-long history; and collaborative pianist Eli Kalman (below right), who received his doctorate from the UW-Madison and now teaches at the UW-Oshkosh.

The modern program from the first half of the 20th century features mostly French music with some rarely heard works:

Gabriel Pierné (1863-1937, below) – Sonata in One Movement in F-sharp Minor for Cello and Piano, Op. 46 (1922)

Dmitri Shostakovich (1906-1975, below) – Sonata in D Minor for Cello and Piano, Op. 40 (1934)

Camille Saint-Saëns (1835-1921, below)) – Sonata No. 2 in F Major for Cello and Piano, Op. 123 (1905). You can hear the opening movement in the YouTube video at the bottom.

For more information and extensive biographies of the performers, go to: https://www.music.wisc.edu/event/parry-karp-cello-with-eli-kalman-piano/


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Classical music: Tuesday night brings concerts of band music as well as organ and violin duets

October 21, 2019
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By Jacob Stockinger

This Tuesday night, Oct. 22, will see concerts of band music and organ-violin duets.

Here are details:

ORGAN AND VIOLIN CONCERT

At 7:30 p.m. in Overture Hall, the Overture Concert Organ Series, sponsored by the Madison Symphony Orchestra and organized by MSO principal organist Greg Zelek, offers a concert of music for organ and violin.

The organist is Michael Hey (below right), a Wisconsin native who won first prize at an organ competition in Shanghai, China, and is the organist at the famed St. Patrick’s Cathedral in New York City.

The violinist is Christiana Liberis (below left) who recently toured with the rock band The Eagles.

Tickets are $20.

The program includes music by Johann Sebastian Bach, Sir Edward Elgar, Maurice Ravel, Charles-Marie Widor, Giovanni Battista Vitali, Naji Hakim and Fritz Kreisler.

In the YouTube video at the bottom, you can hear the duo perform a haunting version of the popular “Gymnopedie No. 1” by Erik Satie

For information, including specific works on the program and detailed biographies about the performers, go to: https://madisonsymphony.org/event/organ-michael-hey-christiana-liberis/

UW-MADISON CONCERT BAND

At 7:30 p.m. in the new Mead Witter Foundation Concert Hall of the  Hamel Music Center, 740 University Avenue, the UW-Madison Concert Band (below) will perform a FREE concert.

The band will perform under director Scott Teeple (below) and guest conductor Ross Wolf.

The program includes:

“Lux Arumque” by Eric Whitacre
“Firefly” by Ryan George
“Colonial Song” by Percy Grainger/ed. Mark Rogers
“Huntington Tower Ballad” by Ottorino Respighi
“George Washington Bridge” by William Schuman

For information, go to: https://www.music.wisc.edu/event/uw-concert-band-and-winds-of-wisconsin/


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Classical music: This afternoon is your last chance to hear the all-Russian program by violinist Rachel Barton Pine and the Madison Symphony Orchestra. Here are two very positive reviews and a more critical one

October 20, 2019
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By Jacob Stockinger

This afternoon, at 2:30 p.m. in Overture Hall, is your last chance to hear the highly praised all-Russian program by the Madison Symphony Orchestra (below, in a photo by Peter Rodgers), conducted by music director John DeMain.

The  guest soloist is the critically acclaimed, virtuoso violinist Rachel Barton Pine (below) from Chicago.

For more details about the program, the performers, program notes and tickets, go to: https://welltempered.wordpress.com/2019/10/17/classical-music-this-weekend-guest-violinist-rachel-barton-pine-solos-in-an-all-russian-program-of-khachaturian-prokofiev-and-shostakovich-by-the-madison-symphony-orchestra/

The concert features the Violin Concerto in D Minor by Aram Khachaturian; the “Lieutenant Kijé Suite” film score by Sergei Prokofiev; and the Symphony No. 9 by Dmitri Shostakovich. 

From the previews, the thematic program – all works were composed in the Soviet Union under the threatening shadow of the terrorist-dictator Josef Stalin (below) — sounded promising.

And it turns out that that the promise was, to varying degrees, fulfilled.

Here are two very positive reviews of the concert.

The first is by Michael Muckian (below), who has taken over reviewing duties at Isthmus for the now retired critic John W. Barker: https://isthmus.com/music/wildrussianride/

Here is a review by Greg Hettmansberger (below): https://whatgregsays.wordpress.com/2019/10/19/madison-symphony-triumphs-over-the-soviets/

And here is a somewhat more critical review by UW-Madison music graduate Matt Ambrosio (below) written for The Capital Times: https://madison.com/ct/entertainment/arts-and-theatre/review-rachel-barton-pine-gives-memorable-performance-with-the-mso/article_61f34b8d-8dd8-514d-8e75-576a47826a04.html

What did you think of the programs, the performers and the performance?

Which critic do you most agree with?

The Ear wants to hear.


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Classical music: TONIGHT one longtime, generous classical music patron honors another with a FREE public, all-Schubert memorial concert at Oakwood Village West

October 19, 2019
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By Jacob Stockinger

Think of it as a well-deserved, heart-felt homage that one longtime and generous patron of classical music is paying to another patron who also happened to be a close personal friend and a professional colleague.

The public is invited to join in the one-hour, FREE all-Schubert memorial concert at Oakwood Village West (University Woods), at 6205 Mineral Point Road, on Madison’s far west side near West Towne Mall, at 7 p.m. TONIGHT, Oct. 19.

Here is an invitation from retired University of Wisconsin-Madison chemist Kato Perlman (below) about the concert she is sponsoring and funding in memory of her close friends:

“Join flutist Iva Ugrcic (below top) and pianist Thomas J. Kasdorf (below middle) for a FREE All-Schubert Evening and enjoy the music from one of the greatest composers of the 19th century, Franz Schubert (1797-1828, below bottom).

“This concert is in memory of the late Irving and Millie Shain. Irv Shain (below) was a chemistry professor and then a long-serving Chancellor of the University of Wisconsin, and a great supporter of the University of Wisconsin-Madison Mead Witter School of Music.

“He played the flute himself and these Schubert pieces belonged to some of his favorites for the flute.

“He also established, in addition to his long-running annual Beethoven piano sonata competition, a woodwind and piano competition. Both Iva Ugrcic and Thomas Kasdorf are previous winners.”

The program is:

Sonata in A Minor, D. 821 (“Arpeggione”)

Introduction and Variations on “Trockne Blumen” (Withered Flowers) from “Die Schöne Müllerin” (The Beautiful Miller’s Daughter), D. 802 (Op. 160)

Ständchen (“Serenade”) from Schubert’s final song cycle Schwanengesang (Swan Song), D. 957 (heard in the YouTube video below)


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Classical music: Two noteworthy baroque concerts by Just Bach and the Wisconsin Baroque Ensemble are on tap this Wednesday afternoon and Saturday night

October 15, 2019
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By Jacob Stockinger

Fans of Baroque music have two noteworthy events this week to look forward to.

Both concerts feature period instruments and historically informed performance practices.

WEDNESDAY AT NOON

This coming Wednesday, Oct. 16, from noon to 12:30  p.m. at Luther Memorial Church, 1021 University Avenue, the second FREE Just Bach concert of the semester will take place.

The concerts by Just Bach (below, in a photo by John W. Barker) are now a regular feature of the Music at Midday at Luther Memorial Church.

Organist Mark Brampton Smith opens the program with a brief Fantasia on the melody of “Christ lag in Todesbanden” (Christ Lay in Death’s Bonds). That tune will reappear at the very end of the program, in the final chorale of Cantata 158.

The next piece on the program was also written for solo organ, but will be heard in an arrangement for violin, viola, cello and organ. Johann Sebastian Bach wrote six organ trio sonatas, apparently for his eldest son, Wilhelm Friedemann.

The C Minor Sonata, the second in the set, is full of fiery drama in the outer movements, framing a dreamy, peaceful Largo.

UW-Madison baritone Paul Rowe will lead the chorale sing-along, a beloved audience-participation feature of these programs.

The program closes with Cantata 158, “Der Friede sei mit dir” (Peace Be with You), with solo bass-baritone Jake Elfner. Elisheva Pront provides the luminous “cantus firmus” (an existing melody used in a polyphonic composition) in the second movement, which also features a beautiful violin solo played by Kangwon Kim. The Cantata ends with a chorale on the tune of “Christ lag in Todesbanden.”

You may bring your lunch and beverage.

The concert is FREE and open to the public, with a goodwill offering collected.

Other Just Bach concerts this fall, all Wednesdays at Noon, are: Nov. 20 and Dec. 18.

Performers this week are: Jake Elfner, bass-baritone; Elisheva Pront, soprano; Kangwon Kim, violin; Leanne League, violin; Marika Fischer Hoyt, viola; James Waldo, cello; and Mark Brampton Smith, organ.

For more information, go to: https://justbach.org or https://www.facebook.com/JustBachSeries/

SATURDAY NIGHT

This Saturday night, Oct. 19, at 7:30 p.m. in Saint Andrew’s Episcopal Church, 1833 Regent Street in Madison, the Wisconsin Baroque Ensemble (below) will perform a concert of varied chamber music.

Performers include: Mimmi Fulmer, UW-Madison soprano; Nathan Giblierano, baroque violin; Eric Miller, viola da gamba and baroque cello; Chelsie Propst, soprano; Charlie Rasmussen, viola da gamba and baroque cello; Consuelo Sañudo, mezzo-soprano; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

Tickets are at the door only: $20 for the public, $10 students. After the concert, a reception will be held at 2422 Kendall Ave, second floor.

The program is:

Henry Purcell: Three Fantasias

Giacomo Carissimi: “Scrivete, occhi dolente” (Write, Sore Eyes)

George Frideric Handel: Violin Sonata, HWV 372 (heard in an animated graphic depiction the YouTube video at the bottom)

Claudio Monteverdi: “Baci soave e cari” (Soft and Dear Kisses)

INTERMISSION

Luzzasco Luzzaschi: “O dolcezze amarissime” (O Bitter Sweetness)

Martin Berteau: Trio for violoncellos

Giulio Caccini: Excerpts from “La liberazione di Ruggiero” (The Liberation of Ruggiero)

For more information, go to: www.wisconsinbaroque.org


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Classical music: This coming week at the UW-Madison brings a FREE concert of flute and piano music by guest artists on Monday night and a FREE performance by the Wisconsin Brass Quintet on Wednesday night

October 12, 2019
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By Jacob Stockinger

This coming week at the University of Wisconsin-Madison Mead Witter School of Music brings two FREE chamber music concerts of flute music and brass music.

On Monday night, Oct. 14, at 7 p.m. in the Collins Recital Hall in the new Hamel Music Center, 740 University Ave., located next to the new wing of the Chazen Museum of Art, guest artists flutist Elise Blatchford (below top) from the University of Memphis and pianist Jacob Coleman (below bottom) from the University of Kentucky will perform a FREE recital.

No program is listed.

For more biographical information, go to: https://www.music.wisc.edu/event/guest-artists-elise-blatchford-flute-with-jacob-coleman-piano/

On Wednesday night, Oct. 16, at 7:30 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, the Wisconsin Brass Quintet (below) will give a FREE performance.

The quintet is a critically acclaimed, longtime faculty group at the UW-Madison. For background about the ensemble, go to: https://www.music.wisc.edu/wisconsin-brass-quintet/

Members of the 2019-20 Wisconsin Brass Quintet are Jean Laurenz and Gilson Silva, trumpets; Daniel Grabois, horn; Mark Hetzler, trombone; and Tom Curry, tuba.

Please note: In fall 2019, Daniel Grabois will be on sabbatical. His replacement will be Jeff Scott (below), hornist with the Grammy-nominated Imani Winds. Read about Jeff here.

The program of modern classics includes:

“Mini Overture” by Witold Lutoslawski (heard in the YouTube video at the bottom)

“Celestial Suite” by James Stephenson 

“Reflecting Light” by Adam Schoenberg

“Adam’s Rib” by James MacMillan

Quintet No. 2 by Victor Ewald

For more information, go to: https://www.music.wisc.edu/event/wisconsin-brass-quintet-faculty-ensemble/


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Classical music: A busy week at the UW-Madison brings FREE concerts in new halls with an emphasis on new music for winds, chamber ensembles, orchestra and band

October 6, 2019
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ALERT: Tonight’s performance by the a cappella vocal group Chanticleer is SOLD OUT.

By Jacob Stockinger

It’s going to be a busy week at the University of Wisconsin-Madison Mead Witter School of Music and especially in its new Hamel Music Center (below), 740 University Ave., next to the new wing of the Chazen Museum of Art.

On tap is a variety of FREE concerts, with an emphasis on new music, including compositions for winds, chamber ensembles, orchestra and band.

Earlier mistakes on dates and time have been corrected. To double check dates, times and venues as well programs, go to: https://www.music.wisc.edu/events/

Here is a schedule:

TUESDAY, OCT. 8

At 7:30 p.m. in the Mead Witter Foundation Concert Hall, the UW Wind Ensemble (below), conducted by director Scott Teeple and guest conductor Ross Wolf, will perform a FREE program of contemporary wind music.

The program includes works by Augusta Read Thomas (below top), Jake Runestad, Larry Tuttle, Xi Wang (below bottom) and Carlos Simon.

There will be one world premiere and two Wisconsin premieres.

For more information and the complete program, go to: https://www.music.wisc.edu/event/uw-wind-ensemble-5/

THURSDAY, OCT. 10

At 8 p.m. in Collins Recital Hall of the new Hamel Music Center, the Contemporary Chamber Ensemble will perform a FREE recital of new music, including two works — “Wet Ink” and ” Treetop Studio” — by the critically acclaimed UW-Madison composer Laura Schwendinger (below).

Also on the “Fall Notes” program are “Wing and Prayer” by Melinda Wagner (below top) and “Pentacle” by Irish composer Raymond Deane (below bottom) who will make his UW-Madison debut.

Performers for “Fall Notes” will feature UW-Madison musicians, including clarinetist Alicia Lee, cellist James Waldo, violist Sally Chisholm, pianist Christopher Taylor and student performers.

FRIDAY, OCT. 11

At 8 p.m. in the Mead Witter Foundation Concert Hall, the UW-Madison Symphony Orchestra (below) will open its season with a FREE concert under its new conductor Oriol Sans, a native of Catalonia, Spain, who studied at the Barcelona Conservatory and  who came to Madison from the University of Michigan at Ann Arbor.

The program is: “aequilibria” by contemporary Icelandic composer Anna Thorvaldsdottir (heard in the YouTube video at the bottom); “Death and Transfiguration; by Richard Strauss; and “Symphonic Dances” by Sergei Rachmaninoff.

For more information about conductor Oriol Sans (below), go to: https://www.music.wisc.edu/oriol-sans/

For more information, from Wikipedia, about composer Anna Thorvaldsdottir (below), go to: https://en.wikipedia.org/wiki/Anna_S._Þorvaldsdóttir

SUNDAY, OCT. 13

At 2 p.m., in the Mead Witter Foundation Concert Hall, the University Bands will perform a FREE concert under conductor Darin Olson (below), the assistant director of bands at the UW-Madison.

No program is available.


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Classical music: The Madison Symphony Orchestra opens its new season with a strong and memorable concert that had something for everyone — with no outside help from a guest artist

October 4, 2019
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ALERT: On this Saturday, Oct. 5, from 4 to 5 p.m., cellist Amit Peled will teach a master class at Farley’s House of Pianos, 6522 Seybold Road, near West Towne Mall, where he will instruct local students. This is a FREE event that the public is invited to observe, and is part of the two concerts by Peled and pianist Daniel del Pino. For more information, go to:

https://welltempered.wordpress.com/2019/09/29/classical-music-cellist-amit-peled-and-pianist-daniel-del-pino-open-the-salon-piano-series-this-friday-and-saturday-nights-with-music-by-beethoven-strauss-and-others/

By Jacob Stockinger

Many orchestras, including the Madison Symphony Orchestra (below, in a photo by Peter Rodgers), often use the opening concert of a new season as a chance to lure audiences by wowing them with some big-name guest soloist.

But last weekend maestro John DeMain (below, in a photo by Greg Anderson) once again preferred to show off his own ensemble. And it worked, making for a memorable concert.

The MSO opener had something for everyone, and what you saw as the highlight probably depended more on your personal taste or preference than on the overall impressively tight playing and singing of the MSO, its principals and its chorus.

It seemed clear that, for most listeners the MSO’s young organist Greg Zelek (below, in a photo by Peter Rodgers) filled the role of the impressive imported star or guest artist.

The virtuosic Zelek is simply so good that he managed to turn a second-rate piece by Samuel Barber into a first-rate crowd-pleaser that brought huge applause and a long standing ovation, then an encore and another standing ovation.

As music, the concerto-like “Toccata Festiva” (1960) is simply not on par with Barber’s Violin Concerto or his Adagio for Strings or his Overture to “The School for Scandal.” It is 15 minutes of mostly loud and bombastic music meant to show off the new organ that it was commissioned for.

The King of Instruments seems to invite such bragging. And the boyish, vest-clad Zelek milked the score by Barber (below) for all it was worth, including an astounding three-minute cadenza played only with the feet. It’s hard to argue with such dramatic success.

If you preferred more serious fare, there was the Symphony No. 7 in D minor by Antonin Dvorak (below). Last spring, DeMain announced his fondness for Dvorak – in the spring the MSO will perform his Requiem.

DeMain’s feeling for Dvorak showed in a convincing and engaging performance of this darker, non-programmatic Brahmsian work that goes beyond the Czech folk dances, folk song-like melodies and nature mimicry of Dvorak’s other major symphonies and chamber music.

If you wanted exciting Romanticism, it would be hard to beat Wagner’s rhythmic strings soaring in the Overture to the opera “Tannhauser” by Richard Wagner (below). And that flowed into Wagner’s sensual “Venusberg” music that featured the MSO chorus singing offstage.

But The Ear thinks that the best measure of musicianship – orchestral, instrumental or vocal — is not how loudly they can play or sing, but how softly.

For that reason, he found the standout work at the concert to be “Prelude to The Afternoon of a Faun” by Claude Debussy (below). The balance among various sections proved ideal at expressing subtlety. You could hear everything combining to make a distinctive and atmospheric tonal color.

For example, it is hard to imagine more sensual playing of the opening theme than how principal flutist Stephanie Jutt (below) did it. The performance and interpretation projected the exact kind of impressionistic seductiveness that the composer meant for it to have. For sheer beauty of sound, it took the top spot. (You can see a graphic depiction of Debussy’s score in the YouTube video at the bottom.)

Still, there seemed to be more than the usual number of empty seats. Was it the rainy weather? The football weekend? Or do people still miss the thrill of hearing a well-known guest artist opening the season?

What do you think?

What was your favorite piece on the opening MSO program? And why?

The Ear wants to hear.


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Classical music: The Pro Arte Quartet minus one plays string trios this Friday night and Sunday afternoon, then starts its Beethoven string quartet cycle on Friday, Nov. 22. Plus 3 UW profs premiere a new fusion work tonight

October 3, 2019
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CORRECTION: The all-Telemann concert by the Madison Bach Musicians on this Saturday night at the First Unitarian Society of Madison is at 8 p.m. — NOT 7:30 as it was mistakenly listed in the early version of yesterday’s post. The Ear apologizes for the error. The pre-concert lecture is at 7:15 p.m. There is also a performance on Sunday at Holy Wisdom Monastery in Middleton at 3:30 p.m., with a lecture at 2:45 p.m. For more information, go to: https://welltempered.wordpress.com/2019/10/02/classical-music-how-did-baroque-composer-telemann-get-overshadowed-and-why-is-he-being-rediscovered-trevor-stephenson-talks-about-his-all-telemann-concerts-this-weekend/

ALERT: TONIGHT, Thursday, Oct. 3, at 8 p.m., three UW-Madison music professors — Anthony Di Sanza (percussion), Tom Curry (tuba, keyboard and electronics) and Mark Hetzler (trombone and electronics) — will perform their new composition “Don’t Look Down” at the Arts + Literature Laboratory, located at 2021 Winnebago Street on Madison’s near east side. (Phone is 608 556-7415.)

The trio’s goal to showcase their instruments using a combination of electro-acoustic techniques, improvisation and traditional chamber music applications to create an array of sonic environments and musical languages.

The result is a work that looks at the impact of media and technology on society, while featuring shifting soundscapes and a variety of styles including classical, rock, jazz and experimental.

Tickets are $10 in advance at: https://dontlookdown.brownpapertickets.com; and $15 at the door. Student tickets are $5 off with a valid school ID. Advance ticket sales end one hour before the show. Doors open at 7:30 p.m.

By Jacob Stockinger

First, a news flash: The University of Wisconsin-Madison’s critically acclaimed Pro Arte Quartet (below, in a photo by Rick Langer) will begin its complete cycle of Beethoven’s 16 string quartets on Friday, Nov. 22.

The program, time and other dates are not available yet, but should be announced soon.

The performances are part of the 2020 Beethoven Year, which will celebrate the 250th anniversary of the composer’s birth. Stayed tuned for more details.

This Friday night, Oct. 4, at 8 p.m. in Mills Hall, three members of the Pro Arte will perform a FREE concert of string trios. Performers are second violinist Suzanne Beia, violist Sally Chisholm and cellist Parry Karp.

Featured on the program are: the Serenade in C Major, Op. 10 (1902), by the Hungarian composer Ernst von Dohnanyi (below top); the String Trio, Op. 48 (1950), by the Polish composer Mieczyslaw Weinberg (below bottom); and the Serenade in D Major, Op. 8 (1796-97), by Ludwig van Beethoven.) You can hear the opening movement of the Weinberg Trio in the YouTube video at the bottom.

For more information about the quartet and the program, go to: https://www.music.wisc.edu/event/pro-arte-quartet-5/

This Sunday afternoon, the Pro Arte Quartet will also perform FREE at the Chazen Museum of Art on Sunday Afternoon Live at the Chazen. The same program of string trios will be repeated. The performance will be held starting at 12:30 in the Brittingham Gallery 3.

For details about attending, go to: https://www.chazen.wisc.edu/index.php?/events-calendar-demo/event/sunday-afternoon-live-at-the-chazen9/

It will also be streamed live at the following portal: https://c.streamhoster.com/embed/media/O7sBNG/OS1C0ihJsYK/iqf1vBMs3qg_5


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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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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

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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