By Jacob Stockinger
Here is the official announcement of the 2017-18 season by the Madison Symphony Orchestra:
The 2017-18 season of the Madison Symphony Orchestra (MSO, below, in a photo by Greg Anderson) presents nine programs that invite audiences to “listen with all your heart” and “feel the emotion, power and majesty” of great classical music.
Subscriptions are available now, and single tickets for all concerts go on sale to the public Saturday, Aug. 12, 2017.
For more information about tickets and ticket prices plus discounts for new subscribers and renewing subscribers, go to:
MSO music director John DeMain, who will be marking his 24th season with the MSO, has created an exciting season that features favorites combined with firsts.
Says DeMain (below, in a photo by Prasad): “I must point out two monumental firsts: the MSO debut of the great violinist Gil Shaham, renowned and sought after the world over, whose appearance Madison has waited for for many years; and the Madison premiere of the Glagolitic Mass by Czech composer Leos Janacek, a gargantuan work for chorus and orchestra with a prominent role for our “Colossal Klais,” the Overture Concert Organ.”
Performances are in Overture Hall of the Overture Center at 7:30 p.m. on Fridays; 8 p.m. on Saturdays; and 2:30 p.m. on Sundays.
The 2017-2018 subscription series concerts begin on Sept. 15, 16 and 17 with “Orchestral Brilliance”—proudly presenting the Madison Symphony Orchestra performing the Johann Sebastian Bach/Leopold Stokowski version of the organ Toccata and Fugue in D minor; Felix Mendelssohn’s Reformation Symphony and Hector Berlioz’s “Harold in Italy” with MSO principal viola Christopher Dozoryst (below, in a photo by Katrin Talbot) as soloist. (You can hear Leopold Stokowski conduct his own transcription of the work by Bach, which was used in Walt Disney’s film “Fantasia,” in the YouTube video at the bottom.)
“From the New World” on Oct. 20, 21 and 22 features the return of beloved pianist Olga Kern (below), a gold medalist in the Van Cliburn competition, performing Samuel Barber’s Piano Concerto, and the MSO performing Antonin Dvorak’s Symphony No. 9 “From the New World” and Maurice Ravel’s Mother Goose Suite.
On Nov. 17, 18, and 19 “Troubadour: Two Faces of the Classical Guitar” features sensational guitar virtuoso Sharon Isbin (below) playing two works, one by American composer Chris Brubeck, and the other by the Spaniard Joaquin Rodrigo, with the MSO performing two Suites—Manuel DeFalla’s The Three-Cornered Hat and Aaron Copland’s Billy the Kid.
The cherished kickoff to the holiday season, “A Madison Symphony Christmas,” returns on the first weekend in December — the 1, 2, and 3. Guest artists Emily Pogorelc, soprano, and Eric Barry, tenor, join John DeMain, the MSO, the Madison Symphony Chorus (below), Madison Youth Choirs and Mount Zion Gospel Choir on stage for the family-friendly celebration.
The MSO season subscription continues in 2018 with the long awaited appearance of violinist Gil Shaham (below) with the MSO—“Gil Shaham Plays Tchaikovsky” on Jan. 19, 20 and 21. This program features works by three of the most popular Russian composers of all time— Sergei Prokofiev’s The Love for Three Oranges Suite, Sergei Rachmaninoff’s Symphony No. 3 and Peter Tchaikovsky’s Violin Concerto.
“Richly Romantic” concerts take place on Feb. 16, 17 and 18 when one of MSO’s favorite cellists, Alban Gerhardt (below), returns performing the lyrical William Walton’s Cello Concerto, and the MSO presents Johannes Brahms’ Symphony No. 1 and Gioachino Rossini’s Overture to Semiramide.
Spring arrives April 13, 14, and 15 with “String Fever” featuring Robert Schumann’s Symphony No. 1, Spring, Benjamin Britten’s Sinfonia da Requiem and Grammy Award-winning violinist Augustin Hadelich (below) performing the Antonin Dvorak’s Violin Concerto.
The season finale, “Mass Appeal,” takes place on May 4, 5 and 6. Star of NPR’s From the Top, pianist Christopher O’Riley (below), will open the program with Mozart’s Piano Concerto No. 22. The MSO premiere of the monumental Glagolitic Mass by Czech composer Leos Janacek features the Overture Concert Organ and the Madison Symphony Chorus, along with soloists Rebecca Wilson, soprano, Julie Miller, mezzo-Soprano, Roger Honeywell, tenor, and Benjamin Sieverding, bass.
The MSO’s 17-18 season includes the popular multimedia production of Beyond the Score®, “Edward Elgar: Enigma Variations,” featuring live actors and visuals in the first half, with the entire work performed in the second half. Joining the orchestra are American Players Theatre actors James Ridge (below), Colleen Madden and Brian Mani, along with Wisconsin Public Radio’s Norman Gilliland of Wisconsin Public Radio as the Narrator. This single performance takes place on Sunday, March 18, 2018*.
NOTE: *Advance tickets for Beyond the Score® are available only to MSO 17-18 season subscribers prior to single tickets going on sale to the general public on Saturday, Aug. 12, 2017. Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Beyond the Score®
ABOUT THE MADISON SYMPHONY ORCHESTRA
The Madison Symphony Orchestra celebrates its 92nd season in 2017-2018 and its 24th season under the leadership of music director John DeMain.
The MSO has grown to be one of America’s leading regional orchestras, providing Madison and south central Wisconsin with cultural and educational opportunities to interact with great masterworks and top-tier guest artists from around the world.
Find more information at madisonsymphony.org
By Jacob Stockinger
You may recall that the longtime director of University Opera William Farlow retired last spring. While no permanent successor has been named yet, the impressively qualified David Ronis, from the Aaron Copland School of Music at Queens College, City University of New York (CUNY), was chosen from a national search and is serving as a guest director this academic year.
Ronis (below, seen talking to the cast on stage) makes his University of Wisconsin-Madison debut this Friday night at 7:30 p.m. in Music Hall, at the foot of Bascom Hill, with a production of British composer Benjamin Britten’s comic opera “Albert Herring.” (The opening scene from a Los Angeles Opera production can be heard at the bottom in a YouTube video.) Additional performances are on Sunday afternoon at 3 p.m. and Tuesday night at 7:30 p.m.
Tickets are $22 general admission; $18 for senior; and $10 for student. They are available at the door and from the Wisconsin Union Theater Box Office or call (608) 265-ARTS (2787)/ Buy in person and you will save the service fees.
Here are links with more information about the opera and about Ronis, including a fine profile interview done by Kathy Esposito, the public relations and concert manager at the UW-Madison School of Music:
And here is a link to David Ronis’ personal website:
Finally, here is the email Q&A that David Ronis (below, in a photo by Luke Delalio) gave to The Ear:
Can you give readers a brief introduction to yourself, including when and how you started learning music, your early training and formative experiences, your major professional accomplishments and some personal information like hobbies and other interests as well as current and future plans for your career?
I grew up on Long Island, did my undergraduate degree (a B.F.A. in Voice) at Purchase College, and have lived in Manhattan ever since. I studied both piano and voice as a kid and, in high school, was very much involved in musical theater. After graduating from Purchase, I supported myself by doing a lot of professional choral singing.
Soon after, I started getting hired to sing character tenor roles in opera companies in U.S, Europe and Asia, which I did for a number of years. One of the highlights was being a part of Leonard Bernstein’s A Quiet Place/Trouble in Tahiti when it was done at La Scala Milan, the Kennedy Center and the Vienna State Opera.
At one point in the mid-’90s, when I had less than a full year of regional opera work, I started auditioning for Equity musical theater jobs and was cast in the Los Angeles company of Disney’s Beauty and the Beast.
In opera circles, I was considered to be a “good actor.” But, to forgive myself (and others), I didn’t really know from good acting! In LA, my new colleagues and friends were actors, as opposed to singers and musicians, and I started seriously questioning my own (lack of) acting technique. After three years of doing Beauty –- in both LA and on the national tour -– I went back to New York, got into in a heavy-duty acting class, and started working in spoken theater, TV commercials (I have some very funny stories about that), and independent films, as well as continuing to sing in opera regionally.
My work in theater completely changed my perspective on stage work in opera and I found myself newly critical of much of the operatic acting I saw.
One day, my friend Paul Rowe (below) –- who teaches voice at the UW-Madison — was in New York hanging out at my apartment (this is very vivid in my mind) and he said something like, “David, you should put this together. You’re now an accomplished actor as well as a singer and you have a pretty unique perspective on how one affects the other.” Bingo!
Long story short: I started teaching Acting for Singers classes, doing small directing projects, and very soon got hired at Queens College to direct the Opera Studio. Almost immediately, this transition from performing to teaching just felt right.
I was hired as an Adjunct Lecturer at Queens with only a bachelor’s degree, and decided that I should probably have at least a master’s. So I enrolled in a terrific M.A. L.S. (Master of Arts in Liberal Studies) program at a de-centralized SUNY school, Empire State College. The M.A.L.S. was probably one of the most difficult things I’ve ever done. It is a self-designed, inter-disciplinary research degree in which the candidates have to articulate their areas of academic inquiry and pursue them by creating individual courses and working with tutors. Over 2 ½ years, I wrote about 300 pages of material focused on operatic acting and production, research that I still regularly call upon in my teaching.
What are my principal influences? I’d say that my principal acting teacher, Caymichael Patten, is a big one. Cay’s a terrific, tough teacher who tells it like she sees it. She has an uncanny knack for “being inside your head –with you.” I learned a huge amount from her and, in many ways, have modeled my teaching on Cay’s. I also have a number of friends – all opera directors working in academia as well as professionally, who are on the same page as I am as far as operatic acting training. They’ve been big influences too -– Stephen Wadsworth (below, who teaches at the Juilliard School) and Robin Guarino, to name just a couple.
As for the future, who knows? I’ve actually never been one to have a detailed life plan. I’ve been very fortunate that opportunities have come my way and I’ve just followed my nose. I do know one thing -– that my passion for directing and teaching seems to be growing (if that’s even possible) and that I very much enjoy working in a university environment.
As an East Coast native, how do you like the Midwest, Madison and the especially the UW-Madison?
I’ve spent plenty of time in the Midwest, mostly working. So I “get” the Midwest and I’m comfortable here. I’m finding what “they say” about Madison to be true -– that it’s a pretty unique place within the Midwest — culturally, politically, intellectually.
I think these are things that make people who are kind of East Coast-centric, like myself, feel more at home, when “home” means lots of intellectual and artistic stimulation. What’s not to like about a city where everyone reads the New York Times and The New Yorker magazine and goes to the Madison Symphony Orchestra!
Why did you choose “Albert Herring” by Benjamin Britten (below top) to do this semester and “The Magic Flute” by Mozart (below bottom) to do second semester? Have you staged them before? What would you like audience members here to know about your productions of them?
I make repertoire decisions based on a variety of factors. This year, we needed to do a piece with small orchestral forces in the fall and a full orchestra show in the spring.
I also like to do shows that involve a good number of students. Both the Britten and the Mozart fit those descriptions.
Also, the “who do we have at school” factor is big. We need to do operas that we can cast well from the student population.
And, most importantly, I consider the educational value of various shows. Albert Herring is not only a great piece of music and theater, but there’s so much that the students learn from working on it. The roles are difficult, both vocally and musically. And since it’s a big ensemble show, students are challenged to develop their ensemble singing and acting skills. So far, I’m very pleased with the results.
I’ve directed The Magic Flute before. We’re going to do a version of a production I did some years ago that locates the drama vaguely in a South Asian environment. Flute, for all of its brilliance, is kind of a dramaturgical mess. Who are the truly good and bad guys/gals? Where do we start and where do we end up and what do each of the characters learn for having gone on the journey?
My take on the story very indirectly alludes to a conflict between East (Sarastro) and West (Queen of the Night), and attempts to examine the two opposing forces on the most basic, human level – even if they are iconic figures. Why makes the Queen tick? Why did Sarastro “steal” her daughter and why is he “holding her captive?” These are the questions that intrigue me.
Was there an Aha! Moment – a work or performer, a concert or recording – that made you realize that you wanted to have a professional life in music and specifically in opera?
My Aha! moment? OK, you’re going to think I’m a nerd. As a high school senior, I took a philosophy elective in which I was reading people like Schopenhauer and Nietzsche. At the time, I was obsessed with an LP called “The Genius of Puccini” -– essentially excerpts from operas by Puccini (below) –- which I would play over and over again in my room. I recall going into my parents’ room one night, with record blaring in the background, and ranting on about what I was reading and how it described exactly what filled me up like nothing else. (Cue the big ensemble from the first act of Turandot). From that moment, it was all downhill!
Is there anything else you would like to add or say?
I’d just like to encourage people to come to both University Opera productions. We’ve got a terrific cast for Albert Herring, not to mention an incredibly talented and articulate young conductor in Kyle Knox (below)– Kyle is truly someone to keep your eye on.
We’ve been having so much fun during rehearsals – laughing a lot! I firmly believe that spirit transfers across the proverbial footlights.
If any of your readers are hesitant (perhaps because they tend to respond to 19th century Romantic pieces and might be reticent to go to an opera with which they’re not familiar), I can confidently say that Albert Herring is a very accessible piece –– extremely entertaining and, at times, quite moving. The physical production is coming along –- all in all, I’m very excited about the show.
By Jacob Stockinger
As loyal blog readers already know, The Ear has been using the FIFA World Cup (below) competition in soccer — or football, as the rest of the globe knows the sport – as a fine occasion to explore and to hear the music of Brazilian composer Heitor Villa-Lobos.
After all, the World Cup has taken place since June 12 in some dozen stadiums (below) throughout Brazil. And today’s championship match between Argentina and Germany will take place in Rio de Janiero.
And after hearing the music of Villa-Lobos performed by the Cello Choir at the National Summer Cello Institute (below) at the University of Wisconsin-Madison School of Music, The Ear is more convinced than ever that this great but neglected 20th-century composer deserves a wider hearing and more live performances.
Villa-Lobos (below) attempted an ambitious and ingenious task: To reconcile and incorporate the music of Johann Sebastian Bach and concert hall music in general with the folk songs and folk dances of his native Brazil. Before Astor Piazzolla and his “new tangos,” there was Villa-Lobos and his Bachianas Brasileiras and Choros.
Here are links to the previous installments:
This is the link to the Cello Choir concert of the annual National Summer Cello Institute that is held each summer at the University of Wisconsin-Madison School of Music and that inspired my Villa-Lobos video postings from YouTube.
And here are the links to the first two installments that feature the Bachianas Brasileiras No. 5 and No 1, which both deserve repeated hearings:
And here is the third installment that featured Brazilian pianist Nelson Freire performing the chorale prelude-type opening of the Bachianas Brasilerias No. 3 for solo piano:
Villa-Lobos was championed by none other than the great pianist Arthur Rubinstein, who performed his suite “Prole do bebe”:
And his well-known piece “The Little Train From the Caipira,” from “Bachianas Brasileiras” No. 2, which Walt Disney was attracted to for possible use in a second “Fantasia” film and which imitates the sounds of a rural choo-choo, as played by a youth orchestra in Great Britain:
Now here is a link to Installment No. 4: A beautiful movement from one of his 17 string quartets — this one is No. 5 and is available on YouTube. It once again shows the lyrical songfulness and folk music vigor of Villa-Lobos. It is even more beautiful than the perfect soccer kick or dribble, pass or goal, and it is more long-lasting: