The Well-Tempered Ear

Classical music: In Dvorak’s “Rusalka,” the Madison Opera demonstrated how beautiful music and convincing stagecraft can overcome a weak story

May 1, 2019
2 Comments

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

By Jacob Stockinger

The Opera Guy for this blog – Larry Wells – took in last weekend’s production by the Madison Opera of “Rusalka” and filed the following review. Performance photos are by James Gill.

By Larry Wells

I thoroughly enjoyed attending the Sunday afternoon performance of Antonin Dvorak’s opera “Rusalka” presented by Madison Opera in Overture Hall. Until then I had only heard recordings of this lushly orchestrated work.

The opera is a fairy tale involving a rather dithering water sprite (below right) who does not follow her father’s wise advice not to pursue a mortal prince (below left) and to stick to her own kind. She ignores his advice, and this leads to her eventual unhappiness and to the death of her prince.

That she also becomes mute when in the presence of the prince adds to everyone’s woes, and it seems a peculiar device to have the lead soprano not be able to sing for most of the second act of the opera.

Her inability to communicate naturally leads to the prince’s frustration, and my companion suggested that she could simply have used paper and pencil to communicate. But since she had been brought up in a river, perhaps she never learned to read and write.

Nevertheless, common sense did not seem to inhabit either Rusalka or her prince. As my companion also pointed out, love isn’t always logical.

In any event, the production and the music made up for the libretto’s shortcomings.

The set featured beautiful projections, from the Minnesota Opera, of forest, water and woodlands during the first and third acts.

The second act took place at the prince’s palace. It appeared to be an International Style palace in the manner of architect Mies van de Rohe, which must have also been disconcerting for Rusalka. Nonetheless, the set was very striking and beautifully lit.

Tenor John Lindsey (below top) portrayed the prince and William Meinert (below bottom left, with Emily Birsan) was Rusalka’s father, a water goblin. Both sang well, although Lindsey had the distracting habit of casting his chin and eyes downward as he sang.


But the stage belonged to the women.

Emily Birsan (below) as Rusalka was a study in subtle shadings of her expressive soprano voice (below, singing the famous  aria “Song to the Moon”). She is a powerful singer and convincing actress who was engaging to watch and to hear.

Lindsay Ammann (below) as the sorceress Jezibaba was powerful in voice and in her command of the stage. Her third act aria was sensational, and her calling Rusalka a “empty little water bubble” was so apt it made the audience titter.

The villainous Foreign Princess portrayed by Karin Wolverton (below, standing over John Lindsey) seemed to be the only sensible character in the opera. She likewise commanded the stage and displayed a powerful voice with passionate commitment to her role.

Three water sprites – portrayed by Kirsten Larson, Saira Frank and Emily Secor (below, in order from left) – provided Rhine maiden-like commentary and gorgeous vocalizations despite having to wander around the stage at times seeming to be fascinated by twigs.

A shout-out goes to tenor Benjamin Liupaogo (below), still a student at the University of Wisconsin-Madison’s Mead Witter School of Music, who only sang a couple of lines but sang them very beautifully. He is someone to watch!

The Madison Symphony Orchestra was conducted by John DeMain (below, in a photo by Greg Anderson). The strings and winds sounded particularly good that day, and DeMain brought out all of the interesting Bohemian folky gestures Dvorak included in the score. I found Dvorak’s orchestral score engaging throughout the performance. (You can hear the opening Overture in the YouTube video at the bottom.)

Altogether it was charming afternoon of beautiful music, excellent singing and fetching staging of a strange tale.

Madison Opera has announced its upcoming season offerings, which are Giuseppe Verdi’s “La Traviata” (Nov. 1 and 3), Gregory Spears’ “Fellow Travelers” (here Feb. 7 and 9, it has already hit Chicago and Minneapolis and is slated for Tucson next season as well), and Jacques Offenbach’s comic “Orpheus in the Underworld” (April 17 and 19).

It seems a very interesting season, and subscription tickets will go on sale in early May. For more information, go to: https://www.madisonopera.org


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: The Madison Opera stages its first-ever production of Dvorak’s fairy tale opera “Rusalka” next Friday night and Sunday afternoon. A preview roundtable is this Sunday afternoon

April 20, 2019
Leave a Comment

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

By Jacob Stockinger

The Madison Opera will stage its production of Antonin Dvorak’s luxurious masterpiece Rusalka on Friday night, April 26, at 8 p.m. and Sunday afternoon, April 28, at 2:30 p.m. in Overture Hall at the Overture Center, 201 State Street.

Running time is 3 hours with two intermissions, and will feature projected supertitles with English translations of the original Czech that will be sung.

Tickets are $18-$131 with discounts available for students and groups. Go to: https://www.madisonopera.org/tickets/

Inspired by the classic fairy tale The Little Mermaid, the story travels from a mythical forest to a palace and back again. Its lush score includes the famous “Song to the Moon.” (You can hear Renée Fleming sing”Song to the Moon” in the YouTube video at the bottom.)

Set in a mythical realm, Rusalka is about a water nymph who falls in love with a human prince. She tells her father Vodnik that she wishes to become human and live with the Prince on land. Horrified, Vodnik tells her that humans are full of sin, but reluctantly suggests she enlist the help of Jezibaba, a witch. Jezibaba agrees to make her human, but cautions that Rusalka will lose her power of speech. Further, if the Prince betrays her, she will be cursed forever.

The Prince falls in love with Rusalka and plans to marry her, but her silence unnerves him, and a Foreign Princess interrupts the wedding festivities with evil intent. Rusalka returns to the lake as a spirit that lures men to their death – and the Prince follows her.

Rusalka is one of the most gorgeous operas in the repertoire,” says Kathryn Smith, Madison Opera’s general director (below, in a photo by James Gill). “I fell in love with it when I first saw it over 20 years ago, and listening to the score is a pure pleasure. I am so delighted to share this opera with Madison, so that everyone can learn how brilliant an operatic composer Dvorak was, and experience an opera that is justifiably popular around the world.”

Rusalka’s story was inspired by multiple sources, including Slavic mythology and the fairy tales of Karel Jaromir Erben, Hans Christian Andersen, and Friedrich de la Motte Fouqué.

The opera premiered on March 31, 1901 in Prague and quickly became a massive success, hailed as Dvorak’s masterpiece.

But it was not initially widely performed outside of Czech territories; the first U.S. performance was in 1975. But in recent decades, the opera by Dvorak (below) has become a regular part of the opera repertoire, due to its beautiful music and lovely story.

This production is not only a Madison Opera premiere, but also the company’s first-ever opera in Czech.

Madison Opera’s cast features both returning artists and debuts.

Soprano Emily Birsan (below) returns to Madison Opera in the title role, following successes here as Gounod’s Juliet and Musetta in Puccini’s La Bohème. Last month, she sang Violetta in Verdi’s La Traviata at the Lyric Opera of Chicago. The Chicago Tribune has praised her singing for her “amazing clarity of diction, accuracy of intonation and fineness of expression.”

Tenor John Lindsey (below) returns to Madison Opera as The Prince, after singing in last summer’s Opera in the Park.

Making their debuts with Madison Opera are soprano Karin Wolverton as the Foreign Princess, contralto Lindsay Amman as the witch Jezibaba and bass William Meinert as Rusalka’s father, Vodnik. Emily SecorSaira Frank and Kirsten Larson play the three wood sprites; Benjamin Liupaogo sings the Hunter.

The Madison Opera Chorus and Madison Symphony Orchestra round out the musical forces, all under the baton of John DeMain (below, in a photo by Greg Anderson), Madison Opera’s artistic director.

Keturah Stickann (below) directs her first opera for Madison Opera; she has directed both traditional and contemporary repertoire across all of the U.S., most recently for San Francisco Opera and Washington National Opera.

This production originated at Minnesota Opera and features projections (below) by Wendall K. Harrington, who has been described as “the godmother of modern projection design.”

In reviewing the Minnesota production, theTwin Cities Arts Reader praised “the stunning visuals on display, which only serve to enhance and elaborate on the action and the music.”

Madison Opera’s production of “Rusalka” is sponsored by the National Endowment for the Arts, Kay & Martin Barrett, Millie & Marshall Osborn, Sally & Mike Miley, Kato Perlman, Charles & Martha Casey, John Lemke & Pam Oliver, and The Ann Stanke Fund.

RELATED EVENTS

You can learn more about “Rusalka” at the events leading up to the performances.

Opera Up Close will take place this Sunday, April 21, 1-3 p.m. at the Margaret C. Winston Opera Center (below) 335 West Mifflin Street, $20 general admission; free for full-season subscribers; $10 for two-show subscribers.

This event features a multimedia behind-the-scenes preview of Rusalka. General director Kathryn Smith will discuss Antonin Dvorak and the history of his fairy-tale opera. Principal artists, stage director Keturah Stickann and conductor John DeMain will participate in a roundtable discussion about Madison’s production and their own takes on this masterpiece.

Pre-Show Talks by Kathryn Smith take place on Friday, April 26, at 7 p.m. and Sunday, April 28, at 1:30 p.m. at Wisconsin Studio at Overture Center, and are free to ticket holders.

Post-Opera Q&A’s are on Friday, April 26, and Sunday, April 28, immediately following the opera in the Wisconsin Studio at Overture Center, and are free to ticket holders.

More information — including cast biographies and a blog with Q&A interviews with some cast members — is available at https://www.madisonopera.org and https://www.madisonopera.org/2018-2019-season/rusalka/.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: UW-Madison pianist Jessica Johnson celebrates International Women’s Day this Friday night with a FREE recital of all-female composers and a special keyboard for smaller hands

March 6, 2019
3 Comments

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

ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Ukrainian pianist Yana Avedyan in solo works by Ludwig van Beethoven, Sergei Prokofiev and Franz Liszt. The program will include music from her upcoming appearance at Carnegie Hall. The musicale runs from 12:15 to 1 p.m.

By Jacob Stockinger

March is Women’s History Month, and this Friday is International Women’s Day.

To mark the latter occasion, Jessica Johnson, who teaches piano and piano pedagogy at the University of Wisconsin-Madison’s Mead Witter School of Music, where she has won an award for distinguished teaching, will perform a program of all-women composers.

The FREE recital is this Friday night, March 8, at 8 p.m. in Mills Hall. Johnson (below, in a photo by M.P. King for The Wisconsin State Journal) will perform works from the 19th, 20th and 21st centuries, pairing works with interesting connections.

Here is what Johnson has to say about the program:

Dreaming, Op. 15, No. 3, by Amy Beach (below top) and The Currents by Sarah Kirkland Snider (below bottom) both feature beautiful lyricism and long-line phrases inspired by poetry.

“2019 is the bicentennial celebration of Clara Schumann’s birth, so I wanted to honor her and her tremendous legacy. Her Romance, Op. 11, No. 1, was composed in 1839 in the midst of the difficult year when Clara (below) was separated from her beloved Robert. (You can hear the Romance in the YouTube video at the bottom.)

“Bolts of Loving Thunder by Missy Mazola (below) was written in 2013 for pianist Emanuel Ax as a piece that would appear on a program of works by Brahms. Mazzoli alludes to the romantic, stormy side of “pre-beard” Brahms, with exuberant floating melodies, hand crossings and dense layers of chords.

“Troubled Water (1967) by Margaret Bonds (below) is based on the spiritual “Wade in the Water,” with hints of blues, jazz and gospel traditions throughout.

“Azuretta (2000) by Chicago-based composer, Regina Harris Baiocchi (below) describes Azuretta as a musical reaction to a debilitating stroke Dr. Hale Smith, her former composition teacher, suffered in 2000. The work honors his incredible legacy by mixing classical and jazz idioms.

“Germaine Tailleferre (below), the only female member of Les Six, the group of early 20th-century French composers, wrote her beautiful Reverie in 1964 as an homage to Debussy’s “Homage à Rameau” from Images, Book I.

“Preludes (2002) by Elena Ruehr (below) draw inspiration from Debussy’s Preludes, mimimalism and Romantic piano music.

“Also, as an advocate for the adoption of the Donison-Steinbuhler Standard — which offers alternatively sized piano keyboards for small-handed pianists  — I will perform on the Steinbuhler DS 5.5 ™ (“7/8”) piano keyboard.

“By performing on a keyboard that better fits my hands — studies suggest that the conventional keyboard is too large for 87% of women — and featuring works by female composers who are typically underrepresented in concert programming, I hope to bring awareness to gender biases that still exist in classical music.

“For more information about both me and the smaller keyboard, go to the following story by Gayle Worland in The Wisconsin State Journal:

https://madison.com/wsj/entertainment/music/a-smaller-piano-for-bigger-artistry/article_38b80090-be0f-5050-9862-32c3c36c6930.html


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Sonata à Quattro celebrates early music and the importance of the viola in concerts this Friday night and Sunday afternoon

November 1, 2018
1 Comment

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

By Jacob Stockinger

As far as The Ear can tell, Marika Fischer Hoyt has two big professional passions: early music, especially the music of Johann Sebastian Bach; and the viola, which she plays, teaches and champions in the Madison Bach Musicians, the Madison Symphony Orchestra, Bach Around the Clock (which she revitalized and directs) and now Sonata à Quattro (which she founded last summer, when it made its impressive debut as an adjunct event to the Madison Early Music Festival).

Those two passions will come together in Madison this Friday night, Nov. 2, and in Milwaukee this Sunday afternoon, Nov. 4,  in concerts by the new Baroque chamber music ensemble Sonata à Quattro (below) with the theme “Underdog No More – The Viola Uprising.”

Here are the two dates and venues:

Friday, Nov. 2, at 7:30 p.m. at the Immanuel Lutheran Church, 1021 Spaight Street, in Madison; tickets are $15 and available at the door, and also online at www.brownpapertickets.com/event/3660161

Sunday, Nov. 4, at 4 p.m. at the Villa Terrace Decorative Arts Museum, 2220 North Terrace Avenue, in Milwaukee; tickets are $20 for general admission, $10 for students at the door, and online at www.violauprising.brownpapertickets.com

Fisher Hoyt (below) has this to say this about the theme of “The Viola as Underdog”:

“A caterpillar turning into a butterfly – that was the violin in the 17th century. In the early 1600’s the violin evolved almost overnight from dance band serf into the rock star of the musical family.

But the viola’s larger size, heavier weight, more slowly responding strings and darker timbre kept it in the shadows, consigned to rounding out harmonies under the violin’s pyrotechnics. (Indeed, vestiges of this status remain to the present day, in the form of the omnipresent viola joke).

Composers like Bach, Mozart and Beethoven played the viola (below is Marika Fischer Hoyt’s baroque viola made in Germany in the 1770’s) themselves, and gave it challenging melodic and soloistic opportunities in their works. But these were the exception rather than the rule; the viola’s main role in the 17th century was that of filler in an ensemble.

But if agile violins and cellos serve as the arms and legs of a musical texture, the viola’s rich dark voice gives expression to the heart and soul. This added dimension is enhanced when, as happened frequently in France, Germany and Italy, two or more viola lines are included.

Our program presents works from 1602-1727 that explore those darker, richer musical palettes, culminating in Bach’s ultimate exaltation of the underdog, the Brandenburg Concerto No. 6.” (You can hear the Bach work in the YouTube video at the bottom.)

Performers in the group for these performances are Consuelo Sañudo, mezzo-soprano; Christine Hauptly-Annin and Anna Rasmussen, violins; Micah Behr and Marika Fischer Hoyt, violas; Ravenna Helson and Eric Miller, violas da gamba; Charlie Rasmussen, cello; and Daniel Sullivan, harpsichord.

The program includes:

Fuga Prima, from Neue Artige und Liebliche Tänze (New-styled and Lovely Dances(1602) by Valentin Haussmann (1565-1614)

Sonata à 5 in G Minor, Op. 2 No. 11 (1700) by Tomaso Albinoni (1671-1751)

Mensa Sonora, Pars III (1680) by Heinrich Biber (1644-1704)

Sonata à 5 in E Minor, TWV 44:5 by Georg Friedrich Telemann (1681-1767)

Sinfonia from Cantata 18 Gleichwie der Regen und Schnee (Just as the Rain and Snow) (1714) by Johann Sebastian Bach (1685-1750)

INTERMISSION

Sonata à Quattro II in C Major  “Il Battista” (The Baptist) (1727) by Antonio Caldara (1670-1736)

Lament:  Ach, daß ich Wassers gnug hätte (O, that I had enough waters) by Johann Christoph Bach (1642-1703)

Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 (1718) by J.S. Bach

Here is a link to the Facebook page of Sonata à Quattro with videos and photos as well information about the players and upcoming concerts: https://www.facebook.com/sonataaquattro/

The Madison concert will be followed by a reception of dark chocolate, mocha and cappuccino.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: “Just Bach” — a monthly mid-day FREE concert series — starts this Thursday at 1 p.m. in Luther Memorial Church. Plus, the FREE fifth annual UW Brass Fest takes place Friday and Saturday

September 25, 2018
2 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE FORWARD A LINK TO IT OR SHARE IT (not just “Like It”) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

ALERT: This Friday and Saturday, the UW-Madison’s Mead Witter School of Music will host  Brass Fest V. It features guest artists and the faculty group The Wisconsin Brass Quintet. Events are FREE and OPEN to the public. For a schedule and more information about events and performers, go to: https://www.music.wisc.edu/event/brass-fest-v-alumni/

By Jacob Stockinger

A new and noteworthy monthly event starts this Thursday. Here is an announcement:

“Just Bach” is a new monthly mid-day concert series in Madison. It celebrates the music of Johann Sebastian Bach (below).

The series of hour-long concerts kicks off at 1 p.m. this Thursday, Sept. 27,at Luther Memorial Church (below), 1021 University Avenue.

Admission is free, but goodwill offerings will be accepted.

The Madison series, inspired by a model and successful program established by conductor Julian Wachner at the Trinity Wall Street Church in New York City, will offer monthly concerts at Luther Memorial Church, presenting programs curated from Bach’s sacred vocal repertoire.

As in New York City, the concerts will open with all present singing a hymn, followed by an organ solo, with the rest of the program devoted to cantatas, motets, and possibly oratorios or passions. An important component of the initiative will be the training and inclusion of local singers for the chorus. The period-instrument orchestra will include local and regional players.

Audience members may take in food and beverage for their lunch, which can be consumed during the program.

This Thursday afternoon, organist Mark Brampton Smith (below) will play the “Little” Fugue in G Minor, BWV 578 (heard, with a graphic depiction, in the YouTube video at the bottom); and the choir and orchestra will perform two beautiful cantatas: O heileges Geist- und Wasserbad (O Bath of Holy Spirit and Water), BWV 165; and Liebster Jesu, mein Verlangen (Dearest Jesus, My Desire), BWV 32.

Adds the organizer Marika Fischer Hoyt (below), who also directs the annual Bach Around the Clock event in March: “The goal of this series is to share the immense range of Bach’s vocal and instrumental repertoire with the Madison community at large.

“The period-instrument orchestra will bring the music to life in the manner and style that Bach would have conceived. Members of the artistic team will prepare local singers to perform alongside seasoned professionals and develop a familiarity and love of the repertoire.

“The audience will be invited to sing along during the opening hymns and the closing cantata chorales.

“The dream team bringing this venture to Madison consists of four individuals who have each dedicated a significant portion of their careers to the music of J.S. Bach: soprano Sarah Brailey, who did her master’s at the UW-Madison and won the Handel Aria Competition; mezzo-soprano Cheryl Bensman-Rowe; UW-Madison professor and bass-baritone Paul Rowe; and modern and baroque violist Marika Fischer Hoyt who also performs with the Madison Bach Musicians, Sonata à Quattro and the Madison Symphony Orchestra.

The vocal soloists for the concert on this Thursday will be Sarah Brailey (below), Cheryl Bensman-Rowe, tenor Wesley Dunnagan, and Paul Rowe. The period orchestra of local and regional baroque players will be led by concertmaster Kangwon Kim.

After the debut, Just Bach dates go to Wednesdays and will take place at 1 p.m. on Oct. 31, Nov. 28 and Dec. 12.

Our Facebook page is at https://www.facebook.com/SingetdemHerrn

Our Instagram account is at https://www.instagram.com/_just_bach_/

A website is in the process of being constructed.

We are extremely grateful to Pastor Brad Pohlman and the congregation of Luther Memorial Church for hosting the series this Fall.

We invite the Madison community to come spend a lunch hour with the sublime music of J.S. Bach – feed your body and soul!”


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Antonio Vivaldi and Joshua Bell evoke the summer storms that Wisconsin now waits for and fears for the next week

September 1, 2018
1 Comment

By Jacob Stockinger

So much of Wisconsin is already so flooded after the past week or 10 days that an open-ended state of emergency has been officially declared for the entire state.

And now the weather predictions for the next week or so are for more rainstorms and thunderstorms every day — complete with watches, alerts and warnings from the National Weather Service.

Will those storms swell the rivers and lakes even more?

Will more streets be closed and bridges destroyed?

Will more basements and even whole homes and buildings be ruined?

Will more businesses be forced to close?

The Ear knows a lot of music about water, especially by Claude Debussy. But so much of the water music from Handel and Smetana to Wagner and Debussy seems restorative or calm or redemptive or simply descriptive.

But the water Wisconsin faces makes us edgy and nervous while we wait to see what happens because the weather could bring more devastation and destruction.

The closest music comes to the right mood is the frenetic and even violent quality of the summer storm in “The Four Seasons” by Antonio Vivaldi and the energetic violin playing by Joshua Bell.

If you can think of a better piece, let The Ear know.

In the meantime, let’s all hope for the best and here is Vivaldi’s musical summer storm in a YouTube video:


Classical music: Madison Opera’s “Florencia en el Amazonas” took listeners on an enchanting and moving voyage into love and fine singing of Puccini-like lyricism

May 1, 2018
Leave a Comment

By Jacob Stockinger

Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the Madison Opera and filed this review, with photos by James Gill:

By Larry Wells

I looked forward enough to Madison Opera’s premiere production of Daniel Catán’s Spanish-languageFlorencia en el Amazonas” that I attended both performances at Overture Hall this past weekend.

Based on repeated hearings of the recording and numerous favorable reviews of other productions, I was fairly certain that I would be in for a treat. I was not disappointed.

The action takes place on a boat on the Amazon heading for Manaus where the title character Florenica (below), an opera singer of high repute, is to perform.

Other passengers (below), unaware of her presence onboard, also have the opera house as their destination in order to hear her sing.

Rosalba, her unauthorized biographer, and Paula and Alvaro, a bickering older couple, are joined onboard by the Captain, his nephew Arcadio, and a Puckish character Riolobo, who acts as narrator and supervises the magic in this tale of magical realism.

Below, starting at the top and moving clockwise, are: Kanopy Dancers, Ashraf Sewailam (The Captain), Mackenzie Whitney (Arcadio), Rachel Sterrenberg (Rosalba), Elizabeth Caballero (Florencia Grimaldi), Adriana Zabala (Paula), Levi Hernandez (Alvaro) and Nmon Ford (Riolobo)

The boat (our life) floats along the Amazon (life itself) in this parable of longing, regret, the fickleness of love, love lost and regained, and transformation.

Aiding in the unfolding of the tale are water sprites, referred to at times as Amazons. Six willowy dancers from the Kanopy troupe did not seem particularly Amazonian, but their waving of billowy fabric evoked the river and their retrieving twice from the water careless Rosalba’s precious manuscript added to the magic.

Riolobo and the sprites also bring Alvaro back to life after he appears to drown during a storm.  (We should be attentive to water sprites since Dvorak’s “Rusalka,” which also features these denizens, is on the schedule for next year’s season.)

And, in the end, just when you think that all conflicts have been resolved and love is at hand, the boat reaches Manaus only to find it impossible to make landfall due not only to cholera but also to rabies, scurvy, leprosy and beriberi. Florencia’s transformation into a butterfly (below) ends the voyage.

This odd but magical plot is a vehicle for lush, rhapsodic music by a Mexican composer whose life ended too soon. The orchestral and vocal writing featured soaring melodies, which at times reminded me of Puccini had his life extended further into the 20th century. The orchestral writing continually evokes the river and flowing water, reminding me of music of the Impressionists.

John DeMain ably led the wonderfully sounding Madison Symphony Orchestra.  He once again proved himself to be a master of pacing, tempo and dynamics.

The opera was very evenly cast. Nmon Ford (below top on right), as Riolobo, had a rich baritone voice and an impressive physicality. His transformation at the end of the first act into a feather-clad river spirit (below bottom) was hypnotic.

As Rosalba, Rachel Sterrenberg (below, top right), who made a memorable appearance last season as the wife Chan in “Charlie Parker’s Yardbird,” was a soprano of great flexibility who rendered her character’s opulent melodic lines with mounting ecstasy. Hers was a thrilling performance.

Her foil, full-voiced tenor Mackenzie Whitney (below, bottom left) as Arcadio, produced some of the most Puccini-like moments of sheer soaring lyricism.

Their duets, including a rather dark anti-love duet, were  highlights of the work. Catán’s writing for mixed voices is inspired, and all of the ensemble numbers – duets, a quintet, a septet – are entrancing.

Baritone Levi Hernandez as Alvaro and mezzo-soprano Adriana Zabala as his wife, Paula, had moments of bickering and moments of tenderness. His robust vocalization perfectly complemented the creamy richness of hers. Zabala’s second act lament was very touching.

Bass Ashraf Sewailam, in his debut appearance with Madison Opera, produced some of the best singing of the show. He was both profound and lyrical with a total lack of affectation. His acting was subtle, and his outstanding performance demands his return.

Elizabeth Caballero as the diva Florencia Grimaldi was impassioned, focused yet fluid, sumptuous and rapturous. Her ravishing singing, particularly during her metamorphosis — heard in another production in the YouTube video at the bottom — was truly moving.

The set, lighting, projections and costumes were all understated and perfectly blended. The only false step was what appeared to be coffins flying through the air out of Manaus. It took me a moment to realize they were intended to be floating in the river.

The audience seemed enchanted and moved by the opera. I was, too. Let’s have more works like this.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Choral music and string music are in the spotlight during a busy week of concerts at the UW-Madison

April 16, 2018
Leave a Comment

By Jacob Stockinger

With the end of the academic year less than a month away, the last concerts of the semester are stacking up at the University of Wisconsin-Madison‘s Mead Witter School of Music.

Below are major events. But there are many more, including a lot of noteworthy student recitals. For a complete listing, go to: https://www.music.wisc.edu/events/

TODAY

At 7:30 p.m. in Morphy Recital Hall, the Ann Arbor-based Back Pocket Duo (below) of percussionist Colin McCall and pianist Annie Jeng will perform a FREE program that includes a commission by contemporary composer Ivan Travino. For details, go to:

https://www.music.wisc.edu/event/guest-artists-back-pocket-duo/

TUESDAY

The spring program of Opera Scenes by University Opera, to be held at Music Hall, has been CANCELLED.

At 7:30 p.m. in Mills Hall, the Twisted Horn Ensemble, under the direction of UW professor Daniel Grabois (below) will perform a FREE concert. Sorry, no word on composers or works on the program.

THURSDAY

At 7:30 p.m. in Mills Hall, the Pro Arte Quartet (below, in a photo by Rick Langer) will perform a FREE concert of string quartets. The program, features the String Quartet in G Minor, Op; 20, No. 3, by Franz Joseph Haydn; and the final String Quartet No. 15 in G Major, D. 887, by Franz Schubert.

FRIDAY

At 6 p.m. UW-Madison students in the Collegium Musicum will perform a FREE concert of early music under the direction of keyboard professor John Chappell Stowe (below, in a photo by Katrin Talbot). Sorry, no word about composers or pieces on the program.

At 8 p.m. in Mills Hall. A combined choirs concert of the UW Women’s Chorus (below) and University Chorus will perform a FREE program.

Works to be performed under conductor Chris Boveroux include “Curse Against Iron” by Veljo Tormis; “Miniwanka” or The Moments of Water,” performed in North American Indian dialects, by R. Murray Schafer (below); and the world premiere of a work composed by UW student Brianna Ware.

For more information, go to:

https://www.music.wisc.edu/event/combined-choirs-concert-2/

SATURDAY

At 8 p.m. in Mills Hall, the Concert Choir (below) performs the program “On a  Lark” under conductor Beverly Taylor graduate assistant conductor Chris Boveroux.

The program features the Wisconsin premiere of “A Dome of Many-Coloured Glass” by Dominick DiOrio (below), a 2012 four-movement setting of Amy Lowell’s poetry, featuring marimba and soprano soloist with the choir.

For more information, go to: https://www.music.wisc.edu/events/2018-04-21/

SUNDAY

At 4 p.m. (Part 1) and then 7:30 p.m. (Part 2) in Mills Hall, the UW Choral Union and the UW Symphony Orchestra (both below), under Beverly Taylor, will perform the “St. Matthew Passion” by Johann Sebastian Bach.

Tickets (one ticket is good for both parts) are $15, $8 for students and seniors. To purchase tickets, go to: https://www.music.wisc.edu/about-us/tickets/

Tickets will also be available at the door.

At 8:30 p.m. in Morphy Recital Hall, the Hunt Quartet, made up of UW graduate students, will perform a FREE concert.

This year’s members (below from left, in a photo by Katrin Talbot) are Kyle Price, cello.; Vinicius “Vinny” Sant’Ana, violin; Blakeley Menghini, viola; Chang-En Lu, violin.

The program offers the “Quartettsatz” (Quartet Movement) by Franz Schubert; the String Quartet in B minor, Op. 11 (with the original version of the famous Adagio for Strings) by Samuel Barber; and the String Quartet in C minor, Op. 18, No. 4, by Ludwig van Beethoven.

 


Classical music: New faculty conductor Chad Hutchinson makes an impressive and promising debut with the UW Symphony Orchestra

October 11, 2017
2 Comments

By Jacob Stockinger

Last Saturday night, Chad Hutchinson (below), the new faculty conductor at the University of Wisconsin-Madison’s Mead Witter School of Music, made an impressive and promising debut with the UW Symphony Orchestra.

The ambitious program that Hutchinson put together says a lot about his priorities and instincts, and about his confidence in himself and the abilities of his student players, who performed superbly.  

The varied works came from the early 19th century, the mid-19th century, the early 20th century and the 21st century. And it seemed that each piece in the ambitious program was chosen to put the spotlight on a different section – percussion, brass, strings and winds.

Curiously, The Ear found the most successful pieces were the most traditional ones.

The Prelude to the opera “Die Meistersinger von Nürnberg” by Richard Wagner received the right mix of horn pomp and string zest. It made The Ear realize again how much more he prefers Wagner’s instrumental music to his vocal music. Let’s hear more Wagner preludes, since we are unlikely to hear more Wagner operas.

The orchestral transcription by Leopold Stokowski (below) of the piano prelude “The Sunken Cathedral” by Claude Debussy was the least successful work of the night. This is the second overblown and bombastic Stokowski transcription that The Ear has heard performed live in a month.

Clearly, Stokowski’s aesthetic was Bigger is Better. This particular transcription strips away the mystery, sensuality and subtlety, the watery softness,  of the original. It works more as an etude for orchestra than as an authentic expression of Impressionism.  The Ear’s objections are to the transcription, not to the performance, which was well voiced, precise and tightly controlled.

“Mothership” by the popular American composer Mason Bates (below), who wrote the recent successful opera based on the life of the late Apple guru Steve Jobs, proved an interesting foray into contemporary music culture. It was also the Madison premiere of the 2011 work.

The electronic music in the pulsating and highly atmospheric score, including the computer-generated disco dance beat, highlighted the percussion section and the UW’s new Electro-Acoustic Research Space (EARS), which collaborated with the symphony orchestra.

The dramatic work, a novelty that is pop-infused and resembles music by John Adams a little too closely, has its pleasing and engaging moments. But overall it seems a triumph of style over substance. (You can judge for yourself from the performance with Michael Tilson Thomas in the YouTube video at the bottom.)

That said, Hutchinson nonetheless held the complex and coordinated score together, and the young audience seemed to take to the new music — a major achievement in itself.

Expect to hear many more contemporary works from Hutchinson, who says he is an unabashed champion of new music. He will include other living composers in many other concerts, including the next one on Nov. 4 and then again on Feb. 22.  

To these ears, the most impressive performance came in the Symphony No. 3 “Eroica” by Ludwig van Beethoven. In its day, the difficult and long work proved revolutionary and perplexing. More recently, more than 100 conductors named it the best symphony ever written. You can’t get more establishment than that.

Yet despite being so mainstream, the “Eroica” remains a difficult and challenging work, both technically and interpretively. And this performance succeeded on both counts. That is no small feat for a new conductor and his young students to pull off in the first six weeks of school.

Especially impressive was Hutchinson’s choice to skip any pause between the third movement and the finale. It worked dramatically to maintain momentum. Such exciting attacks should be a more common practice in performing symphonies and concertos as well as chamber music.

Hutchinson seems a congenial and humorous concert hall host. His pre-concert talk (below), which he is slated to do at all performances, was helpful and informative, even if he repeated some major points when he introduced  the actual performances. Hutchinson, intent on expanding the audience for classical music, is worth listening to.

Hutchinson may not possess an especially graceful or fluid podium presence that is pleasing to watch, but he gets results. Certainly both the student players and the large audience (below) seemed pleased and excited by these performances.

In the end, the concert provided plenty of reasons to look forward to hearing more from Chad Hutchinson and seeing how he develops and leaves his mark on programming and performing at the UW.

Were you there as either a performer or an audience member?

What did you think of the concert and of Chad Hutchinson’s debut?

The Ear wants to hear.


Classical music: “I like tunes,” says Academy Award-winning composer Thomas Cabaniss, who talks about his “Double Rainbow” piano concerto. The Wisconsin Chamber Orchestra and guest soloists will give the world premiere of the work this Friday night.

April 24, 2017
Leave a Comment

By Jacob Stockinger

Even for the Wisconsin Chamber Orchestra (below), which likes to mix things and up during its winter season, the concert this Friday night is something special to close out the current season.

The WCO will give the world premiere of the “Double Rainbow” Piano Concerto by Thomas Cabaniss, which was commissioned for the WCO.

The performance will also feature husband-and-wife duo-pianists Michael Shinn and Jessica Chow Shinn.

The concert is Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center.

Also on the program is Maurice Ravel’s Neo-classical homage to World War I, “Le Tombeau de Couperin,” and the Symphony No. 2 by Robert Schumann.

Tickets are $10 to $80.

For more information about the program, the soloists and tickets, go to:

https://wisconsinchamberorchestra.org/performances/masterworks-v-2/

Composer Thomas Cabaniss recently did an email Q&A for The Ear:

Can you briefly introduce yourself and your career to the reader?

I’m Thomas Cabaniss (below). I am a composer and teaching artist from Charleston, South Carolina. I have lived in New York for the last 30 years, and so I greedily claim both places as home. I teach at the Juilliard School — where I met Michael and Jessica Shinn — and I also lead arts education projects at Carnegie Hall.

After graduating from Yale in 1984, I was an assistant conductor on a variety of projects including Leonard Bernstein’s opera A Quiet Place at La Scala and the Kennedy Center. Setting out to forge a career as a composer, I moved to New yolk City, which had the added benefit of being the same city where my girlfriend was attending medical school. A few years later we married and settled in Manhattan.

To start, I worked primarily as a theater composer, but I was also writing piano and chamber music on the side, and doing arts education work in between shows. In 1990 I scored and arranged a short film called The Lunch Date, which won the Palme D’Or and the Academy Award. In 1995 I joined the New York Philharmonic education programs, eventually becoming the orchestra’s Education Director.

I kept composing, and wrote a chamber opera called The Sandman, which was premiered in New York in 2002 and revived again the following season. In 2004 I was appointed to special education position with the Philadelphia Orchestra, and at the same time I wrote a series of evening length dance scores that were premiered in New York.

In 2009, I began working as composer-in-residence for the LinkUp program at Carnegie Hall, which has grown in that time to serve over 95 orchestras around the world and across the U.S. – including the Madison Symphony Orchestra.

I also helped to create the Lullaby Project at Carnegie Hall, which serves young parents in shelters, hospitals and prisons, and we are working hard to extend that work across the country through a series of partnerships.

How would you describe your musical style in general and the style of the new two-piano concerto specifically? Accessible? Tonal or atonal? Modernist or Neo-Classical? Melodic or percussive? Are there composers or works that have influenced your style?

I like tunes. I like to write songs, and I like to sing, so my music tends to value melody. My works are generally tonal, often spiked with cluster chords and other atonal devices, but I am always interested in the musical gravity of tonal centers. (You can hear a sample of Thomas Cabaniss’ music in the YouTube video at the bottom.)

This piece is inspired by its soloists, Michael and Jessica Shinn (below), and by the image of a Double Rainbow (also the work’s title). I have written Michael and Jessica pieces for piano-four hands, and there is one piece they have championed called Tiny Bits of Outrageous Love. Something about the chemistry of their relationship as musicians (and as husband and wife) has inspired me to create music that is particularly exciting and intimate.

And yes, I suppose most composers embed hints of the music they love in the music they write, and I am no different. Tiny Bits was a kind of homage to the Brahms Waltzes for piano-four hands, and Double Rainbow nods to Leonard Bernstein, Olivier Messiaen, Leos Janacek and John Adams. I’m sure listeners will hear other influences, too.

What would you like listeners to know about and listen for in the piano concerto? What were the special challenges of writing for duo-pianists?

This is from the program note I wrote for the Wisconsin Chamber Orchestra:

DOUBLE RAINBOW is based on an experience I had with my family on the Isle of Palms, South Carolina, about 20 years ago. On this particular August day, there was a huge rain in the early afternoon, many dark clouds, thunder (but no lightning). After the storm, from the porch of our beach rental house, we saw not one, but two rainbows (below). My sister-in-law is an avid photographer, and so she coaxed us all down onto the beach so she could get a pristine angle. That alone might have been enough inspiration for a piece of music, but when we got to the water’s edge, as Julia was snapping her photos, a dolphin jumped out of the water in a vertical launch, the tail clearing the water’s surface. It was one of those moments that seemed so unbelievable that none of us said a word. 

I have always been fascinated by the search for the elusive “perfect moment,” and DOUBLE RAINBOW is a sort of study of that kind of exploration. It is all bound up in the idea of “doubleness,” represented by the two pianos. It is divided into three movements: “Surfaces” (exploring the accumulation of drops of water from tiny, atomized particles), “Disturbances” (exploring imbalances and the storms that result from them), and “Revelation” (of the Double Rainbow). Not surprising in a double concerto, there is a great deal of dialogue between the pianos, and the orchestra has more of an accompanying role in the first two movements. The final movement is different, though. Everybody is in, and the music pulses with magic. The movement seems to be headed for a big climax, but at the last moment, it suddenly slows down and there are stars.

The main challenge for me in writing a double piano concerto is all those fingers! Twenty of them, and they are capable of so much. The music I write does not usually focus on virtuosity, and yet I also wanted it to be a vehicle for them to be expressive and dynamic. I worked hard to achieve a balance between the lyricism and the fireworks – we’ll see how audiences experience it.

What else would you like to say?

I am especially excited to be able to visit Madison for the premiere. I’ll get to meet members of the family of Jessica Chow Shinn (below, she is a Madison native), and I have a former student in the orchestra (Midori Samson, Second Bassoon). My Carnegie Lullaby Project collaborators include another Madison native (Ann Gregg) and Elizabeth Snodgrass, who is originally from Appleton (I think) but recently moved to Madison. I will get to meet WCO music director Andrew Sewell (below) in person. We have been doing some Skype rehearsals and phone consultations. It will be great to watch Andrew in action.

While we are here, my wife Deborah will be giving Grand Rounds at the Department of Psychiatry at the University of Wisconsin, and my son Will leads an a cappella group at University of Chicago (Voices In Your Head), and this year they have been singing frequently with a wonderful University of Wisconsin group (Fundamentally Sound).

The last few seasons the Madison Symphony Orchestra has been offering Carnegie Hall LinkUp concerts to kids in grades 3-5, and this year is no exception. They will perform The Orchestra Moves in May, for which I wrote two of the works (Come To Play and Away I Fly) and arranged another (Cidade Maravilhosa).

This project has been a few years in the making, and so for Michael and Jessica and me, this is a kind of celebration. We can’t wait to share DOUBLE RAINBOW with you.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
Next Page »

    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,203 other followers

    Blog Stats

    • 2,077,351 hits
    September 2019
    M T W T F S S
    « Aug    
     1
    2345678
    9101112131415
    16171819202122
    23242526272829
    30  
%d bloggers like this: