The Well-Tempered Ear

Classical music: Today is Labor Day. Opera San Jose brings classical music into the workplace – can we try that here? Plus, you can take a WQXR poll about what music is best to mark the holiday

September 4, 2017
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By Jacob Stockinger

Today is Labor Day (celebrated below by famed photographer Lewis Hine.).

The holiday probably won’t be celebrated in a big way by the blowhard billionaires and anti-union tycoons who run the government these days.

But workers can be and should be proud of what they do—despite the wealth gap, wage stagnation, unfair taxes, income inequality and a general lack of respect and support.

The Ear, however, has two offerings for the holiday.

The first is a story about how Opera San Jose is bringing classical music into the workplace of high technology companies like Adobe in Silicon Valley.

The opera company has started a program called “Arias in the Office” (below). And it sure sounds like a fine idea that other local groups – especially small chamber music groups – might try doing here in the Madison area.

Talk about taking music to the people if the people aren’t going to the music!

And let’s not forget that composing music, performing music and presenting music are all hard work too. So we should also celebrate the musicians, the administrative and box office staffs, the stagehands, the light and sound engineers,  the sets and costume people, and all the others who toil behind the scenes for our pleasure.

The story was reported by NPR (National Public Radio) and can be found on the radio station’s website and Deceptive Cadence blog:

http://www.npr.org/sections/deceptivecadence/2017/08/30/544164183/new-pop-up-series-treats-silicon-valley-workers-to-opera-at-the-office

The second is a listener poll, now three years old, done by the famed classical music radio station WQXR in New York City.

It is a survey of classical music that is appropriate for Labor Day and features three generous examples in YouTube videos — an opera by Giuseppe Verdi, a symphony by Franz Joseph Haydn and a film soundtrack by Virgil Thomson.

But it also has about two dozen other choices– including music by Handel, Schubert, Copland, Joan Tower, Robert Schumann, Gershwin, Shostakovich and others — for the public to select from, and a lot of comments from other respondents that you might want to check out.

Here is a link:

http://www.wqxr.org/story/poll-what-music-best-captures-spirit-labor-day/

Happy Labor Day!

And if you have another piece of music that you think is appropriate, let us know in the COMMENT section.

The Ear wants to hear.


Classical music: Tonight is the opening of the Madison Savoyards’ production of Gilbert and Sullivan’s operatic satire “H.M.S. Pinafore.” Seven performances will run through Aug. 6

July 28, 2017
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By Jacob Stockinger

Tonight at 7:30 p.m. in UW Music Hall, on Bascom Hill, the Madison Savoyards will give the opening performance of their latest production of the popular operetta “H.M.S. Pinafore” by Gilbert and Sullivan (below).

The production, including two Sunday matinees at 3 p.m., will be performed on July 28, 29, 30 and August 3, 4, 5 and 6.

According to a press release, the production promises to be “visually stunning.”

Audrey Wax (below top), of Edgewood College, is the stage director, and Kyle Knox (below bottom), who studied at UW-Madison and has conducted for the Madison Opera, the University Opera and the Middleton Community Orchestra, is the music director.

The orchestra and cast are local.

SYNOPSIS

“Pinafore is the story of a lowly sailor in love with his Captain’s daughter, but she is betrothed to a wealthy officer of her own social class.

Political satire of the time (and today) permeates the story, making light-hearted fun of patriotism, party politics, and unqualified people reaching positions of power.

“Even though Pinafore premiered in 1878 skewering the “one percent” of its day, the class conflicts and romantic rivalry resonate with audiences of any generation. Rich orchestration and challenging vocal work make the music a joy to perform and to hear.” (You can hear the funny and popular song “I Am the Monarch of the Sea” in the YouTube video at the bottom.)

ADDITIONAL OPPORTUNITIES

Grant funding supports the artists and underwrites the Children’s Pre-Show (1 p.m. on this Sunday, July 30, at UW Music Hall).

Children will meet members of the cast and crew, and learn about the show and its music, tour the theater, and create a show-centric craft for free.

American Sign Language service is available, by request, for the July 29 performance.

TICKETS

Tickets cost $40 for premium seats; $30 for general admission; $28 for seniors; $15 for students and young people under 18; and $5 for children 6 and under. Tickets can be purchased through UW Box Office at (608) 265-2787, www.arts.wisc.edu, or in person at the door.  Group sales of 10 or more available by telephone only. Some disocunts are available.

ABOUT MADISON SAVOYARDS LTD.

Since 1963, it has been the mission of the Madison Savoyards, Ltd. to preserve the works of Gilbert and Sullivan and other light opera by producing and promoting live performances; to develop the skills and talent of cast, crew and musicians of all ages; and to inspire, entertain, and educate the community through performances and other initiatives.

“More information can be found on our Facebook page along with behind the scenes insights to the production.”

For full information about the production and the cast, and for clips from other Savoyard productions, go to: http://madisonsavoyards.org


Classical music: Avery Fisher Hall will be renamed. Is there no end to the shameless egos of Big Money and the desperation of those who pursue it? What’s next? The Walmart States of America? Plus, this afternoon is your last chance to see the Madison Opera’s production of Beethoven’s “Fidelio,” which gets rave reviews.

November 23, 2014
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ALERT: Today at 2:30 p.m. in Overture Hall of the Overture Center is your last chance to see the Madison Opera‘s production of Ludwig van Beethoven‘s only opera “Fidelio.” The production has drawn high praise from local critics. (Below, in a photo by James Gill, are the lead singers tenor Clay Hilley as the imprisoned Florestan and soprano Alexandra LoBianco as his wife Leonore.) For tickets, call the Overture Center box office at (608) 258-4141.

Here is a review by John W. Barker for Isthmus:

http://www.isthmus.com/daily/article.php?article=44067&sid=39e0add1db8c192442a2b8defe5ff286 

And here is a review by Greg Hettmansberger for Madison Magazine’s blog “Classically Speaking”:

http://www.madisonmagazine.com/Blogs/Classically-Speaking/November-2014/Fidelio-Rings-True/

Fidelio Production Stills

By Jacob Stockinger

It reads like something right out of a novel by Charles Dickens or Honore de Balzac or Emile Zola.

Did you hear about Avery Fisher Hall (below)? They want to rename it!!!!

Avery Fisher Hall

It needs major work and expensive upgrading.

The stakes only get higher and more expensive, of course. But Big Money is no doubt up to the challenge.

Some you may remember the comments I recently posted about the renaming of the Wisconsin Union Theater as Shannon Hall (below) because of generous donations. A plaque would have sufficed, like at Camp Randall Stadium

It shouldn’t be too hard for Big Money to follow the more modest and more respectable examples of local philanthropists Jerry Frautschi and Pleasant Rowland, who funded the Overture Center for the Arts without plastering their names all over it.

Shannon Hall UW-Madison

But no! The rich need to splash their names all over the buildings so that we honor wealth more than public service or history.

https://welltempered.wordpress.com/2014/10/01/classical-music-the-ear-offers-cheers-and-jeers-for-the-wisconsin-union-theaters-renovated-shannon-hall/

Well, now I see that a renovation of famed Avery Fisher Hall at Lincoln Center in New York City is seeking some deep pockets by offering naming rights.

Or should I say “re-naming rights.”

Officials will even pay the Fisher family millions of dollars to allow the renaming of the legendary hall where so many great careers have started and been put on display for the public.

That’s tacky, and even outdoes the University of Wisconsin-Madison when it asked the Elvehjem (pronounced LVM) family if it could rename the Elvehjem Museum of Art to the Chazen Museum of Art.

The Ear didn’t like that, either. But at least the UW-Madison didn’t pay for the family’s permission, didn’t buy back the honor and then turn around and give it to someone else.

Maybe that is the reality of financing projects in today’s income disparity and wealth gap plus lower taxes on the rich that Trickle-Downers want to lower even more.

But it is nonetheless shameful.

What’s next? Avery Fisher Hall becomes David H. Koch Hall?

When do we become the Wal-Mart States of America?

Here is the story that appeared in The New York Times:

http://www.nytimes.com/2014/11/14/arts/music/lincoln-center-to-rename-avery-fisher-hall.html?_r=0

Tell us what you think of it.

The Ear wants to hear.


Classical music: Are super-high concert fees morally right or wrong? Do they contribute to the wealth gap and lack of young audiences? What can music consumers do?

October 24, 2014
20 Comments

By Jacob Stockinger

Are artist concert fees — like those charged by tenor Placido Domingo (below top), soprano Renee Fleming (below middle) and violinist Itzhak Perlman (below bottom) —  too high these days and too unaffordable for most American concert-goers?

FRENI

reneefleming

Itzhak Perlman close

What would Janet say?

Maybe that refrain could become the economic equivalent of What Would Jesus Say?

I am speaking of Janet Yellen (below), the chairwoman of the Federal Reserve who last week made headlines when she spoke out publicly against the widening wealth gap as being contrary to America’s historic democratic ideals.

Key Speakers At Seminars At The IMF & World Bank Annual Meetings

But let’s localize the issue.

By all accounts superstar cellist Yo-Yo Ma, along with pianist Kathryn Stott, turned in a terrific performance — his seventh — at the Wisconsin Union Theater last Saturday night.

The Ear didn’t go, but here is a rave review from the student newspaper The Badger Herald, which agrees with the word-of-mouth reviews I have heard:

http://badgerherald.com/artsetc/2014/10/20/yo-yo-ma-and-kathryn-scott-transcend-classical-music-norms-at-shannon-hall/#.VEfBQYeENUQ

yo-yo ma and kathryn stott

And for those who couldn’t or wouldn’t buy tickets, the Wisconsin Union Theater even webcast the concert live and for free.

Still, with seats that sold for well over $100, The Ear got to wondering: Are really high artist fees morally right or wrong?

We all hear about the widening wealth gap, and especially about the astronomical pay given to CEOs versus their workers as compared to the same ratio several decades ago.

Well, what about well-known and in-demand concert artists?

If The Ear heard correctly, Yo-Yo Ma’s fee for that one-night performance was either $90,000 or $95,000 -– or about $42,500 or $45,000 an hour.

Can Yo-Yo Ma demand and get that extravagant fee in the so-called “free market” society with its corporate welfare and tax loopholes for the wealthy? Of course, he can — and he does. That is why he sold out the Wisconsin Union Theater.

But should he?

It makes one wonder.

Is Yo-Yo Ma really that much better as a cellist and musician -– and not just as a celebrity — than many other cellists, including MacArthur “genius grant” winner Alisa Weilerstein, Alban Gerhardt, Jean-Guihen Queyras, Steven Isserlis, Carter Brey, Joshua Roman and others? (You can hear Yo-Yo Ma’s interpretation of a movement from a solo cello suite by Johann Sebastian Bach in a  YouTube video — with over 11 million hits — at the bottom and decide if it is that much better than other cellists play it.)

Now I don’t mean to pick just on Yo-Yo Ma. I have gone to a half-dozen of his other performances here and I have met him and talked with him. He is without doubt a great musician, a fine human being and an exemplary humanitarian.

The problem that I am talking about transcends any single performer and applies to the whole profession.

Maybe at least part of the problem of attracting young audiences to classical music concerts can be placed right in the laps of the performing artists themselves.

When The Ear was young, he got to hear all sorts of great musical artists—including Leonard Bernstein, Arthur Rubinstein (below), Vladimir Horowitz, Van Cliburn, Itzhak Perlman, Rudolf Serkin, Isaac Stern, Emanuel Ax and others for quite affordable prices. Not that those artists didn’t live well -– but I doubt that they were paid the equivalent of $45,000 an hour.

artur rubinstein in moscow 1964

Maybe it is time for economic populism in the performing arts.

Fees like that exclude a lot of families from participating. Some fans might find it better and cheaper to hear a CD or download than go to a live concert.

Too many performing artists – opera stars come immediately to mind as a class — seem to have taken the same path toward justifying greed as movie stars, sports figures, rock stars and CEO’s who make out like bandits.

In short, can it be that classical musicians are helping to kill off classical music?

Smaller theaters like the Wisconsin Union Theater and even the Overture Center simply cannot book such well-known artists without charging a ridiculous amount of money for a seat – and at a time when many people of all ages just can’t afford it. It just adds to the Wealth Gap and the One Percent problem.

SO THE EAR WOULD LIKE TO ASK CONCERT ARTISTS: PLEASE ADJUST YOUR CONCERT FEES TO HELP SUSTAIN THE FUTURE OF YOUR ART.

Well, these are just some brain droppings.

The Ear wonders what you think of stratospheric artist fees?

Do they contribute to the wealth gap?

Do they hurt the popularity of the art form, especially younger generations?

Are they contributing to the decline of cultural literacy?

In short, are such high artist fees morally right or wrong?

And if wrong, what can we arts consumers do about it? Boycott certain artists until they become more reasonable in their fees?

Ask artist and management agencies to adjust the fees to make them more affordable?

Go to alternative concerts that are perfectly acceptable without star power and cost less or, like those at the University of Wisconsin School of Music, free?

Tell us what you think in a COMMENT.

The Ear wants to hear.

 


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