The Well-Tempered Ear
Classical music: Saturday afternoon, Live From the Met in HD closes this season with an acclaimed production of “Dialogues of the Carmelites.” Here is a background story, two rave reviews, and next season’s 10 operas
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ALERT:The Brass Choirs of the Wisconsin Youth Symphony Orchestras will present an afternoon of brass music this Saturday afternoon, May 11, at 2:30 p.m. in Mills Concert Hall, 455 North Park Street, in Madison. Directed by Tom Curry, the program features brass musicians from WYSO’s Concert, Philharmonia and Youth Orchestras. The concert is FREE and OPEN TO THE PUBLC. Music to be played is by Johann Sebastian Bach, George Frideric Handel, Giovanni Gabrieli, Charles Gounod, Edward Elgar, Paul Hindemith, Alan Hovahaness and Karel Husa.
CORRECTION: The Madison Youth Choirs will perform its “Legacy” concerts this weekend in the Capitol Theater of the Overture Center on Saturday and Sunday — NOT Friday, as mistakenly listed and then corrected in the original post, which is below: https://welltempered.wordpress.com/2019/05/08/classical-music-the-madison-youth-choirs-will-explore-the-theme-of-legacy-in-three-concerts-this-saturday-and-sunday-in-the-capitol-theater-of-the-overture-center/
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By Jacob Stockinger
This Saturday afternoon, May 11, the last production of this season’s “Live From the Met in HD” series, broadcast worldwide via satellite to cinemas, is Francis Poulenc’s “Dialogues of the Carmelites.”
By all accounts, it would be hard to end on a higher, stronger or more darkly dramatic note, given the outstanding music and performance of the score as well as the superb acting. (There is a brief preview of short scenes in the YouTube video at the bottom.)
The world premiere of the opera took place in 1957 at La Scala in Milan, Italy. One of the most successful operas of the later decades of the 20th century, “Dialogues of the Carmelites” is a rare case of a modern work that is equally esteemed by audiences and experts, according to program notes from the Metropolitan Opera.
The opera focuses on a young member of the order of Carmelite nuns, the aristocratic Blanche de la Force, who must overcome a pathological timidity in order to answer her life’s calling. The score reflects key aspects of its composer’s personality: Francis Poulenc (below) was an urbane Parisian with a profound mystical dimension, and the opera addresses both the characters’ internal lives and their external realities.
The opera takes place between 1789 and 1794 in Paris and in the town of Compiègne in northeastern France, the site of the Carmelite nuns’ convent.
Its historical basis is the martyrdom of a group of 16 Carmelite nuns and lay sisters from Compiègne, who chose to offer themselves as victims for the restoration of peace to France during the French Revolution.
The Met uses the classic John Dexter production of Poulenc’s devastating story of faith and martyrdom.
Mezzo-soprano Isabel Leonard (below right) sings the touching role of Blanche and soprano Karita Mattila (below left), a legend in her own time, returns to the Met as the Prioress.
The conductor for the performance is the Met’s highly acclaimed new music director Yannick Nézet-Séguin, who also leads the Philadelphia Orchestra and the Metropolitan Orchestra of Montreal.
The high-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at noon and runs until 3:10 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)
The encore HD showings are next Wednesday, May 15, at 1 p.m. and 6:30 p.m.
The opera will be sung in French with supertitles in English, German and Spanish.
Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.
The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the far west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.
Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:
https://www.movietickets.com/movies
Here is a link to the Metropolitan Opera’s website where you can find the titles, dates, casts, production information and video clips of all 10 productions this past season — PLUS an announcement, with dates and titles, for next season’s 10 productions (which feature five new productions but no Verdi):
https://www.metopera.org/season/in-cinemas/
Here is a background story that focuses on the French-Canadian conductor Yannick Nézet-Séguin, who leads the orchestra in this production and is the new music director of the Metropolitan Opera:
https://www.nytimes.com/2019/05/02/arts/music/met-opera-dialogues-des-carmelites.html
Here is a rave review of “Dialogues of the Carmelites” by senior classical music critic Anthony Tommasini for The New York Times:
https://www.nytimes.com/2019/05/05/arts/music/dialogues-des-carmelites-met-opera-review.html
And here is another rave review from New York Classical Review:
http://newyorkclassicalreview.com/2019/05/met-closes-season-with-a-riveting-devastating-carmelites/
Here are links to a synopsis and program notes:
https://www.metopera.org/discover/synopses/dialogues-des-carmelites/
https://www.metopera.org/season/2018-19-season/dialogues-des-carmelites/
And here is a Wikipedia history of the hi-def broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.
https://en.wikipedia.org/wiki/Metropolitan_Opera_Live_in_HD
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Classical music: You be the critic. Was there a specific piece or an entire concert of holiday music that you especially liked – or disliked — this year?
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By Jacob Stockinger
Well, Hanukkah, the winter solstice and Christmas are over and we’ve just about made it through another holiday time, with Kwanzaa and New Year’s still to come.
Holiday music, especially choral music, is undeniably popular during holiday season.
Year after year, the Madison Symphony Orchestra’s Christmas program (below is a photo by Peter Rodgers) – which uses local and ethnically diverse talent and well as imported guest vocal artists — usually comes close to selling out three performances in Overture Hall.
And year after year for a decade, the Wisconsin Chamber Orchestra and Festival Choir plus guest soloists (below) sell out their one performance of “Messiah” at the Blackhawk Church in Middleton.
Plus, there are lots of other holiday events – including the Madison Bach Musicians with Baroque chamber music favorites and the Madison Choral Project with spoken word narration and new music as well as programs of traditional carols and hymns– that drew good crowds or even full houses.
There are so many holiday music events, in fact, that it can often be hard to choose.
So here is what The Ear is asking: You be the critic.
Please tell us if there was a particular piece of music you especially enjoyed – say, Johann Sebastian Bach’s “Christmas Oratorio” or George Frideric Handel’s “Messiah” or violin concertos by Arcangelo Corelli – music you really liked or disliked?
For next year, what do you recommend that people should keep an eye and ear out for, including programs on Wisconsin Public Radio and Wisconsin Public Television as well as on other TV and radio stations?
Similarly, was there a specific program or event – an entire program or concert – that surprised you for better or worse?
Given the limited time that most people have during the holidays, what holiday concerts should people plan on attending or avoid next year?
Often the public trusts other audience members more than they trust professional critics.
So here is a chance for you to be a critic and to direct the public’s attention as well as to thank certain performers and groups for what you see as the Best Holiday Music of 2018.
The Ear wants to hear.
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Classical music: The reviews are in — and they are all raves. This afternoon is your last chance to hear the season-opening concert by maestro John DeMain and the Madison Symphony Orchestra with piano soloist Emanuel Ax
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By Jacob Stockinger
Are you still undecided about whether to attend the season-opening concert — this afternoon at 2:30 p.m. in Overture Hall — by the Madison Symphony Orchestra (below top, in a photo by Greg Anderson), with world-famous piano soloist Emanuel Ax (below bottom, in a photo by Lisa-Marie Mazzucco)?
Perhaps the following rave reviews — which all agree on quality of the program and the performances that start DeMain’s 25th anniversary season and the MSO’s 93rd season — will help you to make up your mind.
The program is certainly an attractive one. It features the curtain-raising “Fanfare Ritmico” by the living American composer Jennifer Higdon (below); Sergei Prokofiev’s dramatic and appealing score to the ballet “Romeo and Juliet” in a suite specially put together by DeMain; and the monumental Piano Concerto No. 2 in B-flat major, Op. 83, by Johannes Brahms.
Here is a link to a longer background story with details about the program, the performers and tickets, which run $18-$93:
Here is a review written by Matt Ambrosio (below), a graduate student at the UW-Madison’s Mead Witter School of Music, for The Capital Times:
And here is the lengthy review — with many discerning details about the background and the actual performance — from the veteran and very knowledgeable reviewer Greg Hettmansberger (below) from his blog “What Greg Says”:
https://whatgregsays.wordpress.com/2018/09/29/john-demain-launches-his-25th-madison-symphony-season/
Unfortunately, The Ear could not find an opening-night review by John W. Barker, who usually covers the MSO for Isthmus.
Of course, you can be a critic too. If you already have heard the MSO concert, either on Friday or Saturday night, please leave your own remarks – positive or negative – in the COMMENT section.
The Ear wants to hear.
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Classical music: Today is the first day of Spring. What piece of music best suits the season? Then take a quiz to see what composer and which spring music best suits you
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By Jacob Stockinger
Today is the Vernal Equinox – the first of day of Spring 2018.
It arrives at 11:15 a.m. CDT.
A lot of classical composers have written works inspired by Spring, which often appears in the title.
Here is a link to a YouTube video with almost two hours of Spring music – including works by Vivaldi, J.S. Bach, Mozart, Beethoven, Strauss, Tchaikovsky and Grieg:
https://www.youtube.com/watch?v=sfe3MUMdWKQ
But recently a close friend reminded The Ear that spring-like music doesn’t have to allude specifically to spring. And the friend said that the “Trout” Quintet by Franz Schubert fits the bill perfectly.
So the Request Line is open, and here, for The Ear’s good friend, is the “Trout” Quintet, with pianist Yuja Wang, in the YouTube video at the bottom. It does indeed seem ideally Spring-like with its freshness, liveliness and bubbliness.
What music do you think best celebrates the coming of Spring?
Leave the composer, the work’s title and, if possible, a link to a YouTube performance, in the COMMENT section.
Why do you like it?
Moreover, did you choose correctly?
Here is a fun quiz, from the famed radio station WQXR in New York City, that can help you determine which composer’s piece of music about spring best fits you and your personality:
https://www.wqxr.org/story/quiz-which-spring-themed-classical-music-piece-are-you/
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Classical music: For you, what were the best, most memorable or most enjoyable concerts of 2017? Here are the highlights for critics John W. Barker and The Ear
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By Jacob Stockinger
The end of the calendar year is only the mid-point of the new season and the concert calendar.
Still, it is a good time to take stock of the past year and the various performers and performances that we heard.
John W. Barker (below), who writes frequently for this blog as well as for Isthmus, recently published his top picks of concerts in 2017 in Isthmus. Here is a link to his year-end assessment:
https://isthmus.com/music/best-2017-classical-music/
To be fair, The Ear doesn’t always agree with Barker on the quality of some pieces and of certain performances. But by and large the two of us are in accord, and even when we aren’t, the Ear respects and learns from Barker’s expertise and experience.
The Ear would only add several things he found that Barker doesn’t mention:
The all-Mozart concert in the fall by the Pro Arte Quartet (below) — with UW faculty clarinetist Alicia Lee and San Francisco cellist Jean-Michel Fonteneau filling in for Parry Karp, was a much-needed balm in these times of distress.
If you are a fan of amateur music-making and love the music of Bach, the revival of the Bach Around the Clock marathon in March proved enthralling. (Below are violist father Stan Weldy and mandolinist son Alex Weldy.)
You heard all kinds of musicians, from students and adult amateurs to professionals, in all genres of music, including arrangements and transcriptions that Johann Sebastian would no doubt have approved of.
Pianist Richard Goode (below), who played this fall at the Wisconsin Union Theater, showed the power of softness and quiet.
His subtle playing was full of nuance in preludes and fugues from The Well-Tempered Clavier, Book II, by Johann Sebastian Bach; in a late sonata by Ludwig van Beethoven; in the only sonata by Anton Webern; in a generous group for Chopin works; and in an unexpected encore by the English Renaissance composer William Byrd. All in all, Goode proved a wonderful reprieve from some of the heavier, louder and more dramatic keyboard playing we hear.
But if you wanted drama, you only had to attend the recital by UW-Madison virtuoso Christopher Taylor (below). He excelled in everything, especially the total-body playing of the solo piano arrangement by Franz Liszt of Beethoven’s Symphony No. 7, which wowed the house. But he also showed great restraint, tone and subtlety in contemporary American composer John Corigliano “Ostinato” based on that symphony’s famous second movement.
Then Taylor finished up with contrasting sets of six Musical Moments by Franz Schubert and Sergei Rachmaninoff.
BUT NOW IT IS YOUR TURN: YOU BE THE CRITIC!
Recognizing that the best concert is not necessary the most memorable concert, and that the best or most memorable concert is not necessarily the most enjoyable concert, please tell us:
What did you think was the best concert and best single performance you heard in 2017?
What was the most memorable classical music experience you had in 2017?
And what was the most enjoyable classical music performance you heard in 2017?
The Ear wants to hear.
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