Student recitals in full swing; Thimmig & Friends present rarely-heard Morton Feldman work; Perlman Trio + 2 on April 12

Spring means recitals at the School of Music

For musicians in college music programs, spring often means a hectic gathering of resources to produce the ultimate in personal statements: the solo recital. In the next five weeks, we will present dozens of them, offering a smorgasbord ranging from Beethoven to Brazilian.  Most recitals are listed on our calendar; click on “show student recitals” to find them. Selected examples include:

MIKKO_uwmusic-mayco-080713-4542
Mikko Utevsky, conducting the Madison Area Youth Chamber Orchestra in summer 2013. Photograph by Mike Anderson.

Thursday, March 27, 7:30 PM, Capitol Lakes Retirement Community
Mikko Utevsky, viola
Haydn/Piatigorsky,  Divertimento in D major; Bloch, Suite Hebraïque; Milhaud, Viola Sonata No. 1 (“On anonymous, unpublished 18th-century themes”); Brahms, Sonata for Viola (Clarinet) and Piano in E flat major, Op. 120 No.2. Utevsky also directs the Madison Area Youth Chamber Orchestra, which is now preparing for summer concerts.

Nicole Tuma
Nicole Tuma. Photo by Michael R. Anderson.

Saturday, March 29, 1:30 PM, Morphy Hall
Nicole Tuma, flute, with Steve Radtke, piano, Rachel Bottner, cello, Allison Kelley, oboe, Rosemary Jones, clarinet, Ross Duncan, bassoon, and Sarah Gillespie, horn.
“Of Flutes and Fauna: Music Inspired by the Animal Kingdom”
Malagigi the Sorcerer, Efrain Amaya; “Goldfinch” Concerto, Antonio Vivaldi; Opus No. Zoo, Luciano Berio; Solo de Pajarillo, Omar Acosta; and Vox Balaenae, George Crumb.

Oxana Khramova.
Oxana Khramova.

Saturday, April 5, 3:30 PM, Morphy Hall.
Oxana Khramova, piano
A DMA solo recital featuring Beethoven’s Sonata op. 10, No. 3 in D Major and Ravel’s Miroirs.

Saturday, April 19, 3:30 PM, Morphy Hall.
Quadrivium Saxophone Quartet, performing transcriptions of works by Beethoven, Tchaikovsky, Shostakovich, Grieg, and more.

Jacob Wolbert
Jacob Wolbert
Photograph by Mike Anderson

Saturday, April 26, 1:30 PM, Morphy Hall.
Jacob Wolbert, percussion. Featuring marimba, multiple percussion and Brazilian music, with special guests!
Many more recitals to be found at this link! http://www.music.wisc.edu/calendar  [click “show student recitals]

Perlman Piano Trio (+ 2) presents annual concert

The Perlman Piano Trio + 2.
The 2013-14 Perlman Piano Trio (+ 2). L-R: Madlen Breckbill, violin; Alice Bartsch, violin; Daniel Ma, cello; SeungWha Baek, piano; Jeremy Kienbaum, viola. Photo by Michael R. Anderson.

The free annual performance of the student ensemble, the Perlman Piano Trio (+ 2) will take place on Saturday, April 12, at 3:30 PM in Morphy Hall in Humanities. The original ensemble, formed as a piano trio in 2007, is funded by Dr. Kato Perlman, a retired research scientist who was inspired by former UW-Madison Chancellor Irving Shain, who is also heavily involved with the school of music through his support of several competitions. (One of these, the Beethoven Piano Competition, will hold its annual winners’ recital on April 6 at 3:30 PM in Morphy Hall. Winners have not yet been announced.)

As students graduate, new musicians audition to replace them. This year’s ensemble consists of Madlen Breckbill, violin; Alice Bartsch, violin; Daniel Ma, cello; SeungWha Baek, piano; and Jeremy Kienbaum, viola. Both Madlen Breckbill and SeungWha Baek were previously featured this year as winners of the school’s annual concerto competition, the Symphony Showcase, while Alice Bartsch was a winner two years ago.

The April program will include the 40-minute long Trio No. 1 in B-flat major for piano, violin, and cello, D. 898, written by Franz Schubert (click here to hear audio) and finished in 1828, just before he died.  It will also include the adagio of the piano trio in E flat major, Hoboken XV:22, by Joseph Haydn, written in 1794, as well as the piano quintet op. 81 in A major by Antonín Dvořák, composed in 1887. A public reception will follow the performance.

Thimmig, Hedstrom and Kleve to perform final work in Morton Feldman trilogy

Russian-Jewish experimental composer (1926-1987) from New York City wrote music that was “glacially slow and snowily soft”

On March 30, at 5 PM in Mills Hall, UW professor Les Thimmig (on flute), pianist Jennifer Hedstrom, and percussionist Sean Kleve (the last two both members of Clocks in Motion, UW-Madison’s new resident percussion ensemble), will perform the final work of three trios, “For Philip Guston,” dedicated to Philip Guston, who was a painter and Feldman’s closest friend, who died in 1980. This final installment is a Wisconsin premiere, according to Thimmig, and is four hours long.

American composer Morton Feldman (1926-1987) was first noted for his inclusion in the “Cage School”; in addition to John Cage, the group included Earle Brown and Christian Wolff. Their approach of “letting the sounds speak for themselves” stood in marked distinction to the structuralist side of the early 1950’s avant garde, a group including Pierre Boulez, Karlheinz Stockhausen, and Milton Babbitt, among others. Feldman’s music served as an important influence and guide in the development of the minimalist school of the 1960’s, including Philip Glass, Steve Reich, and Terry Riley. A prominent influence on Feldman’s musical development was the work of the painters of the New York school of Abstract Expressionism: Jackson Pollock, Philip Guston, Franz Kline, and Mark Rothko, among others.

Thimmig3

Thimmig and Feldman were acquaintances in New York, Thimmig says. “We sat on bar stools together, we ate dinner together.” Feldman’s music is not often heard, he adds: “It’s important for this to get out. As the years go by, this kind of music goes into the music history dustbin.”

In 2006, writer Alex Ross of The New Yorker published a lengthy analysis of Feldman; you can read it here.

Ross wrote: “The often noted paradox is that this immense, verbose man wrote music that seldom rose above a whisper. In the noisiest century in history, Feldman chose to be glacially slow and snowily soft. Chords arrive one after another, in seemingly haphazard sequence, interspersed with silences. Harmonies hover in a no man’s land between consonance and dissonance, paradise and oblivion. Rhythms are irregular and overlapping, so that the music floats above the beat. Simple figures repeat for a long time, then disappear. There is no exposition or development of themes, no clear formal structure. Certain later works unfold over extraordinarily lengthy spans of time, straining the capabilities of performers to play them and audiences to hear them. More than a dozen pieces last between one and two hours, and “For Philip Guston” and “String Quartet (II)” go on for much longer. In its ritual stillness, this body of work abandons the syntax of Western music, and performers must set aside their training to do it justice.”

Percussionist Sean Kleve says the the trios “are unlike any performance experience I’ve ever had.”

“I’ve had to work on new ways to experience the music in which I allow myself to concentrate in the moment and not permit my mind to think about what is to come and what I have already played,” he added. “At a certain point in rehearsals, I don’t even feel like the music takes that long to play. Rather, it feels like a series of related or unrelated moments which are happening to me. My major role as the performer is to fit in and allow the music to unfold in its natural pace and patient manner.”

“The Annals of Accompanying”: UW pianist Martha Fischer describes the unique skills needed to be a collaborative pianist

Blogger Jake Stockinger presents a two-part series on his website, “The Well-Tempered Ear,” in which he interviewed UW pianist Martha Fischer and UW baritone Paul Rowe about their upcoming concerts (Hugo Wolf’s Italienisches Liederbuch, which they will perform with alumna Julia Foster, who earned a BA in 2003) as well as the qualities required to become a truly good collaborative pianist.

 

Paul Rowe, Martha Fischer, and alumna Julia Foster.
Paul Rowe, Martha Fischer, and alumna Julia Foster.

“No longer are they called ‘accompanists’; today these performances are understood to be much more,” Fischer says. “If we, as pianists, think of it as “just accompanying” — as a lesser experience — then we are perpetuating the stereotype that accompanists are good sight-readers who should stay in the background and be nothing more than pretty wallpaper to the soloist’s great artistry. If we as pianists bring all we have to offer to the table and are as prepared (or more so) than our partners, then we play in a way that demands respect. And that’s where it should all begin.”

Read Part One here.
Read Part Two here.

Concerts:

TONIGHT: Madison, Wisconsin, Wednesday, March 26, 7:30 PM, Mills Hall.

Vermilion, South Dakota, Friday, March 28, 9AM, University of South Dakota (as part of the National Association of Teachers of Singing regional meeting and competition. The three will then serve as judges the following day.) Click here for more info.

 

Musicologists to gather at UW for the Midwest Graduate Music Consortium, April 11 & 12

The Midwest Graduate Music Consortium (MGMC) is a joint venture organized by graduate students from Northwestern University, the University of Chicago, and the University of Wisconsin-Madison. MGMC encourages the presentation of original research and the composition of new music by graduate and advanced undergraduate students. Conferences are held annually on a rotating basis, at Madison, Chicago, or Evanston.

The eighteenth annual MGMC meeting will be held at the University of Wisconsin-Madison and will include paper sessions, a new music concert, and a keynote address delivered by Tamara Levitz. MGMC 2014 is generously funded by the UW-Madison School of Music and the UW-Madison Lectures Committee. For the full program, click here: https://sites.google.com/site/mgmc2014/program

Friday, April 11, 4PM, Room 2650 Humanities: “Riot at the Rite: Racial Exclusion and the Foundations of Musical Modernism,” a talk by Tamara Leivitz, UCLA. Abstract: “The premiere of Igor Stravinsky and Vaslav Nijinsky’s ballet Rite of Spring in Paris on May 29, 1913 had received much attention in scholarly works for the infamous riot that confronted its first performance. The lecture aims to deconstruct the myth of the riot, with the goal of exposing the process of racial exclusion in modernist listening practices that emphasized the work’s newness over its strangeness. Through the proliferation of this myth, Prof. Levitz will show how concert organizers, musicologists, and journalists cemented the practices of racial exclusion that define listening cultures of modern music to the present day.”
Saturday, April 12, 1 PM. New Music Concert at Luther Memorial Church, 1021 University Ave, featuring new works for Clocks in Motion and the woodwind quintet, Black Marigold. 

Faculty oboist Kostas Tiliakos to perform Greece-inspired program with Christopher Taylor and Stephanie Jutt

Pianist Christopher Taylor and flutist Stephanie Jutt will accompany Kostas Tiliakos on oboe and English horn in his only solo recital this year, April 7 at 7:30 PM in Morphy Hall. His program will consist by composers Minas Alexiadis, Anastassis Philippakopoulos, Theodore Antoniou, Jurgis Juozapaitis, and Thea Musgrave. Tiliakos, a visiting assistant professor of oboe, replaced retiring faculty oboist Marc Fink last fall. “The idea was to play music either written by Greek composers or music inspired by Greece and its history and mythology,” Tiliakos says. Three of the pieces were written and premiered by Tiliakos: Alexiadis’ Folk Cadenza No.5 (premiered at the International Double Reed Conference 2013, at University of Redlands, California); and Philippakopoulos’ Syrna and Antoniou’s Trio Lyrico for oboe, flute, and piano. The last two were premiered by Tiliakos in Athens in 2000 and 2008, respectively.

 

Kostas Tiliakos.
Kostas Tiliakos.

New trombone ensemble holds first concert; Mark Hetzler to solo

The Madison Area Trombone Ensemble will present its inaugural concert at 3pm on Sunday, March 30th, at First United Methodist Church, 203 Wisconsin Ave. Founded by School of Music alumnus and Madison freelance trombonist Kevan Feyzi (BM, 2012), MATE is an all-volunteer group is comprised of some of the top trombonists in the community. The program will feature Mark Hetzler, associate professor of trombone, performing David P. Jones’ Bone Moan, a composition for solo trombone with six-part trombone choir and the title track on Hetzler’s eponymous album, released in December on Summit Records. The program also includes compositions by local trombonist Rich Woolworth plus Randall Thompson, Haydn, Duke Ellington, and arrangements by members of the group.

Trombonist Mark Hetzler.
Trombonist Mark Hetzler. Photo by Michael R. Anderson.
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UW singers win a first round; pianist Christopher Taylor secures patent for double piano; UW Opera bids farewell to Bill Farlow in April show

NEWS

Madison a cappella choir one of region’s best

It was the colorful chalk drawings that drew Mike Fuller to sing with Fundamentally Sound, advertisements painted on sidewalks near the Humanities building last September. But it was Mike’s voice–and those of 16 others–that allowed them to win first place a few weeks ago in the first round of the International Championship of Collegiate A Cappella (ICCA), held at the University of Chicago.  The group, open to students who either have “a voice and/or can make noises with your mouth,” according to their website, is an auditioned, all-male a cappella choir founded in 2005 that sings arrangements of Disney songs, rap, hip-hop and more. The group rehearses twice a week, performs regular shows and gigs, and even released a CD in the fall of 2012, “Sounding the Alarm.”

The next competition will be in Normal, Illinois, on April 5. The group will also perform April 25 at the Orpheum Theater on State Street in Madison; buy tickets here.

“It’s a fun escape from homework and studying,”  says Mike, a freshman who sang in choirs at Pacelli High School in Stevens Point before entering college. He is not a music major–in fact his favorite class is Physics 109, the physics of light and sound–but is one of many students who take lessons to have fun and improve their skills. Along the way, they sometimes discover they have more talent than they realized.

Mike Fuller.
Mike Fuller. Photo by Katherine Esposito.

Last fall he enrolled in Music 144, a group voice lesson class open to non-majors that was taught by Jordan Wilson, a graduate student; this semester, he’s taking lessons from Elizabeth Hagedorn, visiting assistant professor of voice.

The voice lessons have given him much better range, he says. And he’s made a bevy of great new friends. “I feel it was one of the best decisions I made this year at UW-Madison.”

Albany music director and SOM alumnus Brian Gurley is really glad winter is over

Brian Gurley, SOM alumnus in choral conducting (M.M., 2011), moved from Wisconsin last summer to take the position of music director of the 162-year-old Cathedral of the Immaculate Conception in Albany, New York, a church built during the height of the Irish potato famine that served as a refuge for persecuted Irish. Over its century-and-a-half, church activities included welcoming the Archbishop of Canterbury, hosting a “forgiveness ceremony” between Catholics and Jews,  and avoiding demolition in the 1960s. Lately, the church had been undergoing significant restoration that included replacement of deteriorated sandstone with imported stone from England, new granite steps and a unique rolled lead roof. But this past winter (the one we’re all hoping is finally OVER), as Gurley played a Steinway piano for a choir rehearsal, he heard the sound of dripping water. “My stomach kind of went in my mouth and I thought oh my gosh, they spent all this time and money on the restoration and now the roof leaks,” Gurley told reporter Paul Grondahl of the Albany Times-Union. Want to know what went wrong? Click here to read the entire story.

Pro Arte premiere of new Benoit Mernier string quartet draws appreciative crowd as well as positive critical reviews

Benoit Mernier rehearses with the Pro Arte String Quartet
Belgian composer Benoit Mernier rehearses with the Pro Arte String Quartet, March, 2014.
Photo by Michael R. Anderson

The fifth of six world premieres commissioned by Madison’s own Pro Arte String Quartet took place on March 1 in Mills Hall, and was enthusiatically received by former UW-Madison history professor and music critic John Barker (who also helped to plan the centennial events). The new work, funded by both the Pro Arte Quartet and the Serge Koussevitzky Music Foundation, deliberately hailed the quartet’s roots in Belgium, as Mernier is from that country, and “was the most musically satisfying of all the commissioned works presented so far,” according to Barker in a post on The Well-Tempered Ear, Madison’s classical music blog. “Met honestly, the score has a logic and even power to it that one might compare to Bela Bartók’s quartets — and we have all caught up with those by now, haven’t we?” The final commission, a clarinet quintet by French-Canadian composer Pierre Jalbert, will be performed next September.

Read the entire review here.

Read an interview with Pro Arte violinist Suzanne Beia in the Wisconsin State Journal, Feb. 27, 2014

School of Music music ed students band together to support music education in public schools

 NAfME students,
The NAfME students, excited about their new chapter!

Over 40 music ed students have launched a UW-Madison chapter of the National Association for Music Education (NAfME). Membership will allow students to network for job and educational advancement, as well as finding ways to assist area schools, according to Dan Joosten, co-president. The chapter is advised by Teri Dobbs, associate professor of music education and Darin Olson, assistant director of bands.

With over 130,00 members, NAfME bills itself as the world’s oldest arts education organization, and includes students, faculty, and professional teachers, both active and retired. According to its website, “NAfME developed the National Standards for Music Education and administered the overall development of the National Standards for Arts Education (1994) under a grant from the U.S. Department of Education, the National Endowment for the Humanities, and the National Endowment for the Arts. The National Standards represent the first comprehensive set of educational standards for K–12 arts instruction.” The group meets Wednesday nights at 8PM in Humanities. For more information, contact Dan Joosten at djoosten@wisc.edu, or Jenny Deroche at jlderoche@wisc.edu.

Piano Extravaganza High School Competition announces winners

Finalists in the 2014 UW-Madison Piano Extravaganza Competition. Front L-R: Anthony Cardella, Vivian Wilhelms, Kaitlin Lalmond, Olivia Montgomery; Bach L-R: Ethan Nethery, Garrick Olsen, Quinton Nennig, Theodore Liu.
Finalists in the 2014 UW-Madison Piano Extravaganza Competition. Front L-R: Anthony Cardella, Vivian Wilhelms, Kaitlin Lalmond, Olivia Montgomery; Bach L-R: Ethan Nethery, Garrick Olsen, Quinton Nennig, Theodore Liu.

Saturday, March 1 was the inaugural UW-Madison School of Music Piano Extravaganza Competition. Nine finalists from Wisconsin and Minnesota competed for cash prizes. The 1st prize winner ($1,500) was Vivian Wilhelms, a freshman at Waunakee High School. Vivian is a student of William Lutes and was a finalist of the 2010 Chopin Piano Competition in Milwaukee, 2011 winner of the Fall Youth Concerto Competition sponsored by the Madison Symphony Orchestra, and 2013 winner of the Wisconsin Youth Symphony Orchestra Concerto Competition. The 2nd prize winner ($1,000) was Garrick Olsen, of Madison. Garrick studies with William Lutes and plans to major in piano performance in college next fall. Garrick will make his subscription concert debut with the Madison Symphony Orchestra in May 2015, playing Gershwins’ I Got Rhythm Variations. He is the winner of a number of competitions, including the Wisconsin Public Radio’s 2013 Neale-Silva Young Artist Competition, the 2012 PianoArts award for Best Performance of a North American Competition, the Madison Symphony Orchestra’s 2012 Bolz Young Artist Competition (“Final Forte”) as well as MSO’s 2003 Fall Youth Concerto Competition. 3rd prize ($500) went to Quinton Nennig from Sherwood, Wisconsin. Quinton currently studies at the Interlochen Arts Academy with Dr. TJ Lymenstull, where he is the recipient of a merit scholarship. Previous studies were with Nina Mink. His many accomplishments include winning Lawrence University’s Piano Festival (2009-2012), and 1st place in the WMTA Badger Competition in 2010 and 2012. Honorable mention went to Theodore Liu, a sophomore at Waunakee Community High School. Theodore studies with Shu-Ching Chuang and plays trumpet in band and the Wisconsin Youth Symphony Orchestra. He is very fond of mathematics and science due to their precision and logic.

Judges for the competition were Jess Johnson, Christopher Taylor, John Stowe, Todd Welbourne, Dino Mulic and Seungwha Baek.

The Piano Extravaganza Competition was sponsored by the Evjue Foundation and Former Chancellor Irving Shain.

Pianist Christopher Taylor receives patent for new double keyboard

Christopher Taylor
Christopher Taylor performs at the Miller Theater in New York City, May 2013.
Richard Termine photograph.
Click photo for the New York Times review.

It’s official: The new digital double keyboard piano invented by UW-Madison pianist Christopher Taylor, modeled after a unique double Steinway that resides in Taylor’s office, is the owner of patent number 8,664,497, issued to the Wisconsin Alumni Research Association on March 4.  As described in San Francisco’s Classical Voice: “The instrument setup is an unusual one in that a console, with the two sets of 88 keys, will drive two “slave” pianos, remotely. The console piano will not produce any sound. Instead, an electronic sensor will record what a pianist is playing and instantaneously send that information across the stage, MIDI style, to two normal pianos that will produce the music.”  Taylor has worked extensively with scientists and technicians at the Wisconsin Institutes for Discovery to perfect the instrument.

It’s not built yet, though. What it means is that anyone with an interest in something very musical and very new could apply for a license to pursue actual construction of the piano, says WARF spokeswoman Emily Bauer, license manager. “It’s a cool case. We’d love to see it licensed and commercialized,” Bauer says.

Taylor hopes that in a couple of years, he’ll be able to unveil both the first iteration of this new piano and a new piece written especially for it. He’s already talked to composer Derek Bermel about the idea.  “Bermel welcomes the idea of writing music for an instrument where limitations are not known. The possibilities for new music are many, said Bermel, who wrote his first work for Taylor — a solo piano piece titled Turning — in 1995,” wrote Classical Voice writer Edward Ortiz. “ ‘[Repeated] notes on one set of hammers are pretty tough to play, but with two sets of hammers you can repeat notes by playing one note on one keyboard and a note on the other; then you can get this incredible, drumroll-like effect,’ said Bermel. “ ‘Also, there are some chords you cannot play on the piano because they would be too wide —– you would need fingers that were two feet long!’ ”

Read about Christopher Taylor in On Wisconsin! magazine, February 2014.

Read “The Quest for the Perfect Piano” in San Francisco Classical Voice, May 2013

Read about Taylor in the Wisconsin State Journal, 2011

And one more: Madison Magazine Q&A with Taylor in February, 2014.

SAVE THE DATE! SELECTED UPCOMING CONCERTS AT THE SCHOOL OF MUSIC

Paul Rowe, Julia Foster, and Martha Fischer perform the Italienisches Liederbuch of Hugo Wolf

Paul Rowe.
Paul Rowe. Photo by Michael R. Anderson

Austrian-born Hugo Wolf (1860-1903), a child prodigy who became a devotee of Richard Wagner, was known for his “concentrated expressive intensity” in his compositions, especially his lieder (songs). On March 26, at 7:30 PM in Mills Hall, voice professor Paul Rowe, alumna Julia Foster (now assistant professor of voice and opera at Rollins College in Winter Park, Florida) and pianist Martha Fischer will perform his “Italian Songs.” Read about the program here (PDF): Notes on the “Italienisches Liederbuch” of Hugo Wolf

Cello professor Uri Vardi bridges a cultural divide with trans-Middle Eastern music

On April 5 at 8 PM, cello professor Uri Vardi, oud artist Taiseer Elias, and composer/pianist Menachem Wiesenberg will present a concert, “Fusions,” of Arabic and Israeli music on the stage of Mills Hall, co-sponsored by UW’s Center for Jewish Studies. Elias is founder and conductor of the first Orchestra of Classical Arabic Music in Israel and is currently the musical director and conductor of the Arab-Jewish Youth Orchestra; he is the head of the Eastern Music Department at the Jerusalem Music Academy and is a professor of musicology at Bar Ilan University. Wiesenberg  is a professor and dean of composition, conducting, and music education at the Jerusalem Academy of Music and Dance and also a senior consultant to the Jerusalem Music Center. Cellist and pedagogue Uri Vardi has performed as a recitalist, soloist, and chamber player across the United States, Europe, South America, Asia, and his native Israel. Born in Szeged, Hungary, Vardi grew up on kibbutz Kfar Hahoresh, Israel. He studied at the Rubin Academy in Tel Aviv, was an Artist Diploma student at Indiana University, and earned his Master’s degree from Yale University.

Read an interview with Uri Vardi in the Center’s winter 2014 newsletter. 

Learn about the backgrounds of the musicians and hear a track of their music.

View the concert program.

The concert will be repeated on Sunday, April 6 on Wisconsin Public Radio’s Live at the Chazen afternoon show, starting at 12:30 PM. It will also be held in Milwaukee that evening. Learn more here. 

Final Farlow opera to be staged April 11, 13, and 15 in Music Hall

Put it on your calendar: After 15 years with University Opera,  director William Farlow will retire after this spring’s performance of Hector Berlioz’s Béatrice et Bénédict, a comic opera in two acts that was Berlioz’s last work; according to a National Public Radio story from 2009, it “combines the signature brilliance and bombast of composer with the sly, comedic insights of Shakespeare’s Much Ado About Nothing.” Berlioz wrote both the libretto and the music. Look for an official news release very soon. Hear the overture in this YouTube video clip.

Tickets are $22.00 for the general public, $18.00 for senior citizens and $10.00 for UW-Madison students, available in advance through the Campus Arts Ticketing office at (608) 265-ARTS and online at (click “buy tickets” on the site): http://www.uniontheater.wisc.edu/location.html

JUST ANNOUNCED: OPERA STAR SUSANNE MENTZER TO CONDUCT MASTER CLASS AT SCHOOL OF MUSIC

Opera singer Susanne Mentzer, in town for Madison Opera’s April 25-27 production of Dead Man Walking, will conduct a master class on Monday, April 7 at the School of Music, 1:15 to 3:15 in Room 1321 (one floor below below Mills Hall). This event is free and open to the public.  Ms. Mentzer will be working one-on-one with students, performing a signature aria for the class, conducting a Q&A session, and staying to meet and greet all attendees. From her online bio: “Ms. Mentzer has appeared with nearly all the major opera companies, orchestras and festivals of North and South America, Europe and Japan. For over 20 years she has sung leading roles at the Metropolitan Opera. She has collaborated with many of the world’s great conductors and singers including James Levine, Riccardo Muti, Zubin Mehta, Kurt Masur, Lorin Maazel, Pierre Boulez and Christoph Eschenbach, Joan Sutherland, Shirley Verrett, Placido Domingo, Natalie Dessay, Renee Fleming, Deborah Voigt, Carol Vaness, Thomas Hampson and Samuel Ramey, Frederica von Stade to name just a few.” Read more here: http://www.susannementzer.com/index.html

Madison Opera website, for information and tickets: http://www.madisonopera.org/performances-2013-2014/dead_man_walking/

New York Times review of Susanne Mentzer, 2000

The School of Music offers many more concerts and recitals this spring. See the full schedule at http://www.music.wisc.edu/calendar

Farlow
Retiring opera director Bill Farlow exchanges pleasantries with Beatrice et Bendict chorus member Annisa Richardson
on the stage of Music Hall, March 2014. The two are old pals.
Photo by Michael R. Anderson.