Friday, October 23, 2015

Alumnus Mark Stringer Shares Touching Madrigal Memory

As the Department of Music prepares to celebrate the 40th Annual Madrigal Feaste, all former jesters for the event were invited to be our guests for this year's milestone. Alumnus Mark Stringer let us know that he is unable to attend the anniversary celebration, but shared the following story with us which captures the impact of the Madrigal Feaste on him personally as well as the true essence of the Holiday season.

I think back to the AU Madrigal Feasts fondly, as I had the privilege to sing in three of them and be the jester at one. I've even preached about the Madrigal Feaste for the UU congregation I serve. Here's the story I shared a few years back. Thought some of you might enjoy:

As a student at Ashland University, I had the privilege to sing every December as a member of a madrigal troupe. We worked all fall, learning traditional carols and English music from the 16th century and doing our best to grow beards…the men, that is…to prepare for a week of performances at the annual Madrigal feast.

Each night, over the course of several days, my fellow madrigals and I would dress in mock-ups of Renaissance garb, complete with goofy hats, tights, and ill-fitting footwear, and attempt to entertain about 200 people who paid to consume Cornish game hens, applaud at the arrival of some kind of flaming dessert soaked in rum, and hear music of the season.

One of the highlights of the night for me was the final set of more traditional Christmas music, culminating with a performance of “Silent Night.” The troupe would sing the first verse in German, then the audience with lit candles in hand, would join in signing the remainder in English. It was always a touching moment.

Over the four years I participated in the feasts, I grew quite fond of the tradition. My family enjoyed it, as well, making the hour-long drive from their home in Akron one night each December to participate. One year, though, my mother had been suffering one of her frequent and crippling bouts with depression and it was unlikely that she would be able to attend.

Wednesday, October 7, 2015

Jazz at the Nest Returns Oct. 13

Led by Dr. Scott Garlock, Professor of Music, the award-winning Ashland University Jazz Orchestra (AUJO) will present a free public concert on Tuesday, October 13 in the Hawkins-Conard Student Center’s Eagles Nest at 7:30 p.m. Audience members are welcome to grab a snack, enjoy a beverage and relax to the live music at this free public concert. The "Monday Night Not Football Combo" will provide pre-concert music beginning at 7 p.m. 

The AU Jazz Orchestra's portion of the program will include pieces selected from Tom Reed's arrangements of Duke Ellington's "Don't Get Around Much Anymore" and Count Basie's "Boogie Woogie/One O'Clock Jump;" along with favorites by Stan Kenton, Cole Porter, Thelonious Monk, John Coltrane and other big band legends. A few contemporary pieces will also be showcased including Justin Haynes' "Jelly Roll Meets James" and "Mean Mr. Marvin" as well as Garlock's "Hope."

Friday, October 2, 2015

Fuhrmann Publishes Book About Foreign Opera at London Playhouses

Dr. Christina Fuhrmann, Professor of Music, announces the publication of her new book "Foreign Opera at the London Playhouses" now available through Cambridge University Press.

In the early nineteenth century over forty operas by foreign composers, including Mozart, Rossini, Weber and Bellini, were adapted for London playhouses, often appearing in drastically altered form. Such changes have been denigrated as 'mutilations'. The operas were translated into English, fitted with spoken dialogue, divested of much of their music, augmented with interpolations and frequently set to altered libretti. By the end of the period, the radical changes of earlier adaptations gave way to more faithful versions.

In the first comprehensive study of these adaptations, Dr. Fuhrmann shows how integral they are to our understanding of early nineteenth-century opera and the transformation of London's theatrical and musical life. This book reveals how these operas accelerated repertoire shifts in the London theatrical world, fostered significant changes in musical taste, revealed the ambiguities and inadequacies of copyright law and sparked intense debate about fidelity to the original work.
  • Sets operatic adaptations within the complex context of theatre and opera in early nineteenth-century London
  • Provides an appendix of all operas adapted for the playhouses during this period, including those that have never been studied before 
  • Charts critical reactions to operatic adaptations, as well as changing standards for fidelity to the original opera
Dr. Fuhrmann's other publications include articles in Nineteenth-Century Music Review and Gender, Sexuality and Early Music and a volume on Romanticism and Opera. Her critical edition of Henry Bishop's adaptation of The Marriage of Figaro was published in 2012.

Monday, September 28, 2015

AU Music Begins New Year with Thomas Reed's 31st Faculty Recital

The Department of Music at Ashland University announces its first recital of the new academic year with the celebration of Dr. Thomas Reed's 31st annual faculty recital on Sunday, October 4 at 7:30 p.m. in the Elizabeth Pastor Recital Hall in the Center for the Arts. 

For his 31st consecutive annual recital, Dr. Reed will perform on clarinet and saxophone with fellow musicians Susan Gregg, piano; Scott Garlock, trombone; Jane Reed, violin; Lanny Gooding, piano; Paul Martin, bass; and Steve Berry, drums.

His program will include an eclectic collection from his transcription of Tchaikovsky's Serenade Melancolique, op. 26; to Leonard Berstein's Sonata for Clarinet and Piano and Paquito D'Rivera's Contradanza. The program continues with Dr. Reed's arrangement of George Gershwin's Promenade (Walkin' the Dog), Golden and Hubbell's Poor ButterflyI Have Waited So Longby Sarah Vaughan, Chega de Saudade (No More Blues) by Antonio Carlos Jobim, and concludes with Duke Ellington's Ring Dem Bells.

Tuesday, September 22, 2015

40th Madrigal Feaste Tickets on Sale Sept. 28

Tickets for the 40th Annual Madrigal Feaste go on sale to the public on Monday, Sept. 28 at 12 p.m. 

Patrons are reminded that this is a very popular event and the box office will be incredibly busy. For immediate service, the box office recommends that patrons come to the box office window located in the lobby of Hugo Young Theatre at the corner of College Avenue and Grant Street or order online at www.ashland.edu/tickets (additional fees apply for online orders). Patrons can also call the box office at 419.289.5125, but phone lines are expected to be busy. Discounted tickets for children can only be purchased directly through the box office and not online.

Ashland University Department of Music produces the annual Madrigal Feaste, which is slated for Wednesday through Sunday, Dec. 2-6, 2015. All performances begin at 6:30 p.m. in Redwood Hall. For the 40th celebration, the event promises some special surprises and guest performers from the past 40 years.

Directed by Dr. Rowland Blackley, director of choral activities, the Madrigal Feaste is a dinner theater based in 16th-century England with constant entertainment provided throughout the evening. The Ashland University Chamber Singers perform ceremonial music, Christmas carols and madrigals while the Madrigal Players present a new comedic play along with improvisational theatrics. Fanfare trumpeters, the Court Jester and Butler round out the cast for the event. Performer costumes are designed as authentic reproductions of period apparel; and the four-course meal culminates in flaming bread pudding.

The 2015 Madrigal Feaste Chamber Singers feature Abbie Brady, Deric Dove, Darion Dow, Gracie Fumic, Elisha Hofer, Grace Keller, Danny Lawson, Jacob Markley, Seth Morrison, Sarah Napier, Jacob Poiner, Danielle Rhonemus, Jake Riley, Corey Turpin, Tyler Watson and Hannah Wise. Zack Lindesmith will serve as the Jester leading his cast of players, including Natalyn Baisden, Logan Baker, Andrea Disch and Eryn Tramel.

Tickets for the event are $26 for adults; $15 for children under 12; and $23 for groups of 10 or more. A special $11 ticket is available to Ashland University students for the Wednesday performance only. Vegetarian and gluten-free options are available upon request at the time of ticket purchase. Due to preparation of meals, tickets are not available at the door.

Thursday, August 27, 2015

Ashland Area Chorus & Community Concert Band Announce Fall Schedules

Two community music ensembles at Ashland University [Ashland Area Chorus (AAC) and Ashland Area Community Concert Band (AACCB)] announce their fall schedules including rehearsals, concerts and membership requirements.

Beginning Monday, August 24, Ashland Area Chorus rehearsals are held on Monday evenings from 7-8:45 p.m. in Room 242 of the Center for the Arts. Initially meeting on Tuesday, September 8, the Community Band rehearses on Tuesday evenings from 7:30-9 p.m. in the Center for the Arts' Elizabeth Pastor Recital Hall.

Entering its eighteenth season, the AAC is dedicated to a mission of learning great music and singing it beautifully. The chorus is open to all singers from Ashland and surrounding counties and includes Ashland University faculty, staff and students as well as other singers from the wider community. Though no formal audition is required for membership, AAC members must be pitch accurate (sing 'on key') and be able to learn and perform their parts successfully. Previous choral experience is helpful.

This fall, the chorus will participate with the Ashland Symphony Orchestra in "A Joyful Opening" of the new Robert M. & Janet L. Archer Auditorium on Saturday, September 12. The chorus will also perform in Ashland University's performance of Handel's Messiah on November 22, and at the annual Festival of Lights on December 13.

The Ashland Area Community Concert Band begins its twenty-third season and is for those that loved playing in band in high school or college and want the opportunity to play again. Performances for the ensemble this fall include a performance at the University with the Ashland University Concert Band on Saturday, December 12.

Requirements for membership are the ability to play a wind or percussion instrument (no need to be a virtuoso); an interest in playing for enjoyment; desire to play a wide variety of music for the public; an interest in meeting new people who share a common interest and availability for rehearsals on Tuesday evenings.

Membership in AAC and AACCB is open to all adults. Students still in high school may also participate with the permission of the ensemble's director.  A nominal membership fee of $25 is requested and payable by the fourth week of rehearsals to continue participation in either ensemble for the semester. The membership fee is payable at the Ashland University Box Office via phone at 419.289.5125 or online at www.ashland.edu/tickets.

Thursday, July 9, 2015

Rebecca Wilson: Aria Competition Finalist & Award Winner

Photo by Gwen Juarez
AU Music graduate and former student of Stephanie Sikora, soprano Rebecca Glass Wilson (2000) recently was awarded a grant from the Gerda Lissner Foundation in the 2015 Wagnerian division and was a finalist in the 2015 Lois Alba Competition. In July, Rebecca will be singing the role of Venus in La púrpura de la rosa with Le Château de la Voix. Rebecca is thrilled to be joining Union Avenue Opera this August as Gutrune in their production in Götterdämmerung.

Also, Rebecca has been heard as soloist with the Baroque Artists of Champaign, The University of Illinois Urbana-Champaign Choir and Orchestra, Chicago College of Performing Arts Orchestra, the Ashland Symphony Orchestra, and Wheaton Symphony.

 Other Honors and Credits include the following: 3rd Place Finalist in 2007 Bel Canto Foundation, Bravo Award Winner in 2005 Bel Canto Foundation, Suzel in L’amico Fritz, Lady Billows in Albert Herring, Mimi in La bohème, Fiordiligi in Cosi fan tutte, 2nd Bridesmaid in Le Nozze di Figaro, La Countessa Le Nozze di Figaro, Pat Nixon in John Adam’s Nixon in China, the title role in Finding Yolanda (based on Tchaikovsky’s Iolanta) and WFMT’s Solo Recital Fazioli Salon Series in Chicago.
Video Credits:
Dich, theure Halle from TANNHAUSER by Wagner
Rebecca was accompanied by Maestra Janice Fehlauer
with HD Video provided by Robert Land Productions