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The perfect fit arises when the right person is placed in the right job. No square pegs in round holes, no 'making do', no 'getting by'.
Hays Specialist Recruitment Ireland Ltd (www.hays.ie ) is a section of Hays plc (www.hays.com ), a global leader in specialist recruitment, which this year marks 50 years in the worldwide construction recruitment business.
A 'FTSE 250' listed company, Hays is the largest publicly listed recruitment group in the UK, with a turnover of £2.5 billion stg and net fees of £787 million stg. Hays' origins can be traced back to the 17th Century, when its activities involved the ownership and management of wharves and warehouses on the south bank of the River Thames.
Today, its core business is specialist recruitment, and Ireland and the UK represent the company's largest market. Other markets include Europe, Canada, Dubai, Australia, New Zealand, Hong Kong and China, which along with other international markets have led to a 40 per cent rise in the Hays' profits.
With almost 9,000 staff in almost 400 offices across 27 countries, Hays Specialist Recruitment last year placed 80,000 people in permanent jobs and 300,000 people into temporary assignments. Each week the company has on its payroll 46,000 temporary workers.
Nine thousand staff
in 27 countries
"Nine thousand staff may seem like a lot, but Hays needs to have the right people in place within its own organisation in order to place others, so over the past year Hays has increased globally its consultants by 15per cent," explains Senior Manager of the Galway office, Niall Toland.
Twelve of Hays' 255 UK/Ireland offices are located in this country, employing some 200 people, and the network of locations is growing. The company's Dublin HQ was established in 1996, and the company's Galway branch celebrated its third birthday last month.
We are now in a 'buyer's market', where most employers can afford to be selective about who will join their company, but mistakes can still be made, and hiring the wrong person for the job can prove to be a very costly business for all concerned.
The unemployment rate is up over six per cent - a large increase on this time last year; is estimated to hit eight per cent by the end of this decade, and pay freezes are the talk of the town.
Seventeen areas of recruitment specialism served by specialist staff
Globally, Hays operates 17 areas of recruitment specialism. Within Ireland Hays' specialist recruitment divisions cover employment in banking, HR, IT, insurance and finance, office support, pharmaceutical, and sales and marketing. Its largest national divisions are construction and property, and accountancy and finance, indicating where most of our job opportunities exist.
Additional sectors are examined on an on-going basis, and topically, an energy division has recently been added to the company portfolio to represent that industry.
Still employing in construction
Despite the slowdown in construction, Hays Galway has enjoyed a 20 per cent growth rate over the past year in construction recruitment. Large civil engineering projects, such as the completion of the N6 ensure an on-going need for both construction professionals and trades-people.
"Whilst many construction contracts are on hold, many others are on-going and still need to find the right people for key areas. Many construction workers have now left Ireland for building projects in London, Australia, or Dubai, which means that there can actually be a shortfall left behind in certain sectors."
So, just how does Hays help both employers and employees?
"Our aim is to place the right person in the right job every time – whether that job is permanent, temporary, or interim. Many of our clients use our services to recruit contract staff to help them complete projects. In the current economic climate this makes a lot of financial sense."
A small recruitment incentive exists in Hays' 'refer-a-friend' reward scheme, whereby those referring successfully placed candidates receive a €100 'Brown Thomas voucher. Candidates with experience on civil projects are currently in high demand.
While there are many recruitment companies in Ireland, Hays' forte is that it specialises in key areas and ensures that its own staff is trained specifically to support these areas.
"Those working for instance in our construction and property division deal daily with quantity surveyors, engineers, project managers, architects, and health and safety managers in order to build up a comprehensive database. By concentrating on specialist sectors, staff becomes highly knowledgeable in that area, and this benefits both employers and employees."
Outsourcing recruitment saves companies money
Whilst some companies handle their recruitment needs internally, a growing number are realising that they can save time and money by outsourcing this requirement to specialists.
"When companies have vacancies to fill, they sometimes underestimate how long it takes to fill a vacancy. The company may need to employ an HR person to start with, who then will have to deal with advertising, screening applicants, checking references and interviewing. This all takes time and money and must be carried out methodically to ensure any chance of success.
"The benefit of being part of a global organisation is that we can tap into one another's resources. Hays has an extensive database of thousands of candidates, which is continuously updated. People can register with us months before they are actively looking for new employment. This allows us to be looking out for them in advance of them leaving their current place of work.
"By being proactive we can often fill employers' vacancies very quickly, as we have the potential employees already on our database. Building such a valuable database takes time and money, but the biggest benefit is being able to move quickly when vacancies arise. This is a quite different service to that of recruiting staff by 'head-hunting', which Hays does not do. Our work is done largely in advance of a vacancy being registered with our office."
Setting up, maintaining and updating these databases is a costly business, which is in part recouped through agency fees.
"Our fees are very much in line with other specialist recruitment companies, and reflect the in-depth nature of our service.
"There is no charge to register with Hays, and candidates benefit from free advice on CV preparation and interview technique. Most candidates make appointments with us after having viewed vacancies on our website, but some, like those in trades and labour often prefer to call in impromptu.
"The benefit to employers is that we save them a lot of time and hassle by screening potential employees in advance, checking references and presenting employers with a shortlist of the best candidates to choose from. There is no cost to an employer unless we fill their vacancy."
Hays Specialist Recruitment also produces annual salary surveys, which keep clients abreast of market conditions, thereby ensuring realistic discussions on salaries.
"After-sales service is equally important to us, and we will continue to advise and assist employers after a placement is made. A happy employer and employee is good business sense for us."
A masters science degree may not be the traditional route into recruitment, but it's a path that Niall is happy to have chosen.
"After a year in Australia, I joined our Dublin HQ, then managed the Limerick branch for a few years, before heading to Galway in 2005 to set up and open a regional branch here. I knew that Galway was ripe for this type of business service and I've been proven right, as we continue to grow. All our staff works in specialist areas, for instance within Hays Construction & Property different consultants deals with specialist areas of work, such as trades and labour, architecture or engineering."
Managing the Galway office is only part of Niall's brief; he must proactively secure business and ensure that the Hays' Galway branch stays ahead. His own personal determination led to him being voted 'Consultant of the Year 2007' within Ireland for generating the most revenue, and placing the greatest number of people into jobs.
"I get huge personal satisfaction from matching up candidates and clients. I never forget that at Hays we handle people's aspirations and help shape their lives every day. I always point out to employees that the right attitude and approach in business are vital to being happy in one's work, and it's particularly gratifying when I get positive feedback from people I have placed."
Matching the right employee to the right employer takes skill and knowledge, and Hays Specialist Recruitment prides itself on keeping up to date on all new industry developments.
"We need to appreciate completely each industry we represent. If we didn't fully understand construction, accountancy, or office support for example, we would never be able to conduct meaningful dialogue with either employers or employees.
"Our staff needs to understand local market conditions and career development in each industry in order to fully represent clients. To do this successfully requires a lot of in-house training and support."
Company processes 15,000 jobs a week through website
Hays Specialist Recruitment's website is one of its greatest marketing tools.
"Our website attracts 750,000 visitors every month. At any given time we would have over 55,000 live jobs online across the globe, and we would normally process over 15,000 job applications each week."
Reaching out to the community involves Hays in the support of a number of charities and awards schemes, such as that of the Lighthouse Club, a construction industry charity and Barretstown Camp for terminally ill children.
Hays also supports the Local Government City & Council Awards (LAMA ) in Ireland that honour exemplary projects within the community.
Although Niall enjoys his leisure time by playing soccer, tag-rugby and ski-ing, it's hard work and ambition that has driven this Clare man to where he is today, and he doesn't see that changing.
"Like the Munster rugby team, I believe that preparation, drive and hard graft pay off in the end.
"I'm happy with my own work, and strongly believe in 'following one's dream' – never settle for second best. I try to apply this principle to help all my clients too. If I do my job well, I can help others get the best out of their lives too, and that's a 'win-win' for everyone."


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Judging Criteria
In koi keeping, body shape, color, and pattern are judged in that order. The body shape takes priority because, irrespective of the standard of color and pattern, a body that is too long, too short, too thin, or too round will constitute inferior quality. The bigger and better the body shape, the better the impression; and the better a koi's movement will be. A koi with a pot belly cannot have a graceful swimming motion. Deformities demand immediate elimination (although it is questionable whether the koi should have been entered at all).
Faults and flaws are tolerated according to the degree of severity. For example, the complete absence of barbels is a serious fault, whereas missing barbels is a flaw. Blindness in one eye or a missing eye is a fault but an eye showing a white or red film is a flaw. A head that is too round, too square, or has a "pinched" look will detract from the koi's appeal.
Fins must be in proportion to the body, not too large, too small, too square, or too rounded. It is considered a fault if the fins of small and medium-size koi are too long or short, while similar fins on large koi will usually eliminate them from top rankings. The absence of a significant part or a whole fin is a fault; healed or partial damage is a flaw.
In evaluating color, judges will search for an even hue with out weakness or fading. The white ground must be pure and thick, the hi and sumi must have depth and brightness, and metallic ground colors must be even, without any smudging. The sought-after luster of the skin can be visualized as a thin layer of high-gloss varnish.
Judges are especially attentive of kiwa (the hid edge of a marking, see page 39) that is sharp and attractive. The pattern should be typical of the variety and balanced along the length of the body. In smaller koi, the pattern should be appealing. Young koi should show elegant, refined patterns, while adult koi must have splendor and presence. Two further criteria used in judging are gracefulness and character; and here subjective preferences come into play. Gracefulness can be equated with elegance, tidiness, and refinement; character is the overall impression, the undeniable presence of a superlative synthesis of all the koi's features.
Traditionally, judging starts with the jumbo and bigger size bu from which a Jumbo Champion, Reserve Grand Champion, and Supreme Grand Champion (overall winner) are selected.
The judges then go to the smallest bu (size grouping) and work their way up to the biggest bu to find first, second, and third places from each variety. From among all the winners in a specific bu, a Supreme Champion for that size group is selected, and the process is repeated for all the other bu.
With all the Supreme Champions in separate ponds, the judges vote for a Junior Grand Champion and Baby Grand Champion from amongst the smaller bu. The judges may be asked to select a single koi in each bu that they would rate a tategoi (a young fish with the potential to achieve excellence as it matures).
The chief judge has the right to overrule any decision, even if the judges and trainee judges have made a choice by ballot.
The relatively short history of koi-keeping in the West is no excuse for not aspiring toward quality. Judges should not adjust their criteria to compensate for lack of quality. It is not a case of judging the best of what is available, but of measuring entrants against the standard. Therefore, should the judges decide to withhold an award, their decision must always be accepted and respected...
From the book Koi - A handbook on keeping Nishikigoi by Servaas de Kock & Ronnie Watt that can be ordered here.

subset: commoncrawl


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Before you begin writing your summary, imagine yourself the head of the organization. How do you see the employee in this position? Try to identify in yourself those qualities and show achievements that are important to this work. But it is not necessary to invent and attribute to false, because in the future it will reveal.
The post in summary, you must specify clearly, that is exactly the one for which you are applying, for example, if you came for an interview for the position of accountant, resume should not be "economist". It is also very important to familiarize yourself with all the requirements of the employer and the maximum amount to summary close to them. The more you match, the higher the chances of success.
Next, you need to specify a previous job, and to specify their needs in a chronological order, starting with the latter. Education is written in the same order, in this section, you must specify the year of study, the name of the institution, Department and profession. If you have finished some courses, then that's a plus, and should fit.
When writing a resume should not indicate extra information, this will only overload it. It is enough to specify the basic qualities and achievements. But a small amount of information could be intimidating to the employer, because it can cause your professionalism or an indicator of laziness.
Don't forget to specify your data, namely: name, first name, middle name and all contact numbers. Watch out for literacy summary if you think that the employer is not looking, mistaken. Just ignorance and catches the eye first. To scare the employer and a large number of listed Hobbies and Hobbies. Better focus on personal qualities, for example, you can specify the availability of rights.
Filling section on desired salary, carefully analyze and think, as "exorbitant" amount can scare your employer, but too low – minded to the idea that as a professional you no, since that low value their work. Select "Golden mean".
There are also some items that in no event it is impossible to specify, for example, do not write "do not speak foreign languages". It is necessary to write only in case if the template has a point.
And remember that the summary should be easy-to-read.


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Buildings and Grounds
TSC Operations Center
2241 Old Romney Road
Lafayette, IN 47909
(765) 269-8420
The Buildings & Grounds Department is responsible for the cleanliness and maintenance of over 2.6 million square feet of buildings and associated grounds. The department also is responsible for implementing security measures, and oversees the safety plans for the corporation.
Buildings and Grounds Department Staff
Isaac Wolf
Operations Center
Amanda Wright
Secretary - Corporation
Operations Center
School: 765-269-8420 ext. 8421
Joel Zarate
Energy Manager
Operations Center
School: 765-269-8420 ext. 4909
Robyn Zickmund
General Custodian
Dayton Elementary School


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Contemporary Cool Mens Wedding Rings Picture
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Do you have employment that involves utilizing your hands in manual labor? Can you enter into connection with corrosive chemicals? Do you play contact sports? Many men would just remove their ring for vigorous activities, but if this can be a daily issue for you personally, then you can prefer to select a band that's around the challenge. Another important point to note is if you should be in threat of catching your ring on anything and having to possess it cut off? One drawback to an entirely indestructible ring is that they can't be cut off quickly in the event of an accident. This can be a problem with both aircraft grade titanium and tungsten wedding rings. Design. There are many ring designs from which to choose independent of the traditional band. Male wedding rings can be carved, woven, plaited, include stones, or be multi-colored, just for starters. However, many of these wedding rings may possibly not be suited to daily heavy manual labor.
Men's Wedding Bands 101: How To Choose Your Ring


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You can become a better car salesman by observing and listening to the top salesmen and sales women around the dealership. Then take what you have learned and make the adjustments so that it becomes part of you and sounds natural. This is an ongoing part of the do it yourself process that is available to anyone that wants to be a successful auto sales person.
It also Npa Auto Auction protects your car by allowing for repairs to be done in a more timely manner than may have otherwise been possible without a policy. Npa Auto Auction the longer you wait for repairs to be done the worse of a situation you may be faced with down the road. Frequently Asked Questions There are some common questions that people seeking used car repair insurance are wondering.
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Developments are currently underway in the automotive industry to design and build new air powered cars that will meet today's needs using this old technology whose ground work has been laid since 1687. Air powered cars pneumatic motors ecological vehicles. These are not new terms that have recently arose with the rising gas prices they are an old technology revisited. You might be wondering what kind of RC toy cars you will buy from the nearby toy shop. Normally you will be given two choices when you inquire at a local toy store. One is a nitro car and the other one is the electric car. It is very essential that you know the difference of the two so that the toy car that you are going to buy will fit your requirements.
You then submit this information with one click of your mouse. A page displays with the tie down products precisely suited to your vehicle. Research a company's shipping offers for tie downs and other products.
There are two general types of black oxide for iron and steel are hot black oxide and room temperature blackening. Surface Npa Auto Auction preparation implies that an existing surface must be prepared prior to the installation or application of a new surface. Npa Auto Auction Surface preparation is a two stage process – removal and profiling.
The best way to buy good domestic van insurance is to start searching for a reliable provider:
- If you've heard of consignment shops and you think this sounds a lot like they do you'd be right ? these two ways of dealing with unwanted items are quite similar
- This is simply because you are advertising your car to much people
- Racey & incomparable corporate events Dedicated motor racing companies offer the full racing experience to ardent clcaric race car fans
- Nevertheless it is an entirely different level when people become more aware of the mechanics and science of crash collisions and rollover accidents
. You can do this by two ways one approach your local insurance broker the other is to sit and search it all by yourself on the internet. Irrelevant of the method you choose make sure you specify the purpose you will be using the van for. In order to get a good quote on van insurance used for domestic purposes make sure you park the van in garage or at least a safe environment.
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David Wood is a true rags to riches story that every person in network marketing dreams of having in their business. Make no mistake it wasn't easy for him to create such huge results. He put in countless hours of work effort and energy to attain the lifestyle he could only dream about a few years ago. He used the power of the internet and discovered a few simple strategies that very few people know even exists. Fortunately for some of us who work closely with him know the secret strategies that allowed him to achieve the lifestyle he has today.
An extensive understanding of the marketplace means that a sourcing worker can locate the best places to penetrate new markets and the best ways to shore up older markets. In addition to an extensive knowledge of the industry strategic sourcing requires an ability to carimilate complex ideas and thoughts into a coherent vision. In essence these professionals need to be able to take a dozen actions and thoughts and place them into one cohesive structure. New model promotions the current output of production plants and current company specials on a certain vehicle are only a few of the considerations of a strategic sourcing professional.
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However beside cost of buying a new car in Dubai there is also a need to consider about cost of insurance and registration among other things. The basic thing you should know that you should have a residence visa for Dubai to get a new car. If you dont have the resident visa in Dubai then buying a new car like Pajero is probably not possible for you.


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By Jacob Stockinger
To loyal and even devout fans, they are known simply as "G&S."
And since 1963, a devoted group of Madison singers, musicians and stage crafters have produced the operettas of Gilbert and Sullivan.
This summer's production is "Princess Ida," one of the later G&S shows by the dynamic duo of satirists who were so entertainingly portrayed in the 1999 film "Topsy-Turvy." "Princess Ida" opens this Friday night at 7:30 p.m. in Music Hall. (It was previously performed by the Savoyards in 1967, 1980 and 1999.)
The seven performances, including two SUNDAY (not Saturday, as erroneously first stated) matinees at 3 p.m., take place at the University of Wisconsin-Madison School of Music. The hall is located on the UW-Madison campus at the foot of Bascom Hill.
Here is a link to the home web page of The Madison Savoyards. You can find more information including: directions and connections to purchase tickets; the dates and times of performances; background about the Savoyards and about Gilbert and Sullivan; reviews of past productions; videos and recordings; pre-performance dinners; information about how to support and participate in the group; and even a newsletter.
Tickets for "Princess Ida" can be purchased at the Wisconsin Union Theater Box Office, by phone at (608) 265-ARTS, or online at www.uniontheater.wisc.edu
The story, adapted from Alfred Lord Tennyson's epic poem, "The Princess," is set in Medieval Europe. Princess Ida, betrothed in infancy to Prince Hilarion, has forsworn men and is now head of a women's school that teaches philosophy, science and the fickleness of men. Intent on winning her heart, Hilarion and his friends set out on a quest that involves sneaking into Ida's school disguised as women, and culminates in an epic sword-wielding battle.
"It's just good old Gilbert and Sullivan fun," says stage director Audrey Lauren Wax (below), who works with StageQ in Madison. "Who doesn't love the fact that there are three siblings who look nothing alike and the only real connection they have is that it takes three of them to equal one full brain!"
Music director Grant Harville assures audiences that "fans of Sullivan's contributions to these collaborations will hear exactly the sorts of features that attract them to these works." Musical numbers run the gamut, from silly patter songs including, "Whene'er I Spoke" and "If You Give Me Your Attention," to more poignant, lyrical numbers such as, "I Built Upon a Rock."
Action, plot twists and the generous doses of humor sprinkled throughout Princess Ida will certainly keep audience members on their toes.
The cast includes some veterans of the stage, with Milwaukee native Naiza Delica (below left in a photo by Jane Wegenke) as Princess Ida, Donald Dexter (middle) as King Gama and UW-Madison senior William Ottow (below right) as her romantic counterpart, Prince Hilarion.
William Rosholt and Donald Dexter appear as the dueling kings Hildebrand and Gama, and Patrick Chounet and Steven Groth play Hilarion's two loyal friends, Cyril and Florian.
Gama's three sons are played by Jim Chiolino, Alec Moeser and Matt White, and Rachel Bishop, Ann Baltes and Tiffany Orr appear as Lady Blanche, Lady Psyche and Melissa.
The cast includes over 30 members from the Madison area, including four families.
Music director Grant Harville (below) agreed to a Q&A with The Ear:
Can you briefly introduce yourself to readers?
I received my doctorate at the UW-Madison School of Music. This is my fourth Madison Savoyards production, and my fifth Gilbert and Sullivan show overall. I'm currently the Music Director and conductor for the Idaho State-Civic Symphony, and I teach at Idaho State University. But my ties to Madison go back a good 20 years now, and The Savoyards have been a rewarding way to stay active during the summer.
How does "Princess Ida" fit into the overall work of Gilbert and Sullivan, especially compared to such famous works as "The Pirates of Penzance," "The Mikado" and "HMS Pinafore"? What does it share with the others and what separates it from them?
It's a testament to the astonishing success of Gilbert and Sullivan's collaboration that "Ida" was considered a failure, running for a "mere" 246 performances.
A lot of the characteristics found in their other projects are present here: punny, silly, clever, occasionally slapstick humor; ridiculous, buffoonish characters; and a lifetime's worth of good tunes. Some of my favorites from "Ida" are "Gently, Gently," "I Am a Maiden" and "The World Is But a Broken Toy." (You can hear the opening of "Princess Ida" in a YouTube video at the bottom.)
Sullivan is — and was in his own day — criticized for writing music that was "beneath him," but I've never found that criticism fair. The melodies are perfectly constructed and brilliantly apt text settings; and there are plenty of traps for the company that underestimates the complexities of these scores.
G&S had a formula, to be sure, but there's enough generic music out there for us to recognize that this is better than that. There's a reason the duo has found a permanent place in the repertory while countless other works have gone by the wayside.
What do you find so appealing about the stream of William Gilbert and Arthur Sullivan (below)? Do you find any relevance in "Princess Ida" to society and politics today? Can you elaborate?
I think what keeps bringing me back as a music director is how much I fall in love with the music each summer. No matter how good the drama is, or how funny the dialogue is, it's the music that attracts me.
Because of its parody of feminism, "Ida" is perhaps more controversial than others of the operas. The parody that today's audiences will recognize most readily is probably Lady Blanche, a university professor whose thinking has become so abstract that it no longer makes any sense.
What would you like the public to know about this particular production -– the cast, the musicians, the sets and costumes, whatever?
The Madison Savoyards expects, though certainly doesn't require, a very high level of familiarity from some of its audience — to the degree that if a few words are transposed in the dialogue, there are people who will notice. (Not that such familiarity is required; G&S is extremely accessible.)
Because the company is dedicated to this repertoire, they devote all their resources to making the productions as polished as possible. That means beautiful sets and costumes, full orchestra accompaniment, outstanding staff support.
I'm proud of our cast and crew; they make a remarkable commitment to be in the show, and I think audiences will see it manifested on stage.
By Jacob Stockinger
The Madison Early Music Festival started as an idea.
So, what better way to mark its 15th anniversary than by exploring perhaps history's greatest Man of Ideas -– Leonardo da Vinci?
And that is exactly what happened during the opening concert last Saturday night by MEMF, which this year is exploring Italian music from 1300 to 1600.
The festival — complete with workshops, lectures and concerts -– is held each summer at the University of Wisconsin-Madison School of Music.
It started as a way to help fill the summertime void of classical music. But now summer is its own season when it comes to classical music in Madison, and much of that success is due to MEMF's success.
Co-founders and co-artistic directors UW-Madison baritone Paul Rowe and his soprano wife Cheryl Bensman Rowe (below) had every reason to be proud and moved -– and they were, visibly and audibly.
This summer, because Mills Hall is under construction, MEMF has had to turn to other venues, chiefly the nearby Luther Memorial Church at 1021 University Avenue and Music Hall on Bascom Hill.
The opening concert "The Da Vinci Codex" was held at Luther Memorial, and the church seemed close to full, meaning almost 400 listeners attended. This alternative venue actually seemed an improvement in that it offered a warm and acoustically superior environment with sets and a building that complemented the religious beliefs and art of that era's music and culture.
The program was set up by a fine and well-attended lecture and slide show given by UW-Madison art professor Gail Geiger (below). She examined the heretofore underestimated role of music in Leonardo's life and career as a painter, drawing master, poet, engineer, inventor and all-round genius.
What the audience then heard was a two-hour concert in which no false note was sounded, no false step was taken.
The performer was the Toronto Consort, making its Madison debut. It proved an outstanding and thoroughly professional group of eight persons (below) who are multi-talented in their ability to sing, to play instruments and to recite narration dramatically, expressively and convincingly. They were not afraid to entertain and as well as to inform. (You can hear a sample of similar music performed by the Toronto Consort in a YouTube video at the bottom.)
The Ear was especially impressed by the tightness of the scissors-and-paste presentation and the uncanny way the Toronto Consort spoke to and engaged with the audience, who laughed and applauded thunderously.
The program's effectiveness came from the terrifically seamless and smooth narrative thread, the story that centered on the life and works of Leonardo da Vinci. It was unifying and used primary sources (Leonardo's notebooks and letters) and secondary sources like the proto-art historian Giorgio Vasari's "Lives" and other historians or critics. (Below is David Fallis, the artistic director, tenor and narrator.)
The performers moved easily from historical accounts of Leonardo in Florence, Milan and France to contextual music that illustrated Leonardo –- the ultimate Renaissance Man — from birth to death. And it proved thoroughly enjoyable and often deeply moving. You did not have to be a fan of early music to be taken in by the contagious melodies and harmonies, the catchy inflections and rhythms, the facts of an amazing life and career.
Just watching these complete professionals perform took us into their world because they are full-body performers who used hands, feet and facial expressions to convey the emotional meaning of the music and get the audience to connect with the music and with them. It felt like Renaissance jazz, so free and yet also so disciplined and practiced was the performance. It is what The Ear likes to call "the well-rehearsed surprise" and is a hallmark of all great performances that are virtuosic and make what is hard seem easy or effortless. (Below is Katherine Hall, viola da gamba player and soprano, singing.)
There is much more left of the 15th Madison Early Music Festival to hear, including "Songs of Love" by the instrumentalists and vocal ensemble Ex Umbris in Music Hall tonight at 7:30 p.m. tonight; plus other concerts including the second annual Handel Aria Competition in Music Hall on Thursday night at 7:30 p.m. (NOT 7 p.m., as the MEMF home website mistakenly said at first, and the always impressive All-Festival Concert, which focuses this year on the Trionfi of the poet Petrarch, on Saturday night at 7:30 p.m. in Luther Memorial Church. FREE pre-concert lectures by experts in art, music and history take place at 6:30 p.m.
Here is a link to a schedule and descriptions of events, with times, places and participants:
Unlike many of Leonardo's ideas, which were adventurous and even prophetic if uncompleted, MEMF has moved from idea to reality.
The Ear has no doubt, and every hope, that it is here to stay, and that it will continue to evolve and grow.
By Jacob Stockinger
This week, in conjunction with the 15th annual Madison Early Music Festival that is running from Saturday, July 12, to Saturday, July 19, the second annual Handel Aria Competition will take place this Thursday, July 17, at 7:30 p.m. in Music Hall, 925 Bascom Mall, at the foot of Bascom Hill on the campus of the University of Wisconsin-Madison. A free pre-concert lecture will be given at 6:30 p.m. in Room 2650 of the nearby UW-Madison Mosse Humanities Building by John W. Barker, who writes music criticism for Isthmus and for this blog and who is a big and longtime Handel enthusiast.
NOTE: The Handel Smack-Down will NOT take place in Mills Hall, as it did last summer, because Mills Hall at the UW-Madison School of Music, is closed while it undergoes an upgrading of its electrical system.
The Handel Aria Competition was established in 2013 to encourage emerging singers to explore the repertoire of Handel. Founders Dean and Orange Schroeder (below bottom), who own Orange Tree Imports on Monroe Street, are enthusiasts of the vocal repertoire of George Frideric Handel (below top) and are lifelong supporters of the arts.
Here is a link to the Q&A Dean Schroeder gave The Ear last summer:
An ongoing partnership with the Madison Early Music Festival has helped to continue the program, which is not actually part of MEMF.
This year over 60 singers applied. Seven were selected as finalists who were then invited to compete for scholarship awards to be used toward their professional development as young artists. That number, by the way, is fewer than last year, which should make the concert more manageable and enjoyable for both the public and the performers.
The live competition of the final round is what is being held Thursday.
The finalists for the 2014 Handel Aria Competition are: Nan Li, Sarah Brailey, Daniel Moody, Chelsea Morris, Michael Roemer, Yukie Sato, and Daniel Shirley. (At bottom is a YouTube video of Elisa Sutherland, who won last year's competition. You can also hear other competitors on YouTube.)
Full biographies are available on the Handel Aria Competition website. Here is a link:
This year's competition is "new and improved," it seems. Last year, just a solo harpsichord – finely played by two early music keyboard players — accompanied the singers. This time, they will be accompanied by a consort that includes a harpsichord, two violins, a viol and a viola da gamba.
Judges include faculty members and performers from the Madison Early Music Festival: Kristina Boerger, Drew Minter, Ian Pritchard, and Nell Snaidas. (Below are last year's judges taking notes.)
Tickets are $10 and are available in advance through Brown Paper Tickets and are online at www.handelariacompetition.com.
You can also phone 1-800-838-3006.
On the day of the show, tickets go on sale in person at Music Hall at 6 p.m. – CASH ONLY — with doors to the theater opening at 7 p.m.
Please note: As the event is in Music Hall this year due to renovations taking place in Mills Hall, seating is limited to 375 audience members. Last year nearly 500 people attended the concert. Advance purchase is highly recommended.
For complete information, including performer biographies and qualifications of the judges, visit www.handelariacompetition.com
By Jacob Stockinger
Few young musicians, or older ones for that matter, lead a busier schedule than the young University of Wisconsin-Madison violist and conductor Mikko Rankin Utevsky (below).
Recently returned from a stay in Europe, Utevsky will show his latest ambitious achievement in a program this Friday night.
That is when the Madison Area Youth Chamber Orchestra (MAYCO, seen below in a performance last year in Mills Hall at the UW-Madison), which was founded by Utevsky while he was still a student at Madison East High School, opens its fourth season on Friday night at 7:30 p.m.
The concert will take place in the crisply designed Atrium auditorium of the First Unitarian Society of Madison (below, in a photo by Zane Williams), 900 University Bay Drive, on Madison near west side. Tickets are $7, with donations requested from students.
The gifted pianist Thomas Kasdorf (below), a graduate of the University of Wisconsin-Madison School of Music, where he studied with Christopher Taylor and where he will return as a graduate student this fall, joins the orchestra for the Piano Concerto No. 11 in D Major by Franz Joseph Haydn. (You can hear the legendary Russian pianist Sviatoslav Richter play the concerto in a YouTube video at the bottom)
You may recall that this spring Kasdorf answered a Q&A for this blog when he performed the Piano Concerto in A Minor by Edvard Grieg with the Middleton Community Orchestra.
Here is a link to Kasdorf's interview:
And here is a link to The Ear's positive review of his performance of the Grieg concerto (below):
Also on the program are the "Reformation" Symphony by Felix Mendelssohn and the world premiere of the chamber symphony "Experiment No. 1" by Olivia Zeuske (below). Zeuske just graduated from the UW-Madison with a double major in English and music composition, which she studied with professor and composer Steven Dembski.
MAYCO's next concert this summer will be at 7:30 p.m. on Friday, August 22, 2014. Called "Summer Magic," it features soprano Caitlin Ruby Miller. The program includes the Overture to "The Magic Flute" by Wolfgang Amadeus Mozart; "Knoxville: Summer of 1915" by Samuel Barber: and the Symphony No. 9 in E-flat Major, Op. 70, by Dmitri Shostakovich. The concert will be held in UW Music Hall, 925 Bascom Mall, at the base of Bascom Hill.
For more information about MAYCO, including background, concerts, programs, photos and how to support and join MAYCO, visit:
EDITOR'S NOTE: Please note that some reviews of productions last weekend are being delayed to make room for previews of the many upcoming concerts and musical events this week.
NEWS: David Ronis (below) of Queen's College and the Aaron Copland School of Music at the City University of New York (CUNY) has just been named as the interim one-year visiting director of University Opera, to succeed William Farlow. Here is a link to the official press release with his impressive resume on the blog Fanfare:
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
The University Opera at the University of Wisconsin-Madison has a long history of including rarities in its productions, rarities that audiences are not likely to see elsewhere.
For his farewell offering as he retires at the end of this academic year, director William Farlow (below, in a photo by Katherine Esposito) has put on a particularly enterprising novelty. That "Beatrice et Benedict: — is the last and most successful of the three operas by the early French Romantic composer Hector Berlioz.
Berlioz (below) wrote the libretto as well as the music, freely adapting his stripped-down version from the play "Much Ado About Nothing by" Shakespeare — an author whose works he adored. Berlioz cast it in the form of the opéra comique, combining set-piece musical numbers with spoken dialogue. It was the same form used not only by Jacques Offenbach, but also by Georges Bizet for his "Carmen." Nevertheless, Berlioz infused the form with his own individual wit, imagination, and personality. The score is full of absolutely beautiful music, with a dip into satire as well. (You can hear the opera's Overture performed by Sir Neville Marriner and the Academy of St. Martin in the Fields at Carnegie Hall in You Tube video at the bottom.)
The UW Opera presented this opera before, in 1988, in the days of Karlos Moser, in a semi-staged concert performance. This time, Farlow has given it a complete staging, employing mostly exemplars of the gifted vocal talent the University of Wisconsin-Madison School of Music has been drawing lately.
(The last of three performances is tonight at 7:30 p.m. in Music Hall at the foot of Bascom Hill.)
In the performance I attended Sunday night, the feuding lovers, the two title characters, Shakespeare's Beatrice and Benedick, were sung by the agile soprano Lindsay Metzger and high tenor Daniel López-Matthews. (Below right and left, respectively, in a photo by Max Wendt). The other pair of lovers, Hero and Claudio, were portrayed by the powerfully voiced soprano Anna Whiteway and tenor Jordan Wilson. The local commander, Don Pedro, was taken by bass Erik Larson.
To these the cast added two veterans. Edgewood College teacher and mezzo-soprano Kathleen Otterson (below) is a long-standing veteran of UW Opera and Madison music-making, always welcome any time, in anything, including the role here of Ursula, Hero's friend. And baritone Benjamin Schultz, a returned alumnus, sang the comic role that Berlioz invented, Somarone, as a caricature of the pompous rivals and academics who were the composer's life-long opposition.
Following a frequent practice when this opera is presented outside of France, the vocal numbers were sung in the original French, while the revised dialogue was given in English. It's a workable solution to a problem for singers who can sing in French, but really can't speak it well. Fine as the singing was, it was clear that they were not uniformly comfortable singing French.
Still, many moments were truly gorgeous, notably the Hero-Ursula duet in Act I, and the ladies' trio in Act II, as well as the offstage wedding chorus.
By and large, Farlow's stage direction was careful: in the vocal set pieces often relatively static, though, that was certainly preferable to too much action. In the case of Somarone's Act I scene, Schulz was made to go much too far beyond satire, into exaggerated silliness. And Beatrice's over-acting in Act I really compromised the character's self-assured sassiness before her "fall."
Still, even with so much of the dueling wordplay of Shakespeare's original removed, Metzger and López-Matthews engaged well as the couple who had to be tricked into discovering that their outward hostility covered a profound attraction.
A particular asset was the pit orchestra that conductor James Smith (below) was able to work up very successfully to Berlioz's tricky requirements.
William Farlow departs leaving us with many debts to him, including this demonstration that Berlioz's gem of a comic opera really deserves more regular presentation.
By Jacob Stockinger
This weekend's performances by the University Opera of the charming Shakespeare-based opera "Beatrice et Benedict" by the early and influential French Romantic composer Hector Berlioz (below top) are notable for several reasons.
Some of the rotating cast of student performers include (below bottom, in a photo by Max Wendt) Daniel López-Matthews as Bénédict; Lindsay Metzger as Béatrice, in purple; and Anna Whiteway as Hero, in red.
The new production is the final production by UW Opera director William Farlow (below, in a photo by Katherine Esposito) before he retires at the end of the semester.
NOTE: From what The Ear understands, the University of Wisconsin-Madison School of Music is currently looking to replace Farlow with an interim director for one year, and then next year the school will launch a national search for Farlow's successor.
Performances will be sung in French with English surtitles created by Christine Seitz. They will be held in the Rennebohm Auditorium of Music Hall (below), at the foot of Bascom Hill, on this Friday at 7:30 p.m., this Sunday at 3 p.m. and next Tuesday, April 15, at 7:30 p.m.
Tickets for general admission are $22; $18 for senior citizens and $10 for students. See below for more details.
I was hoping and planning to have a longer story about the production, but things just didn't work out.
I did have a brief Q&A with Bill Farlow when he announced his retirement. Here is a link:
But then I thought: Why re-invent the wheel?
It turns out that two terrific sources -– the UW School of Music blog "Fanfare" and critic John W. Barker (below), who writes for Isthmus and for this blog — both had previews and interviews that provided excellent background for seeing and hearing this production.
So here they are, both forming a kind of primer on "Beatrice et Benedict" (below, in a another photo by Max Wendt), which features a lovely duet that you can hear at the bottom in a YouTube video:
Here is a well done general appreciation by John W. Barker for Isthmus that appeared on that publication's website The Daily Page:
And here is a link to details about tickets:
Here is another story about the production, with details about the production staff as well as the music staff — including conductor and music director James Smith (below) with the UW Chamber Orchestra — on "Fanfare":
And here another story about Farlow's tenure at the University Opera, with lots of photos, which also appeared on the Fanfare blog:
By Jacob Stockinger
The headlong rush toward the end of the semester at the University of Wisconsin-Madison is about to begin with the Spring Break, which runs from March 15-23. After that is over, about six weeks or so of concerts remain, and the UW-Madison School of Music concert calendar will get even more jammed with conflicts.
So here are the events for this week before the break.
At 7:30 p.m. in Music Hall, at the foot of Bascom Hill, an Opera Workshop will take place –probably the last one for University Opera to be done by its outgoing director Bill Farlow (below, in a photo by Kathy Esposito), who will retire at the end of the semester.
The event usually features student singers in scenes from famous operas with piano accompaniment. Sorry, no word yet about the specific performers or works on the program. But the programs and performers usually get high marks from local opera fans.
Also on Tuesday night at 7:30 p.m. in Mills Hall, guest marimba player Andy Harnsberger (below), will perform a FREE concert.
Harnberger will perform with members of the UW Western Percussion Ensemble (below), though The Ear has not received word of specific works on the program.
Andy Harnsberger (below) has performed as percussionist with numerous American orchestras, as well as the contemporary music ensemble "Currents", and has toured extensively as percussionist and xylophone soloist with The Jack Daniel's Silver Cornet Band. He has also made several guest appearances on NPR, both in interviews and in live performances, to bring public awareness to the marimba as a solo instrument.
Harnsberger is Assistant Professor of Music and Percussion Coordinator at Lee University in Cleveland, Tennessee and is active throughout the year as a freelance percussionist and recitalist. He is in demand as a clinician across the country and internationally, presenting clinics and master classes at many universities each year.
His compositions have been performed at PASIC and around the world and he is a recipient of the ASCAP PLUS award for his contributions to American Concert Music. Harnsberger earned his Doctorate of Musical Arts in Performance and Literature at the Eastman School of Music in Rochester, New York, where he also received the prestigious Performer's Certificate. Andy is a performing artist and clinician for Pearl Drums and Adams Musical Instruments, Innovative Percussion, Inc., Evans Drum Heads, Sabian Cymbals, Ltd., and Grover Pro Percussion.
Also on Tuesday night at 7:30 p.m. but in Morphy Recital Hall, cellist Mark Kosower and his pianist wife Jee-Won Oh (both below) will perform an evening of famous piano quartets: one in G minor by Wolfgang Amadeus Mozart (at the bottom you can hear a popular YouTube video the final movement of the Mozart quartet with an intriguing abstract animation or illustration); the other in C Minor by Johannes Brahms.
They will be joined by another wide-and-husband team: UW violin teacher and Madison violinist Eugene Purdue (below top) and Pro Arte Quartet violist Sally Chisholm (below bottom).
Principal Cellist of the Cleveland Orchestra, Kosower will be at the UW School of Music March 10-12. He is on the faculty of the Cleveland Institute of Music, and previously taught at the San Francisco Conservatory. He is from Eau Claire, Wisconsin, and has performed in Madison on many previous occasions.
Kosower will also offer a cello master class on Wednesday, March 12, in the afternoon. The time and place are yet To Be Announced.
Learn more about Kosower at:
There is an afternoon master class with resident guest cellist Mark Kosower (below). SEE ABOVE.
At 7:30 p.m. in Mills Hall, the UW Chamber Orchestra (below), under director and conductor James Smith, will give a FREE concert.
The program includes the "Lucient" Variations by Milwaukee-born composer Michael Torke; "The Birds" by Ottorino Respighi; and the Serenade No. 2 by Johannes Brahms.
By Jacob Stockinger
Here is a terrifically informative press release about the opening production — with three performances — this coming weekend of the new season at University Opera, an opening that features George Frideric Handel, the famous and prolific Baroque composer who has undergone a major revival and is perhaps the hottest opera composer being performed these days.
"One of the most virtuosic operas by George Frideric Handel (below) takes the stage in University Opera's fall production of Ariodante. (Editor's note: At bottom is a YouTube video with an aria from the opera "Ariodante" sung by Anne Sophie von Otter.)
"Sung in Italian with English surtitles by Christine Seitz, the work will be given three performances — Friday, October 25 at 7:30 p.m., Sunday, October 27 at 3: p.m. and Tuesday, October 29 at 7:30 p.m. All shows will be presented at the Carol Rennebohm Auditorium in Music Hall (below) on the University of Wisconsin-Madison campus at the base of Bascom Hill.
"Although Ariodante has a happy ending it is a complex, dark work," says director William Farlow (below, in a photo by Kathy Esposito), who will retire at the end of this season. "Stunningly beautiful music accompanies the characters as they search for the truth. It is a captivating story of betrayal and reconciliation."
"Farlow's cast includes undergraduate and graduate students from the University of Wisconsin-Madison School of Music, supported by the UW Chamber Orchestra under the direction of James Smith (below).
"The role of Ariodante is shared by Lindsay Metzger (October 25 and October 29) and Susanna Beerheide (October 27). The role of Ginevra is also double cast with Anna Whiteway (October 25 and October 29) and Caitlin Ruby Miller (October 27), as is the role of Dalinda, performed by Christina Kay (October 25 and October 29) and Lydia Rose Eiche (October 27). Spencer Schumann (October 25 and October 29) and guest artist and IW alumnus countertenor Gerrod Pagenkopf (below bottom, October 27) share the role of Polinesso. Other cast members include Daniel López-Matthews as Lurcanio, Erik Larson as the King, and William Ottow as Odoardo.
"Production and music staff includes assistant conductor Kyle Knox (below), costume designers Sydney Krieger and Hyewon Park, technical director Greg Silver, lighting designer Steven M. Peterson, set designer and scenic artist Liz Rathke, vocal coach and musical preparation Thomas Kasdorf, and chorus master Susan Goeres.
"Tickets are $22 for the general public, $18 for senior citizens and $10 for UW-Madison students, available in advance through the Campus Arts Ticketing office at (608) 265-ARTS and online at music.wisc.edu. Tickets may also be purchased in person at the Wisconsin Union Theater Box Office Monday-Friday, 11:30 a.m.–5:30 p.m. and Saturdays, noon–5 p.m. and the Vilas Hall Box Office, Monday-Friday, 11:30 a.m.–5:30 p.m., and after 5:30 p.m. on University Theatre performance evenings. (Below is a photo by Brent Nicastro of singers in title roles in the opera. They are Lindsay Metzger as Ariodante, Anna Whiteway as Ginevra, and Spencer Schumann as Polinesso.)
"Because shows often sell out, advance purchase is recommended. If unsold tickets remain, they may be purchased at the door beginning one hour before the performance. The Carol Rennebohm Auditorium is located in Music Hall, at the foot of Bascom Hill on Park Street.
"In an effort to help patrons find parking on campus, the Campus Arts Ticketing office is offering prepaid parking permits for a guaranteed parking spot on the evenings of ticketed UW arts events for $5. Preorder your permit online at http://arts.wisc.edu/map (5 days or more in advance; $1 handling fee) or call (608)-265-ARTS (3 days or more in advance; $1 handling fee). "
For more information, including links to interviews, background stories and samples, visit Public Relations Director and Concert Manager Kathy Esposito's outstanding blog "Fanfare" at the UW School of Music. Look for the Oct, 10 posting.
Here is a link: http://uwmadisonschoolofmusic.wordpress.com/2013/10/10/ariodante/
University Opera is a cultural service of the School of Music at the University of Wisconsin-Madison. Its mission is to promote professional training and practical performing experience for student singers, conductors and pianists and, when possible, provide opportunities for student designers, actors and dancers. For more information, please contact Benjamin Schultz at email@example.com or (414) 899-9570. Or visit the School of Music's web site at music.wisc.edu.
By Jacob Stockinger
University Opera director William Farlow has announced that he will retire at the end of the current season, after spending 15 years at the University of Wisconsin-Madison.
During his tenure, attendance has grown and the productions have received critical acclaim. (Below is soprano Emily Birsan, who went on to the Lyric Opera of Chicago, in the University Opera's production of Jules Massenet's rarely heard opera "Thais.")
The Ear knows Farlow as an amiable man who is always willing to help the local music scene and to promote his own vocal and instrumental students, a number of whom have gone on to important careers.
His productions at the UW-Madison are staged at Music Hall (below) at the foot of Bascom Hill.
Farlow's repertoire choices have ranged from such standards as Giacomo Puccini's "La Boheme" (below) and Franz Lehar's "The Merry Widow," in a YouTube video at the bottom) to rarities and out-of-the-way works that he felt would be good for students to do. He has used both traditional and updated stagings.
Here is a link to the University Opera home website that incudes productions, dates and times, and other information:
And here is a link to Opera Props, the support group that helps University Opera:
Farlow (seen below in a photo by Kathy Esposito, the new concert manager and director of public relations at the UW School of Music) recently gave an email interview to The Ear.
Can you give us some brief personal and professional background including when and why you came to the UW and why you are retiring?
I came to the University of Wisconsin-Madison in the fall of 1998 after teaching at University of Arkansas-Fayetteville for five years. I came here because I felt I needed a new challenge -– which it certainly turned out to be!
I am retiring because I have spent the last 50 years of my life doing opera. It started when I was 15 and played in the second violin section for a production of Verdi's "Aida." I have continued into my mid-60s and feel it's time to move on to the next chapter of my life. (Below is a photo of William Farlow in a rehearsal.)
Will you stay in Madison after you retire?
I have no immediate plans to move.
What are your plans for after retirement? Do you have special hobbies or activities you want to pursue? Will you continue to freelance as an opera director?
I will continue as Artistic Advisor to Fresco Opera Theatre and Operations Consultant to the Des Moines Metro Opera as well as continue to judge voice competitions –- I've been a judge for the Metropolitan Opera's National Council Auditions for 30 years –- and to give master classes.
I do not plan on directing in the future and have turned down all offers for 2014, one of which was a complete "Ring" cycle of Wagner.
I can't wait to cook more and read.
What are you most proud of during your tenure at the UW?
The huge variety of repertoire and quality productions we have been able to offer, and the phenomenal younger singers and instrumentalists.
What makes doing opera at a university school of music special or distinctive in your view, and what advice would you pass along to your successor?
There are so many more repertoire choices for university opera than for many professional companies. My advice is "Good luck" and "Leave no stone unturned."
What was the best part of directing at the UW? The most frustrating part?
The best part was working with the opera's music director and conductor James Smith (below top), who is such an extraordinary musician and colleague, and with soprano and associate director of University Opera Mimmi Fulmer (below bottom), who is the best everything.
The most frustrating part? FUNDING!!
How healthy is the opera program now at the UW-Madison? What challenges do you see in the future?
The program is in good shape for now, but the challenges will continue to be recruitment and funding.
Why did you choose operas by George Frideric Handel ("Ariodante" on Pct. 25, 27 and 29) and Hector Berlioz ("Beatrice and Benedict" on April 13, 15 and 19) for your farewell season?
My choices for this season are the same as they always have been — operas that give the most opportunities to the most singers.
Is there anything else you would like to say?
The last 15 years have been the most challenging and rewarding of my career. I have had the great honor of directing so many great works that I wouldn't have dreamed would be possible at this point in my career.
By Jacob Stockinger
Today is the first day of classes at the University of Wisconsin-Madison.
That makes it a perfect time for students, both music students and others, to make the acquaintance of Kathy Esposito. Esposito is the new concert manager and director of public relations for the UW School of Music. (That also makes it a good time to subscribe to this blog and to the UW School of Music's "Fanfare" blog if you are a new or returning student or faculty member.)
Esposito was hired toward the end of last season and has been furiously and energetically on the job all summer, preparing for the fall by redesigning the website at www.music.wis.edu, producing a season brochure and starting the blog "Fanfare" among other accomplishments. This promises to be a year of big challenges, from a new department director to new teachers, at the School of Music.
I asked Esposito to give an interview and to introduce herself.
Here is the introduction she wrote:
"I guess all I would say about me is that I developed my music appreciation through my two sons who are now classical musicians.
"I was a freelance journalist and communications specialist at the Wisconsin Department of Natural Resources for years, but while doing so, we three immersed ourselves in music and theater.
"We listened to CDs at home, attended productions in Madison, Milwaukee and Chicago, and the two boys took violin lessons. They eventually auditioned into the Wisconsin Youth Symphony Orchestras (WYSO, below, in a photo by Cheng-Wei Wu).
"Music for me is completely cathartic. I understand well the intense dedication required to excel, and I am always impressed by the maturity of these young players who by some miracle develop an appreciation of something fairly sophisticated.
"I love the classics and believe these should be our foundation, but also understand that some are interested in taking their passion to a different, more contemporary place (whether composing or performing), something untried and not wholly formed, and the university is a perfect place to do that.
"My goal is to present their efforts before the Madison community and beyond, not only to bring bodies into our halls (it's no fun to play to an empty hall) but also to demonstrate that the music school is as deserving of donor support as any other program on campus.
And here is the lengthy and detailed email Q&A that Kathy Esposito (below, in a self-portrait) did for The Ear:
Why did you want the job of concert manager and director of public relations?
My two sons, Ansel and Alex (below), were in the Wisconsin Youth Symphony Orchestras (WYSO) and my elder son Alex graduated from UW as a violinist studying with Professor Felicia Moye and is now at Texas Tech. (As a high school student, my younger son Ansel studied with UW-Madison trumpet professor John Aley. He is now a senior at Northwestern University and also studies with the principal trumpet player of the Chicago Symphony Orchestra.)
We made a point of attending music and theater performances in Madison and elsewhere, and I am quite passionate about the marvelous impact that it has had on all our lives. Both are continuing in music and have promising lives as people, not just musicians. That's what music can do for people.
Because of these connections, I knew there was much good stuff going on under the roof of the Mosse Humanities Building that others didn't know about, and it bothered me.
When people think of classical music in Madison, what comes to mind? The Madison Symphony Orchestra. The Wisconsin Chamber Orchestra. Concerts on the Square. The Bolz Young Artists Competition. Why is that? It's because of marketing — plain old honest "getting the word out" any way possible. In this regard, the UW School of Music can do much better.
We offer a hundreds of mostly FREE concerts each year, often featuring the exact same musicians and guests artists who appear elsewhere in town, plus college students about to launch professional careers of their own. (At bottom is a YouTube video of the UW Choral Union and UW Symphony Orchestra under the baton of Beverly Taylor performing "He Watching Over Israel" from Felix Mendelssohn's oratorio "Elijah.")
But we don't have a budget for paid advertising, which means we need to be more creative with our publicity: telling people about the accomplishments of students and faculty and offering them a reason to care and be excited about what they will see.
Meanwhile, the School of Music (SOM) offers great training and opportunities for music students, within an environment that is friendly and supportive, allowing these high school grads to mature as people while improving skills. That's an important point, as some schools are so competitive that students can actually be damaged in the process. (Below is Music Hall, where the University Opera stages its productions, at the foot of Bascom Hill.)
I felt that I could help. I have a background in journalism and more recently in business marketing and digital media, and I know the importance of telling stories and being creative, which, nowadays, includes the Internet world as well as print. This new world is a huge, huge area, and I don't claim to be able to do all of it well, but the truth is that many people who grew up in the world of print are totally overwhelmed by what's needed now.
So the upshot is that I felt strongly that I had an overall resumé that matched what the SOM needed, and I wanted to help.
What major projects and changes do have in the works, including the website, web streaming for audio and video, spreading the word about the new building and outreach programs, and the like??
We plan to completely overhaul our music school website and will feature prominently the audio tracks that we've accumulated over the years, so that when you arrive at our site, your eye will fall upon a "Hear our Sound!" display box that will invite you to listen to one of several performances.
That might include an orchestra, the Perlman Trio (below), the wind ensemble, a jazz septet, a concerto competition winner, or a new piece by one of our resident composers; so many I don't know how we can possibly choose among them. This is blow-your-socks-off great music.
Our current website has never had a page for news; it was fairly "static," as web designers say. To address this in the absence of a new site, I recently started a blog, "Fanfare," that provides a place to publicize recent accomplishments, and we also are making great use of our Facebook page. I invite all your readers to sign up for the blog (it's a free subscription) and to become our Facebook fans.
Future plans include acquiring equipment to video-record and live-stream some concerts, so that parents and alumni (and possible donors) around the country and world can watch in real-time. I know how special this is because my sons perform out-of-town, and I have been able to watch them play from the (relative) comfort of my computer chair. It's the next best thing to actually sitting in the concert hall seat.
Regarding the new music building, to be located on the open lot on University Avenue most recently occupied by several bars: We are about half way toward our goal of raising about $46 million. The project is actually part of a bigger UW plan that includes the entire East Campus Gateway, so the UW Foundation is in charge of the lion's share of fundraising, which includes soliciting the largest donations. My role now is to continue to raise the school's profile so that prospective donors can feel their efforts are going to very good use.
Of course, anyone is welcome to donate to the new performance fund, no matter the size of the contribution.
What are the major challenges you see confronting you and the UW School of Music?
Our biggest challenges right now are securing more money for tuition scholarships and for our new performance space. Of course, better publicity will help here; people are more likely to donate if they see their money being put to good use.
College scholarships are critical. A young violinist may want to study with Felicia Moye (below top), or a young percussionist with Tony di Sanza (below bottom with UW piano pedagogue Jessica Johnson), but if she or he gets an offer from a competing music school that includes funding, and we can't match it, where do you think that student will go? And yet we want to be considered a top music school, just as UW is tops in so many other ways. And graduating with a degree in violin or trumpet performance but with $30,000 in debt is extremely unwise.
The School's mission is not just performance, but educational. And providing music education is expensive. We have many faculty who don't play instruments but study the music of other cultures, or study the history of composition, and then we also have many classes that are very small: there is a faculty-student ratio of one. (These are called studio classes, where, for example, a college student studying the cello has a weekly lesson with Uri Vardi (below), one of our cello teachers.)
We have several wonderful patrons who understand this and have donated money to fund talented students through their undergrad and grad years. We'd love to discover more people like those. These grateful students have advanced to successful careers as performers and university faculty, and while still here, are more than happy to repay their patrons with private concerts.
Meanwhile, our concerts are presented in a building that is simply worn out, dated and dingy. We have one large hall, Mills Hall (below top) that seats over 700 people, too large for many concerts; and one smaller hall, Morphy Hall (below bottom) that seats about 150, too small for many concerts; and one hall (Eastman) that we don't use because of problems. We have furniture in the basement Strelow Lounge that I refuse to sit in because the upholstery is so dirty. We have windows that are streaked with grime and cannot be opened or cleaned. It is a distinctly uninviting building.
How do you think you can get the concerts, master classes, etc. at the UW to draw bigger and younger audiences?
Well, there are many things we can do, all of which I am confident would have a cumulative impact.
The most difficult but also the most helpful is a successful story pitch to traditional media outlets like newspapers, TV and radio. We had great crowds here for two concerts this spring that made it into traditional print media: The 40th anniversary of the Wisconsin Brass Quintet (below top, in a photo by Katrin Talbot) and oboist Marc Fink's farewell concert (below bottom). But media space has shrunk, and there's a lot of competition. So we need to market ourselves, first and foremost, using all the tools of new and old media.
That means more fully utilizing the venues already available, such as this blog and others like it that are happy to announce or discuss our events. We also are now more active in the area of social media, especially Facebook, and have gained a hundred new fans in just the last month.
Second, I am interested in forming new partnerships that would bring SOM performers into new spaces, place them in front of new audiences, and send concert announcements to new venues.
Some of my ideas are probably crazy, but you have to start somewhere.
–I'd love to see joint WYSO/UW concerts of some sort: perhaps preface a WYSO concert with a UW piano trio or jazz octet.
–I'd like UW ensembles to perform outside of the music building, especially in the new Wisconsin Institutes for Discovery (below)/Town Hall.
–I'd like to start an annual fall music concert that showcases the entire school, including recently written, more avant-garde works, jazz and vocalists.
–I'd like to partner with Wisconsin Public Television to tell a story about our school.
–I'd like to see the new music building include a family-friendly audience space, in the rear of the hall, with a one-way mirror and piped-in sound that would allow the children to watch a concert while being normal children: not always quiet! I've never heard of such a space in a concert hall, and we could make our mark here and bring lots of Dane County families in for free performances.
–I also would like the new music building to include a lighted marquee that announces the next night's concerts, just as we see in larger cities. Now that would attract some notice!
–I'd like our local radio stations to update listeners about concerts just as a friendly service, not as paid underwriting (because we can't afford it). Minnesota's public classical music station has a host, John Birge, who very kindly will mention upcoming local concerts just as a part of his between-music banter. That's part of how we as music lovers can support each other, just by being enthusiastic. (Below is a photo by James Gill of Wisconsin Public Radio host Anders Yocom in his studio.)
–We also can send concert announcements to school newsletters and music teachers, and emphasize the fact that 99% of ours are free.
–What ideas do you listeners have? I sure can't think of everything!
Is there anything else you would like to say or add?
Well, I'm only one person, so I can't say that I'll be able to pull all of this off. However, I do feel committed to UW, committed to music in general as it has done so much for me and my sons, and I enjoy a good challenge.


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So DHT is certainly a factor in the equation.
But here's the problem…The problem with this answer is it doesn't explain why some people have high DHT levels and still lose their hair. Take for example the actor Alec Baldwin. You can see he has the characteristics of high DHT levels — very thick body hair growth and thick facial hair, but he has never lost the hair on his head. DHT is what makes a man grow a beard. It also causes body hair growth. So if a man has thick facial and body hair, it's very likely he has high DHT levels — like Alec Baldwin.
So why do some people have high DHT but don't lose their hair?It's at this point most people say "hair loss is caused by DHT, but only affects people whose scalp hair follicles are sensitive to DHT". So you have to ask yourself, why are some people's hair follicles more sensitive to DHT? Because that's the real question isn't it? Technically, DHT alone cannot be the cause of hair loss. Yes there is a correlation between high DHT and high rates of hair loss, but it isn't necessarily a direct causal correlation. Why? Because some people have high DHT but don't lose their hair. So the question we have to ask is why do some men have hair follicles in their scalps that are more susceptible to the effects of DHT? If you understand this, you will understand what the true cause of male pattern hair loss is. There are several half decent theories on this, but here's my opinion:
Certain, very specific types of stress cause inflammation:According to one study, stress associated with social rejection can lead to inflammation.
Central to this social signal transduction theory of depression is the hypothesis that experiences of social threat and adversity up-regulate components of the immune system involved in inflammation. From Stress to Inflammation and Major Depressive Disorder: A Social Signal Transduction Theory of DepressionIt is widely believed by many hair loss researchers that the thing that kills off your hair, in the end, is fibrosis of the hair follicles. This is basically scarring caused by inflammation in the hair follicles. The hair follicles become destroyed by inflammation and scarring, which prevents them from growing.
The current model of AGA suggests that 'micro inflammation' in AGA might trigger apoptosis and perifollicular fibrosis which in turn causes hairs to miniaturize and shed. Dr Jeff DonovanMore from Donovan on micro-inflammation and follicular fibrosis:
Ramos in 2016 showed that inflammation is more common around miniaturizing hairs and this inflammation seems to be associated with a form of cell death known as apoptosis.Now, it's plausible that men with both high DHT and high-stress levels during their late teens and early twenties experience extremely high levels of micro-inflammation in their scalps, which leads to perifollicular fibrosis, which causes the familiar V shape receding hairline of male pattern hair loss. We also know that sub-cutaneous fat reduces in the scalp as men age — much more so in men than women. And this seems to correlate strongly with hair loss:
The thickness of the dermis, hypodermis and galea capitis of the scalp skin varied with gender and age of subject. The thickness of the epidermis, dermis and hypodermis in a balding subject was significantly decreased by comparison with those in a normal subject. (Hori H, Moretti G, Rebora A, Crovato F. The thickness of human scalp: normal and bald. J Invest Dermatol. 1972 June; 58(6):396-9)
The enhancement of subcutaneous fat in areas associated with increased hair growth is highly significant. Male pattern baldness is intimately associated with a dramatic reduction in the amount of subcutaneous fat associated with hair follicles that are nonproductive. Conversely, during periods of rapid hair growth in mammals, the subcutaneous fat content increase two-to-threefold. Subcutaneous Fat (good fat under the skin, stores energy) RegrowthIt's possible that this has a restrictive effect on blood circulation in the scalp. This may contribute to hair follicle miniaturization. Why do men lose the subcutaneous fat in their scalps, while women don't until they reach menopause? This could have evolved as a way for women to store a reserve of energy in the form of fat so they have extra energy in the event of pregnancy.
Women at some point in their lives may nourish a fetus and then a baby from their own reserves, so women have to stock energy in the form of fat in anticipation of future pregnancies Human KineticsMore info on subcutaneous fat and hair loss here. The clues seem to strongly point towards loss of subcutaneous fat being a cause of male pattern baldness. So much so that some hair loss experts believe this is the one true cause: In a PRS Open Journal paper, Dr. Emin Tuncay Ustuner cites the "force of downward pull caused by the gravity on the scalp skin" as the primary cause of male pattern baldness. Read more here. Ustener points out that loss of subcutaneous fat in the scalp would result in increased pressure at the top of the head but not the back and sides — which of course is where male pattern hair loss occurs — usually the hair on the back and sides of the scalp is not lost. However, it's possible that the correlation is not causal. It's tempting when a correlation is observed to conclude that its a causal correlation, but it might not be the case.
Androgen receptorsA study published in 1998 ascertained:
Balding cells contained significantly (P < 0.01) greater levels of androgen receptors (Bmax = 0.06 +/- 0.01 fmol/10(4) cells (mean +/- S.E.M.)) than those from non-balding scalp (0.04 +/- 0.001) Hibberts NA1, Howell AE, Randall VA.Now we're closer to understanding the true root cause of hair loss. The level of DHT in the scalp may not be as important as the number of androgen receptors in the hair follicles. Here we see another correlation: bald men have more androgen receptors in their scalp hair follicle. But what could cause this?


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My favorite times of the year are those transitionary periods between the more extreme climates of the year. What I enjoy the most is the range of styles you can leverage into your daily looks. Spring is that time where you can get away with sprinkling some winter gear into the steez. Fresh for Spring, I partner with Lindbergh to show you exactly how to do Spring in style.Read More
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Throughout my many style ventures I seem to have noticed a trend. In every single opportunity that I have taken in the vast world of men's style, it has connected me with some great people. Now this trend continues with The Dapper Night, Orlando Men's Style meetup. At this local meetup surrounding cigars, conversations, and various liquors served neat, I got to share that moment with like-minded enthusiasts, and meet even more remarkable people.Read More
Today, March 20, 2017, marked the end of Winter. The axial precession of this ball we call "home" floating in the abyss we call "The Universe" has completed yet another chapter of its book. It has shifted its perspective while continuing to ink the story of time. And much like the plot line of my favorite reality TV show, Black Ink Crew, it will raise the heat for this go around. So, let's look at some style elements that we can incorporate while clinging onto the dwindling colder days.Read More
"The Dapper Hour was a night of satisfaction. Satisfaction not only for your palette but for your inner steez and yearning for mutual fellowship." Well, we know how my palette and yearning for mutual fellowship was satisfied, so let's take a deep dive into how my steez was satisfied the night of The Dapper Hour.Read More
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Very much like my credit score, and frankly my post-college liver, turtlenecks have made a huge comeback in Winter 2017! This resurgence, it felt like a natural transition, you know? Because now you cannot go far without seeing a dapper gent wearing one for this winter season. Here's details on how and why you wear a turtleneck as soon as possible.Read More
It seems as though the only time I make dramatic style purchases it is directly the result of an upcoming trip and my inevitable unpreparedness. For this style feature it's no different and the scenario replays itself. A few days before a cabin trip in the mountains of Gatlinburg, Tennessee, I am running out to the mall and I score this seemingly Drake Views album cover-esque coat.Read More


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Situated above the banks of the Uaso Nyiro River, in the arid heart of Samburu land, SaSaab's tranquil setting offers views towards the Laikipia plateau and of Mount Kenya. The main area sits on a high rocky ridge allowing one to enjoy the spectacular views through the Moroccan interior and courtyard.
The swimming pool is perched on the hill side overlooking the river. Massage & beauty treatments are offered from the privacy of your tent.
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