MEMETERIA

Icon

Arts writing by Thomas May

Music on the Strait 2026

Music on the Strait, the Port Angeles-based chamber music festival that brings leading musicians from around the country to the Olympic Peninsula near the end of each summer, launches its 2026 season on Saturday, August 22, at the Field Arts & Events Hall in Port Angeles, located right on the waterfront.

The festival runs August 22–30, with a total of four concerts, two each at Field Arts & Events Hall and Maier Hall. This year’s roster includes mezzo-soprano Abigail Nims, flutist Demarre McGill, pianist Jeremy Denk, the Takács Quartet, and composer-in-residence Gabriela Lena Frank, alongside MOTS co-founder and artistic director and violinist James Garlick and other returning artists.

The opening night concert, “A Night at the Opera,” marks MOTS’s first venture into the operatic world. Nims joins violinists Kristin Lee and Garlick, violist Maiya Papach, cellist Silver Ainomäe, and pianist August Baik for an adventurous program featuring Respighi’s rarely performed Il Tramonto and the world premiere of El Mundo by Gabriela Lena Frank. Baik plays Frederic Rzewski’s Winnsboro Cotton Mill Blues, from Four North American Ballads, and the musicians will join together at the conclusion for Ernő Dohnányi’s Piano Quintet No. 1 in C minor.

The concert begins at 7:00pm PT on Saturday, August 22. Those attending in person can arrive early for Olympic Strings students at 5:45pm and a pre-concert talk by Lisa Bergman at 6:15pm Music on the Strait is also offering pay-what-makes-you-happy tickets starting at $5.

The concert will also be livestreamed free of charge for those who can’t make it to Port Angeles.

OPENING-NIGHT PROGRAM

Come early for food, drink, and pre-concert programming in the Sunset Lounge

5:45pm – Olympic Strings students

6:15pm – Lisa Bergman pre-concert talk

7:00pm concert:

Ottorino Respighi | Il Tramonto for mezzo soprano and string quartet (1914)
Frederic Rzewski | Winnsboro Cotton Mill Blues from Four North American Ballads for Piano (1979)
Gabriela Lena Frank | El Mundo for mezzo soprano and string quartet (World Premiere)
Erno Dohnanyi | Piano Quintet No 1 in C minor, Op 1 (1902)

Abigail Nims, mezzo-soprano
Kristin Lee, violin
James Garlick, violin
Maiya Papach, viola
Silver Ainomäe, cello
August Baik, piano

Sunday afternoon, August 23, at 3:00pm, MOTS continues with a concert at Maier Hall featuring this progam:

Wolfgang Amadeus Mozart | Flute Quartet in D Major, K 285 (1777)
Ernest Bloch | Violin Sonata No.2, B.58 “Poeme Mystique” (1924)           
Antonin Dvořák | Viola Quintet in F major, Op 97 “American” (1893)

Demarre McGill, flute
Kristin Lee, violin
James Garlick, violin
Maiya Papach, viola
Rebecca Albers, viola
Silver Ainomäe, cello

The Maier Hall performance is now sold out, but there is a wait list here.

The second weekend (August 29-30) features a sold-out special evening with the Takács Quartet at Maier Hall on Saturday August 29 at 7:00pm:

Ludwig Van Beethoven | String Quartet in B-flat, Op 18 No 6 (1801)    
Felix Mendelssohn | String Quartet in F minor, Op 80 (1847)
Franz Schubert  | String Quartet No. 14 in D Minor, D.810, “Death and the Maiden” (1824)

The festival finale takes place at Field Arts & Events Hall on Sunday August 30 at 3:00pm and features special guest Jeremy Denk joining the Takács Quartet

Gabriela Lena Frank | Quijotadas (2007)*
Ludwig Van Beethoven | Piano Sonata in D minor, Op 31 No 2 “The Tempest” (1802)
César Franck | Piano Quintet in F minor (1879)

Details, tickets, and the free livestream are available through Music on the Strait.

Filed under: chamber music, music news, Music on the Strait, new music, , , ,

A Less-Familiar ‘Madama Butterfly’ at Santa Fe Opera

Jarrett Ott (Sharpless), Karen Chia-ling Ho (Cio-Cio-San), Stephen Costello (Pinkerton) and ensemble; © Bronwen Sharp for the Santa Fe Opera

Here’s the fifth of my individual reviews of the 2026 Santa Fe Opera season, covering all five productions this year:

Madama Butterfly did not spring fully formed into the world as the repertory staple we know today. Bachtrack’s 2024 statistics ranked it the third most performed opera, yet Puccini’s convoluted revision history means that even this most familiar of works survives in markedly different forms. Musical and dramatic details, character relationships and even aspects of Cio-Cio-San herself changed across those revisions, until the 1907 Paris version emerged as the standard…

continue

Filed under: conductors, Puccini, review, Santa Fe Opera

Portrait of an Artist, Evolving: ‘Lili Elbe’ at Santa Fe Opera

Lucia Lucas (Lili Elbe), The Santa Fe Opera Chorus, by Bronwen Sharp for the Santa Fe Opera

My review of Tobias Picker’s Lili Elbe, which is receiving its American premiere this summer at Santa Fe Opera, is now up at Musical America Worldwide. Picker’s opera, with a libretto by Aryeh Lev Stollman, tells the story of the Danish painter Lili Elbe, one of the first people known to have undergone gender-affirming surgery, while placing her relationship with the artist Gerda Wegener at the heart of the drama.

continue

Filed under: American opera, new opera, review, Santa Fe Opera, Tobias Picker

‘Rodelinda’ at Santa Fe Opera

Rodelinda at Santa Fe Opera (Photo: Bronwen Sharp)

Another highlight of my week at Santa Fe Opera: the R.B. Schlather production of Handel’s Rodelinda, featuring a fantastic cast and led brilliantly by Harry Bicket. My review for Opera Now:

R.B. Schlather’s first-rate Santa Fe Opera production of Handel’s Rodelinda makes the opera’s imposing succession of da capo arias feel anything but static. The political ground keeps moving beneath the characters, while Rodelinda’s devotion to Bertarido remains fixed –Fidelio is just around the corner. Schlather treats the arias as windows into each character’s private world, filling them with telling gestures and reactions while simultaneously often keeping other characters active.

continue

Filed under: Handel, Opera Now, review, Santa Fe Opera

Olga Kulchynska Anchors a Dream-Haunted Eugene Onegin in Santa Fe

Olga Kulchynska (Tatyana); © Bronwen Sharp for Santa Fe Opera

Another of my reviews of the 2026 Santa Fe Opera season has been posted on Bachtrack – some thoughts on the Alessandro Talevi production of Eugene Onegin:

Olga Kulchynska made Tatyana the emotional center of Santa Fe Opera’s Eugene Onegin. She established Tatyana’s vulnerability from her first appearance, singing with a secure, expressive soprano and finely responsive phrasing. In the Letter Scene, her initial tentativeness gradually opened into growing confidence and daring, making Onegin’s subsequent rejection all the more crushing….

continue

Filed under: directors, Puccini, Santa Fe Opera, Tchaikovsky

‘The Magic Flute’ Re-enchanted

Santa Fe Opera’s joyous new production of Mozart’s beloved opera restores its sense of wonder and sheer fun. My review for Opera Now:

Being so familiar and beloved makes The Magic Flute unusually difficult to encounter free of the clichés and received ideas that have accumulated around it. The real magic of Christopher Luscombe’s new production at Santa Fe Opera lies in how effectively it recovers what makes the opera special in the first place. 

continue

Filed under: directors, Mozart, review, Santa Fe Opera

“We are all siblings”: Tobias Picker on bringing Lili Elbe to the American stage

Lucia Lucas as Lili Elbe at the world premiere of the opera in 2023 at Theater St Gallen (Photo: Edyta Dufaj)

For Opera Now, I wrote a preview feature on Tobias Picker’s Lili Elbe at Santa Fe Opera, where the opera receives its North American premiere in August. I spoke with the composer and with Lucia Lucas, the American-born, Germany-based trans baritone for whom the title role was written, about the opera’s love story, its historical subject, and its journey to the American stage.

more

Filed under: new opera, Santa Fe Opera, Tobias Picker

A Fresh ‘Appalachian Spring’ Closes Seattle Chamber Music Society’s Summer Party

James Ehnes and colleagues in Appalachian Spring; photo © Jena Poppe

And thus ends what Seattle Chamber Music Society bills as “the world’s largest chamber music party” – some thoughts for Bachtrack on the final concert of the 2026 Summer Festival:

The final concert of Seattle Chamber Music Society’s 2026 Summer Festival capped an unusually eventful stretch. Owing to summer renovations at Benaroya Hall, its usual venue, the organisation found a number of alternate spaces to perform in, while also expanding its reach through free events in parks and other public spaces across the region…


continue

Filed under: Aaron Copland, James Ehnes, review, Seattle Chamber Music Society, Shostakovich, Shostakovich chamber music

‘A cellist who is essentially a one-man band’: Jessie Montgomery on writing for Abel Selaocoe

Jessie Montgomery and Abel Selaocoe at the North American premiere with the Toronto Symphony; photo: Allan Cabral, courtesy of the Toronto Symphony Orchestra

I had a chance to do a Strad interview Jessie Montgomery about her new cello concerto These Righteous Paths – a work shaped by Abel Selaocoe’s multifaceted artistry and rooted in the poetry of her late mother, Robbie McCauley.

American composer Jessie Montgomery’s These Righteous Paths enters the world with the momentum of a major international concerto. Written for the South African cellist Abel Selaocoe and created in close collaboration with him, the work has had an unusually broad launch…
continue

Filed under: cellists, Jessie Montgomery, The Strad

Sound For Sore Ears: Ravinia Festival Pavilion Gets A Major Makeover

Pop star and classically trained flutist Lizzo teamed in an arrangement of the “Flower Duet” from Delibes’ ‘Lakmé‘ with flutist Kaylee Johnson, a six-year member of Sistema Ravinia.

My report for Classical Voice North America on opening weekend of Ravinia Festival 2026, as Marin Alsop and the Chicago Symphony Orchestra put the rebuilt Hunter Pavilion through its first major test:

HIGHLAND PARK, Ill. – The birds made themselves at home during the Chicago Symphony Orchestra’s opening concert of its 90th summer season at the Ravinia Festival on July 11. Led by chief conductor Marin Alsop, the performance also officially inaugurated the festival’s renovated pavilion…

continue

Filed under: Chicago Symphony, Classical Voice North America, Marin Alsop, music news, Richard Strauss

Archive

Enter your email address to follow this blog and receive notifications of new posts by email.