The Overture Concert Organ Series opened on Oct. 2 with a performance by Madison Symphony Orchestra Principal Organist Greg Zelek and the University of Wisconsin-Madison Concert Choir, conducted by Director of Choral Studies Dr. Mariana Farah.
At 31, Zelek is an organ prodigy and has played all over the world. He is one of a handful of full-time symphony organists in the US and has the privilege of performing on the Overture Center’s own stunning, custom-made organ.
Opening in the great French tradition with Louis Vierne’s “Kyrie from Messe solennelle, Op. 16,” Zelek began playing a powerful organ passage and was soon joined by the choir in harmony. As Zelek and the choir held a long, drawn out note to close the song, they were met with roaring applause from the packed audience.
Before the next song, Farah took the stage to say a few words about the performance and her experience collaborating with Zelek. “So many things have excited me about this concert,” Farah said. She said performing with Zelek was “such a joy,” and the audience was “in for a treat.”
This is the first time the UW Concert Choir has been part of the Organ Season Series. Farah and the choir spent the days leading up to the concert practicing with Zelek, and if the performance may open the door to future collaborations and more opportunities for students.
One highlight from the performance was when Zelek took the stage alone to play a solo piece on the organ — Léon Boëllmann’s “Suite Gothique, Op. 25.” During the COVID-19 pandemic, Zelek played the piece over Zoom and decided to bring the arrangement back to give the audience an opportunity to hear it in-person.
Leaning toward the organ, Zelek’s hands bounced across the keys as his feet danced between the foot pedals, fingers hammering the notes until the final major chord.
Joining Zelek for the next song, the UW Concert Choir returned to the stage along with several other UW-Madison musicians to perform Ēriks Ešenvalds’ “Trinity Te Deum.” Written for Trinity College in Cambridge, England, Ešenvald added unique instrumentation such as trumpets, trombones, percussion and harp.
Opening with brass fanfare that created a sense of anticipation and hope, the musicians then shifted as all instruments worked in tandem. From soprano melodies to soft harp plucking to light trumpet bursts, the song moved to a dramatic fanfare that ended with a wave from Farah’s baton.
To close the performance, Zelek and the choir played a set of three Brazilian folk tunes. Both Zelek and the choir took the stage individually to perform Rufino Alfonso Jr. 's “Siriri” and Zelek’s own fun, spritely arrangement of Zequinha de Abreu’s “Tico-Tico no Fubá.” Alfonso Jr.‘s “Fui no Itororó,” which was commissioned by the UW-Madison Concert Choir, was the last song of the night. Filled with singing, clapping, maracas and infectious energy, the song was performed as a humorous call and answer between the choir and organ, ending with a crescendo to finish.
As Zelek and Farah took their bows, the audience erupted in applause and a standing ovation until the pair returned to the stage for the encore, “Amazing Grace.” Standing next to Zelek, who was seated at the organ, UW-Madison choir alto Rach Misner performed a deep, angelic solo to begin the traditional hymn. The song ended in a crescendo and sustained “amazing grace,” sending the audience into another round of applause and standing ovation.
