Chas Adams

Total Post: 57

CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.

Saint Louis Dance Theatre’s (RE)BUILD Captivates with an Emotional Journey in Four Parts

Saint Louis Dance Theatre’s (RE)BUILD Captivates with an Emotional Journey in Four Parts

By CB Adams

With winter waning and March’s “in like a lion, out lamb” (or its inverse) in mind, thoughts turn to what spirit animal could best represent the experience of Saint Louis Dance Theatre’s (RE)BUILD, February 27-March 2?

To represent the excellence created and curated by the company’s artistic director, Kirven Douthit-Boyd, the butterfly is an apt spirit animal because it is associated with sensitivity and transformation, as well as lightness and freedom associated with playfulness. The  delicate and whimsical nature aligns with an artistic, fluid spirit that embraces change with joy and beauty—expressed individually in the four pieces presented as well as the collective narrative told across the performances.

A group of butterflies is called a kaleidoscope that is an apt description of the Program B (one of four in the series of performances) on March 1: “Unfold” by Robert Battle, “Good Grief” by Jamar Roberts, “For Love’s Sake” by Douthit-Boyd and “Sechs Tӓnze” by Jiří Kylián.

Serving almost the same role of a symphony or opera overture, Battle’s 10-mnute “Unfold” (2007) set the early tone for the performance. “Unfold” is a powerful and evocative contemporary dance duet that explores the complexity of a romantic relationship. The work is set to Leontyne Price’s emotional rendition of “Depuis le jour” from Charpentier’s opera “Louise,” enhancing the emotional intensity of the piece.

The duet follows the journey of two individuals navigating a deep, poignant connection. Lily Cong, in her performance, stood out with a remarkable display of flexibility and control, particularly in her extreme backbends, which added a layer of vulnerability to her character. Her graceful, arching movements created a visual contrast to her partner, Keenan Fletcher, who portrayed a man lost in his memories, clinging, perhaps, to a past love.

Fletcher’s performance complemented Cong’s with a sense of longing and melancholy, as his slow, deliberate movements evoked the feeling of someone caught between holding on and letting go. One striking moment came when Cong, in a slow développé, lifted her toes to the sky in perfect synchronicity with Price’s high note. This moment of convergence highlighted the delicate connection between the dancers, and Battle’s careful choreography avoids overstating the emotional resonance.

Next was “Good Grief” by choreographer Roberts, recognized for his tenure with the Alvin Ailey American Dance Theater and described in “Dance Magazine” as “a choreographic voice of uncommon force and originality.” Roberts is known for skillfully incorporating jazz elements into his choreography, blending them with modern dance to create emotionally resonant performances.

“Good Grief” is set against a rich and diverse musical landscape, featuring the evocative music of Oded Tzur, Petros Klampanis and Nitai Hershkovits. One of the recurring strengths of Saint Louis Dance Theatre is the superb and noteworthy music choices. Numerous songs and compositions have made their way from the program notes to my personal playlists and never fail to stand alone as well as conjure the vibe of the dances with which they are paired.

The music of “Good Grief” is no exception, featuring “Tzurkauns,” “Miniature 3,” “Miniature 1” and “Miniature 2” from the album “Here Be Dragons” by Oded Tzur, an Israeli tenor saxophonist who integrates Indian classical music with jazz. Tzur uses microtonal techniques and fluid transitions to craft introspective, storytelling compositions. His phrasing often—and pleasingly—resembles that of a flutist—not surprising because he studied Hindustani classical music with Bansuri flute master Pandit Hariprasad Chaurasia.

The piece also included “Single Mother,” performed by Tzur, joined by  Petros Klampanis, a Greek bassist and composer, and Nitai Hershkovits, an Israeli pianist. Their music blends jazz, classical and world influences, creating a deeply emotional and resonant soundscape that enhances the choreography’s themes of sorrow, resilience and transformation. Klampanis infuses his jazz foundation with Mediterranean and Balkan folk elements, creating intricate, melodic arrangements rich in texture and rhythm. Hershkovits brings a dynamic and versatile touch, blending jazz, ambient, fusion and funk with technical precision and emotional depth.

The ensemble of Saint Louis Dance Theatre dancers for “Good Grief” featured Angel Khaytyan, Demetrius Lee, Jada Vaughan, Spencer Everett, Jessie Yero, AJ Joehl, Megan Rancour, Madalyn Bailey, Sergio Camacho and Will Brighton. Together, the dance’s flowing narrative—delivered in a seamless, almost hypnotic progress of group and solo scenes—is a deeply expressive journey, guiding the movement with waves of reflection, tension and catharsis.

“For Love’s Sake,” choreographed by Douthit-Boyd is a contemporary dance piece that premiered during the (RE)CLAIM: concert in fall 2024. This work is a profound exploration of love as a form of resistance, highlighting the transformative power of human connection amidst adversity. Through a blend of movement, music and visual storytelling, the piece delves into themes of intimacy, vulnerability and the enduring strength found in unity.

Douthit-Boyd’s choreography masterfully combines fluid, expressive movements with moments of intensity and stillness, reflecting the complexities of love in its various forms—romantic, platonic and communal. Dancers for the March 1 performance were Fletcher, Lee Nyna Moore, Khaytyan, Joehl, Brighton, Cong and Rancour. They vividly portrayed the struggle, resilience and ultimate triumph of human connection, delivering a poignant and immersive experience.

Another key element of “For Love’s Sake” is its carefully curated soundscape, featuring samples from a diverse array of artists, including Imani Uzuri, Zero 7, Heather Clark and Mark Isham. This eclectic mix of soul, electronica, ambient and cinematic sounds enriches the piece, providing a textured auditory backdrop that enhances the emotional impact of the performance. The piece also draws inspiration from Hum, a sound work by Montreal-based artist Hajra Waheed, known for its layered voices and meditative sonic textures.

These influences are intricately woven into the dance, evoking a sense of longing, resilience and solidarity. Having experienced this piece multiple times since its premiere, I can state confidently and accurately that, by integrating these musical and conceptual elements, Douthit-Boyd has created a multidimensional experience by creating a space of reflection and emotional engagement. In a world often divided by struggle and discord, the piece serves as a powerful reminder that love, in all its forms, remains a revolutionary force.

(RE)BUILD concluded with a delightful shift in tone delivered by Kylián’s witty “Sechs Tänze,” a 1986 piece set to Mozart’s lively and humorous “Six German Dances” (KV 571). The piece was a company premiere and marked the first time that a work by Kylián has been performed in St. Louis.

Kylián, born in Prague in 1947, is a renowned contemporary dance choreographer known for his innovative and expressive works. The artistic director of Nederlands Dans Theater since 1976, his choreography often requires dancers to possess a high level of technical precision and emotional depth. His works blend minimalist movements with moments of intense emotional release, challenging dancers to explore new ways of expressing themselves physically.

To the company’s credit and growing reputation and credibility within the dance world, Shirley Esseboom, a ballet master for Kylián Productions, was in St. Louis to work  with Saint Louis Dance Theatre’s dancers—Fletcher, Camacho, Khaytyan, Lee, Jessie Yero, Molly Rapp, Cong, Arpège Lundyn, Brighton, Isaiah Valentin, Spencer Everett, Vaughan and Joehl. The company dancers proved—one in all—that they were adept at both classical and contemporary techniques and capable of executing Kylián’s complex movements while conveying deep emotional narratives.

“Sechs Tänze” subtly explores deeper themes about life and performance and features eccentric, whimsical movements, alternating between joyful group dances and sudden pauses. This blend of absurdity and stillness kept the audience engaged and laughing, perfectly complementing Mozart’s playful music. The unpredictable nature of the performance, with its physical comedy and unexpected juxtapositions, created a fun and infectious atmosphere.

“Sechs Tänze,” performance should be essential viewing for anyone who perceives modern dance as enigmatic or exclusive. While the piece exudes a playful atmosphere, it also subtly echoed the entire program’s theme of life’s absurdity, a thread that connected all three works in the program. It was a fitting conclusion to a program that consistently returned to the themes of life’s brevity, beauty, impermanence and complexity.

Saint Louis Dance Theatre’s (RE)BUILD was performed at the Catherin B. Berges Theatre at the  Center of Contemporary Arts (COCA’s) February 27 through March 2.

All photos by Pratt and Kreidich

Winter Opera’s ‘Magic Flute’ Delivers Elegance, Humor and Timeless Charm

Winter Opera’s ‘Magic Flute’ Delivers Elegance, Humor and Timeless Charm

By CB Adams

Mozart’s “The Magic Flute” balances fairy-tale whimsy with deeper allegory, and Winter Opera’s production embraces that duality with refreshing sincerity. Without gimmicks, forced interpretations or distracting modern flourishes, it trusts the material, the creative team and the performers to deliver warmth, humor and a thoroughly satisfying experience. It’s just Mozart’s music and Emmanuel Schikaneder’s libretto—presented with clarity and respect.

The story unfolds in a mythical realm where beasts lurk, magic reigns and two young lovers—Prince Tamino and Princess Pamina—are ensnared in a cosmic struggle between the vengeful Queen of the Night and Sarastro, the High Priest of the Sun.

Schikaneder’s libretto is layered with the unmistakable symbolism of Freemasonry (and not a small amount of mumbo jumbo). Winter Opera’s production, however, softens the esoteric elements. Although sung in the original German, the dialogue is delivered in English (including some modern vernacular) making for a more accessible production.

Winter Opera assembled a fine cast that balances local vocal prowess and theatrical charm. Tenor Alexander Scheuermann embodies Tamino with the kind of heroic presence that makes the role (and his voice) soar. As Papageno, bass-baritone Steve Valenzuela balances comedy and warmth, never overplaying his good-natured buffoonery.

Leeann Schuering, Steve Valenzuela. Photo by Peter Wochniak.

Soprano Maggie Kinabrew delivers a formidable Queen of the Night, her coloratura razor-sharp, slicing through the air with precision in her Act II aria. Bass Bert Johnson’s Sarastro exudes gravity, his deep obsidian tones lending the character an air of tangible authority.

Elena Galván’s Pamina is as spirited as she is sweet-voiced. Her performance delivers dramatic depth and vocal elegance. Leann Schuering charms as Papagena and baritone Joel Rogier lends a commanding presence as the Spokesman of the Temple.

Marc Schapman’s Monostatos, though lecherous in intent, plays more as comic relief—his comedic timing enhancing rather than detracting from his vocal performance.

The supporting cast is equally well-assembled. Karen Kanakis, Brittany Moleski and Emily Moore—playing the Queen’s Three Ladies—are visually striking in jewel-toned costumes, each creating her own distinct character.

The Three Spirits, performed by Anna Edwards, Chloe Haynes and Calista Goldwasser, bring a graceful presence to their ethereal roles.

Rounding out the fine casting is the chorus. Even two guards enjoy a satisfying, if small, moment in the second act—exemplifying the overall quality of the production. Under Mark Ferrell’s light baton, the small orchestra delivers a full and at times powerful performance of Mozart’s beautiful score. The extended overture was one of the many enjoyable moments in this production.

Maggie Kinabrew, Elena Galvan. Photo by Peter Wochniak.

Jen Blum-Tatara’s 18th century-inspired costumes are as period-appropriate as they are, at times, opulent. Scott Loebl’s minimal-but-evocative set design provides just the right amount of atmosphere without calling too much attention to itself. Loebl’s set and Michael Sullivan’s lighting design deliver another of this production’s best moments.

Late in the second act, Tamino plays his flute and he and Pamina pass through fire and water. To convey their journey, they pass behind a patterned screen (red for fire and blue for water) in a shadow play that stretches the width of the stage. The approach works well for this turning point in the opera.

“The Magic Flute” is a fitting end to Winter Opera’s 24-25 season (their 18th) and sets a good precedent for next season.

Karen Kanakiss Emily Moleski, Alex Scheuermann; and Steve Valenzuela. Photo by Peter Wochniak.

Winter Opera’s “The Magic Flute” was presented at Kirkwood Community Center Feb. 28 through March 2.

Opera Theatre of Saint Louis’ 2025 New Works Collective: Innovation, Inclusion, and the Future of Opera

Opera Theatre of Saint Louis’ 2025 New Works Collective: Innovation, Inclusion, and the Future of Opera

By CB Adams

To discuss Opera Theatre of Saint Louis’ New Works Collective in 2025 is to engage with a program that is, at once, an artistic initiative, a social experiment and a statement of intent.

The project, now in its third year, represents a quiet but deliberate recalibration of the operatic landscape, a gesture toward a more inclusive and participatory model of commissioning and production.

If Peter Gelb, General Manager of the Metropolitan Opera, is correct in asserting that “the future of opera lies in the creation of new works that speak to contemporary audiences,” then OTSL’s New Works Collective is both a response and a challenge to that claim. The initiative does more than merely generate new operas because it also interrogates the mechanisms by which they come into being.

The Collective’s methodology is notable: rather than relying on the insular world of opera professionals to dictate artistic output, it assembles a committee of St. Louis-based artists, advocates and local leaders to guide its commissions. The result is an inherently communal aesthetic, one that seeks to reflect the multiplicity of voices within its reach.

Black Coffee, with Taylor-Alexis DuPont and Paul Chwe Minchul An). Photo by Philip Hamer.

The productions have explored a diverse array of themes and settings, including explorations of female empowerment, free speech, Black queer joy, and neurodiversity. 

This year’s cohort—three short operas bound by the thematic thread of parent-child relationships—extends the program’s tradition of eclecticism and social engagement.

The evening opened with Black Coffee, a collaboration between librettist Alicia Revé Like. At its core, the opera is a meditation on displacement and belonging, following Makena, a young woman newly arrived in St. Louis, as she navigates the nebulous terrain of community and self-definition. Taylor-Alexis DuPont’s portrayal of Makena was imbued with a light, airy lyricism that lent warmth to the character’s uncertainties.

The supporting cast, including Martin Luther Clark as Makena’s father and Emilie Kealani in dual roles as Blake and Allegra, demonstrated impressive versatility, particularly in a score that demanded an interplay of humor and poignancy. Concert Black’s music, characterized by its understated charm, was complemented by a nimble use of projections, evoking the shifting spaces of bookstores and cafés with a disarming sense of whimsy.

Makena ITaylor-Alexis DuPont) meets Allegra (Emilee Kealani) in ‘Black Coffee.” Philip Hamer photo.

The second opera, Family Style, offered a tonal shift. Librettist Melisa Tien and composer Meilina Tsui construct a world in which familial duty and personal aspiration collide with an almost operatic inevitability.

Mia, played with luminous sensitivity by Emilie Kealani, finds herself at an impasse: her father, Ping (Paul Chwe Minchul An), dreams of opening a Taiwanese restaurant, while she wrestles with the financial and emotional weight of her own ambitions.

Tsui’s score, laced with Chinese tonalities and instrumentation, shaped the opera’s emotional contours with an evocative depth.

A moment of levity—an exuberant ode to broccoli, featuring dancing vegetable stalks—was an unexpected delight, evidence of the production’s ability to balance gravity with playfulness. The chemistry between Kealani and An was particularly affecting, their voices intertwining in moments of shared longing and resignation.

Family-Style. Photo by Philip Hamer.

The evening concluded with Kandake, perhaps the most traditionally operatic of the three in scope and subject matter. Written by librettist Jarrod Lee and composer Tim Amukele, Kandake recounts the true story of Amanirenas, the warrior queen of Kush who defied the Roman Empire. Cierra Byrd, in the title role, delivered a performance of striking authority, her rich, full-bodied voice channeling both the grandeur and vulnerability of Amanirenas.

The opera’s climactic moment—a visual and musical spectacle in which Amanirenas, clad in Angelique Newbauer’s resplendent gold costume, ascends to her final triumph amidst a cascade of shimmering confetti—was among the evening’s most indelible images. If any of the works on offer seemed poised for expansion into full-length form, Kandake was the clear candidate, its narrative ambition and dramatic breadth demanding a longer canvas.

Kandake. Photo by Philip Hamer.

Under the assured musical direction of Darwin Aquino and the deft staging of Richard Gammon, the 2025 New Works Collective was executed with a coherence that belied its tripartite structure.

Yuki Izumihara’s scenic and projection designs, Newbauer’s costumes, Kaitlyn Breen’s lighting, Brandon Fink’s choreography, and Kelley Jordan’s wig and makeup design all contributed to a production that felt polished and deeply considered.

Three years into its existence, the New Works Collective has carved out a space that is at once generative and disruptive, honoring opera’s traditions while challenging its insular tendencies. It has become a platform not only for emerging composers and librettists but for an evolving vision of what opera can and should be.

Whether it continues beyond this cycle remains to be seen, but if the 2025 performances are any indication, the project is far from exhausted. One can only hope for its continuation, as a program and as a provocation to the wider operatic world: who gets to create opera, and for whom is it created?

Kandake. Photo by Philip Hamer.

Bach Society of St. Louis’ Christmas Candlelight Concert Delivers a Sublime Holiday Experience

Bach Society of St. Louis’ Christmas Candlelight Concert Delivers a Sublime Holiday Experience

By CB Adams

There’s a reason that “BBC Magazine” named the Bach Society of St. Louis’ Christmas Candlelight Concert as one of their top-20 live holiday events in North America and why I named it one of the top-five 2024 recommendations for my STL Stage Snaps Recommends.

In contrast to all the hustle and bustle and jingle and jangle of holiday entertainment options, the Candlelight Concert stands out as a sublime respite, a reminder of the powerful analogue combination of human voices singing songs with rich depth and emotion, accompanied by a talented orchestra.

It is not hyperbole to call the Candlelight Concert a St. Louis holiday tradition. It has secured its place since 1951 with a Christmas event distinguished by fine musicianship and an intelligent, well-curated program of music old and new, familiar and should-be-familiar. With a sell-out on its second performance and nary an empty seat in the first, it’s proof positive that there’s interest and support for concerts filled with something more substantial than the sugar rush of holiday pop tunes (no shade on Mariah Carey, but she’s not all I want for Christmas).

There were approximately 90 singers and orchestra musicians filling the stage of the beautiful 560 Music Center in University City. As they do every year, the chorus surrounds a venue, electric candles in hand, and processes to the stage singing (this year) “Come, Thou Long-Expected Jesus.” This is a simple and effective way to begin this immersive performance – immersive without stagecraft, special effects or amplification – and is a hallmark of the annual performance that balances contemplative and celebratory music.  

Guest soloist Josefien Stoppelenburg, Photo by ProPhotoSTL.

A highlight and the centerpiece of this year’s program was Antonio Vivaldi’s “Gloria in Excelsis Deo,” one of his most celebrated sacred works. A. Dennis Sparger conducted the orchestra and elicited from the orchestra the 28 minutes of exuberance and lyrical beauty in this Baroque classic’s 12 movements.

Renowned for its dynamic contrasts, rich harmonies and virtuosic demands, Vivaldi’s “Gloria” is rightly celebrated for its evocation of celestial majesty and human devotion – and Bach Society’s choir and orchestra delivered it with excellence.

The piece featured the talents of two soloists: Josefien Stoppelenburg, soprano, and Kate Tombaugh, mezzo-soprano. Their performances individually and together were remarkable for their seamless interplay of virtuosic precision and expressive phrasing that captured the joy and devotional intensity of the piece, even if sometimes overwhelmed by the orchestra.

The highlights were Stoppelenburg’s radiant solo in the lyrical “Domine Deus,” a tender dialogue between voice and oboe (beautifully performed by Eileen Burke) and Tombaugh’s solo in “Domine Deus, Agnus Dei.” Tomabaugh delivered with nuance and passion the rich alto line set against a somber backdrop of strings. The two soloists were well-paired for the effervescent “Laudamus te” duet that brimmed with agility and charm.

Guest soloist Kate Tombaugh. Photo by ProPhotoSTL.

After an audience sing-along of “Joy to the World,” (no review necessary), the second “half” of the program of approximately 90 minutes comprised a world-tour with eight carols from Ireland, England, Italy, Ukraine, Poland and Wales. This portion began with the delightful “Noel!” from Karen Marrolli’s “Light of Peace” album. The choir, backed with a rich orchestration, delivered a joyful, uplifting rendition with an elegant, spirited blend of classical and contemporary influences.

Also noteworthy was the arrangement by Elaine Hagenberg of the well-worn “Wexford Carol.” Hagenberg beautifully reimagined this traditional Irish carol with lush harmonies, sensitive orchestration and intricate counterpoint. The choir’s performance provided a serene, reflective quality to the piece, capturing its historical roots and timeless beauty.

For “Gesu Bambino,” Tombaugh and Stoppelenburg retook the stage to perform Pietro Yon’s arrangement. His lush and expressive setting showcases the Italian carol’s emotive melody, and the singers fully captured his lyrical choral writing with an authentic reverence and celebration of the nativity.

Conductor Sparger introduced the pairing of David Mooney’s “Dublin Bells Carol” with the better-known “Carol of the Bells” by Mykola Leontovich. Sparger described how, on Christmas Eve, all the bells of Dublin’s more than 200 churches and two cathedrals ring out. Mooney was inspired by the sounds of 36 of those bells to create his lively, captivating “Dublin Bells Carol” that blends Irish folk influences with traditional Christmas themes. The choir was up to the challenge of creating the sounds of the rhythmic and vibrant melody.

Photo by ProPhotoSTL.

The orchestra then segued seamlessly into Peter Wilhousky’s arrangement of “Carol of the Bells.” Wilhousky’s dynamic and exhilarating setting intensifies the original Ukrainian carol with rapid, cascading choral phrases and vibrant harmonies.

The Bach Society’s Candlelight Christmas performance shares a similar sense of reverence and holiday spirit with the renowned Christmas at King’s College. Both offer a captivating evening of choral excellence and festive beauty. Both performances showcase stunning vocal harmonies and intricate orchestration, evoking a sense of peace and joy that resonates deeply. And both are – or should be – cherished holiday traditions.

The Bach Society of St. Louis Christmas Candlelight Concert was performed on December 18-19 at 560 Music Center.

Sold–out audience at the Bach Society of St. Louis’ Candlelight Christmas Concert. Photo by ProPhotoSTL.

IN UNISON Christmas Delivers Gift-Within-Gift Holiday Magic with SLSO, Take 6 and Inspired Performances

IN UNISON Christmas Delivers Gift-Within-Gift Holiday Magic with SLSO, Take 6 and Inspired Performances

By CB Adams

If you’ve ever eagerly unwrapped a gift and found it filled with many other wrapped gifts, that’s the sort of Matryoshka doll experience delivered by the St. Louis Symphony Orchestra’s IN UNISON Chorus, which celebrated its 30th anniversary on Dec.13 with a sold-out performance at Stifel Theatre.

The gift-within-gift was witnessed by an audience of more than 3,000 who received a night of festive music that featured the SLSO, the IN UNISON Chorus and Grammy-winning vocal group Take 6.

The concert program showcased the chorus’s unique connection to St. Louis’s Black church community and spotlighted the unique synergy between the orchestra and the IN UNISON Chorus (always worthy of its all-cap moniker). The show highlighted – as it always does – a well-curated program of traditional holiday classics and innovative interpretations and arrangements that collectively reflect the chorus’s deep roots in gospel and spiritual music.

While Take 6 was no doubt the big-name draw for this year’s program, the absolutely most heartfelt, soul-stirring and roof-blowing performances were delivered by the chorus’ own Mary Moorehead and De-Rance Blaylock. Everything else, although excellent, was bonus in comparison.

IN UNISON Chorus member Moorehead delivered a standout, heartfelt performance of Norman Hutchins’ “Emmanuel,” richly arranged by Loehrs. Alto Moorehead’s powerful, nuanced voice commanded the arrangements layered harmonies and soaring modulations with a grounding rhythmic pulse.

Her soulful performance, paired with the arrangement’s dynamic shifts and luminous crescendos, delivered profound emotional depth to this classic, capturing the power and intimacy of its message. Her moving rendition was exceptional for its emotional authenticity and reverent energy.

During the second half of the program, IN UNISON Chorus member Blaylock belted out a stunning performance of Walter Hawkins’ “Thank You,” a gospel masterpiece that expresses profound gratitude for divine grace, blending heartfelt lyrics with a lush, uplifting arrangement. As arranged by Cymbalta, this version introduces dynamic shifts and intricate vocal layering to enhance the song’s emotional resonance and spiritual fervor.

This song and arrangement exemplified why the IN UNISON Christmas concert perennially stands prominently in the St. Louis calendar of holiday entertainment. It’s always noteworthy for the performance as well as the curation of the richly varied program by conductor and chorus director Kevin McBeth and the SLSO’s artistic team, especially the inclusion of lesser known compositions, especially for those not immersed in the world of gospel and spiritual.

Backed by the chorus, alto Blaylock truly earned the tag showstopper with her performance of “Thank You.” Blaylock’s intense performance soared effortlessly above the choir’s richly textured harmonies and the arrangement’s dramatic crescendos. That combination created a powerful blend of intimacy and exaltation.

Also impressive was the wide range of ways she projected the two words – thank you – to deliver new and expanding meaning to the song’s message. Blaylock’s performance was so emotional, moving and powerful that it earned its own well-deserved (one-verse) encore.

The concert opened with an orchestral rendition of “Joy to the World,” which set a jubilant tone, then the chorus joined for Dan Forrest’s “Gloria in Excelsis” from “LUX: The Dawn from On High.” This song was a dazzling choral and orchestral celebration of light and divine glory, and indicated the level of performance promised by the rest of the program.

Among the pleasing mix of works, the program reprised a crowd favorite – Handel’s “Hallelujah” chorus, a song composed for Easter celebrations that has nonetheless elbowed its way in the Christmas repertoire. This program delivered the Warren/Jackson/Kibble/Hey/Chinn arrangement made famous in the Grammy-winning 1992 album “Handel’s Messiah: A Soulful Celebration.” McBeth paid tribute the producer of that album – Quincy Jones.

McBeth introduced Take 6 as “those jazzers” and announced this was the fourth time the group had collaborated with IN UNISON. Midway through the first half, the a cappella group jingled, jangled and jazzed their way through Christmas favorites, including a swing version of “Do You Hear What I Hear” in their defining style.

As the master showmen that they are, Take 6 could have carried an entire show all by themselves, yet they wove their songs into the program as seamlessly and tightly as their harmonies. The group returned in the second half to light up the final segment of the concert. Their humorous take on Tchaikovsky’s “Dance of the Sugar Plum Fairy,” which they titled “Sugar Plum Dance,” was a tasty aural treat with inventive vocal mimicry of orchestral instruments.

A Celebration of Tradition and Innovation

This year’s IN UNISON Christmas concert was a powerful reminder of the chorus’s enduring impact over three decades. Founded in 1994, the SLSO’s IN UNISON Chorus brings together talented volunteer singers from more than 30 local Black churches. Since then, it has become a vital cultural institution, blending community traditions with musical excellence. This year’s IN UNISON Christmas concert honored its enduring legacy with a joyous celebration of faith, collaboration and the transformative power of music.

The SLSO IN UNISON Christmas concert was performed at Stifel Theatre on Dec. 13.

Photos courtesy of St. Louis Symphony Orchestra.

Winter Opera’s 18th Season Sets Sail With a Buoyant ‘H.M.S. Pinafore’

Winter Opera’s 18th Season Sets Sail With a Buoyant ‘H.M.S. Pinafore’

By CB Adams

Timing, as they say, is everything. And Winter Opera’s sprightly production of Gilbert and Sullivan’s “H.M.S. Pinafore” succeeds thanks to all sorts of good timing.

First, Winter Opera’s timing was perfect – after the intensity of the recent elections – for anyone in need of a good laugh combined with catchy, rhythmic melodies. Yet, it was more than merely a distraction from the news cycles. It was an engaging and fulfilling experience starting from the first notes of the overture.

“Pinafore,” which debuted in 1878, endures because it offers both entertainment and a clever commentary on British social class and the workings of the naval hierarchy – a commentary that is relevant and nearly universal. The combined talents of conductor Scott Schoonover and director John Stephens delivered fresh vitality to “Pinafore.”

That’s a double dip of timing to Sullivan’s lively score and Gilbert’s witty lyrics – delivered with panache. Schoonover in particular captained this production’s consistent buoyancy, bright tempos and lively orchestrations.

Stephens injected contemporary energy into the operetta’s classic routines and underscored how bureaucratic absurdities and class distinctions are still relevant today.

Photo by ProPhotoSTL.

This production’s success relied on performances that combined vocal robustness with affection and irony. Brittany Hebel, as Josephine, and Brian Skoog, as Ralph, gave particularly charming performances, delivering their roles with vocal clarity and comic finesse. Hebel’s expressive soprano made Josephine’s role memorable with her strong top notes and flexibility – essential traits for Gilbert and Sullivan heroines.

Skoog’s warm tenor and cheery portrayal of Ralph added depth to their onstage romance. Jacob Lassetter’s Captain Corcoran was dignified and fatherly, effectively balancing authority with warmth. Gary Moss, playing Sir Joseph Porter, embodied the absurdity of his character with flair, delightfully showcasing Sir Joseph’s inflated self-importance as a government figure who commands the Royal Navy despite never having set foot on a ship.

More good “timing” was casting Emily Harmon in the role of Little Buttercup. She delivered playful mischief to the character, particularly in her duet “Things Are Seldom what They Seem” – a standout from the entire performance. Another was Tyler Putnam’s portrayal of the cynical seaman, Dick Deadeye. Putnam was immensely entertaining, vocally hearty, and ably added a touch of gritty realism to the otherwise farcical narrative.

Scenic designer Scott Loebl created a straightforward – and perfectly sized – quarterdeck set that captured the essence of a Victorian ship, allowing the performers’ comedic interactions to shine. Costume designer Jen Blum-Tatara and lighting designer Michael Sullivan enhanced the production’s ambiance, with era-appropriate attire and crisp lighting that brought out the unique personalities of each character.

Photo by PhotoProSTL.

Especially noteworthy were the performances of the ensemble songs that bookend the operetta: “We Sail the Ocean Blue” and “Oh Joy, Oh Rapture Unforeseen.” The first featured the chorus of sailors in a performance with definite “Anything Goes” vibes. The latter was a triumphant and celebratory rendition in which a stage full of characters happily rejoice in the resolution to the operetta’s romantic entanglements and class conflicts.

The combination of skilled musicianship, clever staging and talented vocal performances made this rendition of “H.M.S. Pinafore” a humorous, musically satisfying experience that exemplified why this operetta endures – time and again.

Winter Opera’s production of “H.M.S. Pinafore” ran November 8 and 10, 2024 at the Kirkwood Performing Arts Center.

Photo by PhotoProSTL.

The Beauty of Union Avenue Opera’s ‘Into the Woods’ Is No Fairytale

The Beauty of Union Avenue Opera’s ‘Into the Woods’ Is No Fairytale

By CB Adams
Union Avenue Opera’s production of “Into The Woods,” stage directed by Jennifer Wintzer, is a rich tapestry. From the set design through the final song, you (figuratively) want to run your hands over the texture and enjoy its quality.

Stephen Sondheim and James Lapine are the weft and weave, but it’s way UAO finely stitches the musical’s balance of humor and humanity with death and disillusionment that delivers a sumptuous and reassuring tapestry – like a Bayreux or Unicorn come to life.

UAO earns these accolades for its season-ending production of “Into the Woods” with excellence in all the theatrical components: direction, staging and set design, costumes and cast performance. If you’re a Sondheim fan but have never attended a UAO performance, don’t let the word opera scare you off. They deliver a traditional interpretation of this classic without any elaborate or ornamental operatic embellishments.

If you’re an opera fan, UAO always ends its season with an operetta or musical. Last year, they concluded the season with a fine production of “Ragtime.” Many opera companies do this, such as the storied New York City Opera, and it’s a way to demonstrate how opera set the stage for subsequent musical theater iterations. It’s also a way to fill the seats.

 Stephanie Tennill as Jack’s Mother and Matthew Greenblatt as Cinderella’s Prince, Photo by Dan Donovan.

The first – and one of the most impressive – aspects of this “Into The Woods” is the stage design by Laura Skroska, whose work on UAO’s production of the moody, atmospheric “Turn of the Screw” set was one of last year’s best. For “Into The Woods,” Skroska’s vision evoked the magical and eerie atmosphere of this fairytale world.

She, along with scenic artist Lacey Meschede and set decorator Cameron Tesson,  maximized the use of the Union Avenue Church’s modest stage by filling it with mossy tree trunks that serve as posts to multiple, rising platforms. The set extended into the sanctuary with the balcony festooned with moss and other elements from the main stage. The balcony also served as Rapunzel’s tower and the home of the heard-but-not-seen giants of Jack and Beanstalk fame.

Before the show began, the set created the ideal visual preparation for the rest of the performance. Skroska’s design elements  — expertly and effectively illuminated by Patrick Huber – underscore the timeless and complex nature of Sondheim’s work, ensuring that the woods felt both enchanting and foreboding, perfectly complementing the story’s themes.

Further enhancing the production are the outstanding costumes by Teresa Doggett. Appropriately tatty and fairytail-ish, Doggett’s costumes play a pivotal role in elevating “Into The Woods” by enhancing the visual storytelling and deepening the understanding of each character’s journey through the intertwined storylines. They reflect the dark, whimsical aspects of the show while paying homage to the traditional fairytale origins.

The movie adaptation of “Into the Woods” could use Disney magic to conjure the special effects. On stage, it’s a bit more challenging. UAO’s production makes fine use of the talents of puppeteer Jacob Kujath to portray Milky White, the emaciated cow, and a flock of birds. The use of these puppets adds a whimsical and imaginative element to the production. Kujath brings them to life through expressive manipulation and playful interactions that seamlessly integrate with the live action.

Rebecca Hatlelid as Lucinda, Gina Malone as Florinda, Debra Hillabrand as Cinderella’s Stepmother. Photo by Dan Donovan.

The cast of 21 showcases the depth and versatility across the roles with performances that rise from solidly good to exceptional. That latter response is earned by mezzo-soprano Taylor-Alexis Dupont for her Witch. Clad in a wickedly good mask, which is almost a character unto itself, Dupont intensely inhabits the character of the Witch and delivers an impressive performance.

It is a sheer delight witnessing Dupont – through powerful song and acting – deliver a full transformation of the Witch, exemplifying the duality of her character. Her believable duality turns “Children Will Listen” into an emotional, cautionary swan song delivered by a once-menacing – but now tragic – figure.

“Into The Woods” isn’t all serious and dark. At the other end of the spectrum from the Witch are Rapunzel’s and Cinderella’s respective, rather vacuous princes, played by tenors James Stevens and Matthew Greenblatt. Their duet “Agony” is usually one of the top-three most favorited songs, and Stevens and Greenblatt do not disappoint in their delivery of this biting, satirical tune.

Sidenote: “Into the Woods” debuted in 1986, and Cinderella’s dum-dum prince with his “I was raised to be charming, not sincere” attitude is definitely a precursor, if not the model, for the Ken character in the recent “Barbie” movie.

Soprano Brooklyn Snow’s portrayal of Cinderella her vulnerability with a growing strength, effectively conveying her journey from innocence to self-awareness through both subtle acting and dynamic vocals. Likewise, soprano Leann Schuering’s Baker’s Wife successfully merges the character’s fairy-tale origins with the weight of her decisions.

Lauren Nash Silberstein as Rapunzel and Taylor-Alexis DuPont as the Witch. Photo by Dan Donovan.

Schuering’s performance is marked by its depth and emotional resonance. Soprano Laura Corina Sanders performance of Little Red Ridinghood [sic] captures the character’s innocence and curiosity and skillfully transforms from naive cheerfulness to a deeper understanding of the dangers and complexities of the world.

Baritone Brandon Bell bakes into his performance as the Baker a balance of warmth with emotional complexity. Like the Witch, he too undergoes a transformation. Bell’s expressive acting and strong vocals make transition from reluctant hero to a more self-assured character both relatable and compelling.

Another baritone – a base baritone – Eric McConnell, delivers another highlight performance as the Wolf, with a blend of seductive charm and menacing undertones. McConnell’s deep voice projects exceptionally well into the sanctuary and masterfully balances the Wolf’s allure and danger with “Hello Little Girls” – a song that could come off as “pervey” with a less skilled performance.

Christopher Hickey plays both the Narrator and the Mysterious Man. Perhaps because the demands of each character are different, the Mysterious Man is the better of Hickey’s performances because there is more opportunity for him to inhabit the character, which he does by subtly weaving together intrigue and depth to create a profound and haunting presence.

Cameron Tyler as Jack. Photo by Dan Donovan.

On opening night, the weakest element of this otherwise satisfying performance was the imbalance of the sound, especially during the first half. The unamplified voices, especially those of the female performers, were repeatedly overwhelmed by the orchestra.

This performance includes supertitles, but with a musical in English, they shouldn’t be necessary to hear what’s going on. This made for a frustrating experience, leaving one wishing to “turn up” their volume a click or two to better enjoy the quality of the singing and dialogue.

This feeling was further exacerbated because the orchestra, under the direction Scott Schoonover, superbly performed the score. It would have been a shame to miss a single note. Perhaps because adjustments were made during the intermission, the sound issue was almost eliminated in the second half.

Another side note: From Greek myths to Joseph Campbell’s “The Hero’s Journey,” Carl Jung’s psychology and the fairytales of the Brothers Grimm, the “dark woods” are often inhabited by archetypal patters and are a place of confusion, danger or the unknown where the hero or heroes confront trials and their shadow selves.

Sondheim and Lapine created a masterful musical that hews closely to the cautionary purpose that fairytales were designed to convey. This cannot be a musical with an empty, happily-ever-after ending. UAO’s production effectively – and accurately – delivers an ending that should leave the audience feeling reflective, with a palpable poignancy that underscores the idea that while fairy tales may end, the journey of growth and understanding continues. It takes two acts and a lot of songs to reach that point.

Union Avenue Opera’s “Into The Woods” plays August 16-24. Visit unionavenueopera.org for more information.

Christopher-Hickey-as-the-Narrator-and-Brandon-Bell-as-the-Baker. Photo by Dan Donovan.

Union Avenue Opera’s Pared Down ‘Aida’ Soars on Vocal Performances

Union Avenue Opera’s Pared Down ‘Aida’ Soars on Vocal Performances

By CB Adams

Union Avenue Opera’s concert version of Giuseppe Verdi’s “Aida” seems to have taken its cue from George Bernard Shaw when he wrote: “An opera may be allowed to be extravagantly expensive in its ornament, but its foundation must be plain and simple.” The key words are foundation, plain and simple –  and that’s where this “Aida” shines.

Instead of the traditional fully staged production – replete with costumes, props and lighting effects – the concert format puts the singers. voices and the orchestra in the spotlight. With minimal staging, the singers focus more on their vocal delivery, leading to stronger vocal performance from the chorus to the leading characters. It’s all about the voices, and this production delivers a satisfying, intimate and powerful hybrid rendition of Verdi’s masterpiece.

And with fewer distractions from sets and costumes, the audience is freer to concentrate on the orchestration and musical nuances – both of which conductor Scott Schoonover delivers exquisitely. This concert format relies on vocal performances, and this production delivers the best in the cast and the orchestra.

“Aida” is work of great musical sophistication and this production elevates Verdi’s innovative instrumentation, such as his use of the oboe d’amore and the bass trumpet to add distinctive tonal colors that are unique to this opera.

Principals Limmie Pulliam, Todd Payne, Melody Wilson. Photo by Dan Donovan.

It also highlights his complex orchestration that blends instruments in unexpected ways to create rich textures, including the delicate string passages and the interplay between woodwinds and brass in the Prelude that set the tone for the opera’s dramatic narrative.

The pared down concert also reveals Verdi’s dynamic and rhythmic variations such as the sudden changes from pianissimo to fortissimo that transition from dramatic moments, such as the transitions between Aida’s introspective arias and the bombastic public scenes.

The role of the chorus is often overlooked or mentioned late in a review, but the chorus for this “Aida”  deserves first mention. The large ensemble is on stage throughout the performance and serves as both an imposing physical and vocal backdrop to the goings on of the main tragic love triangle between Aida, an Ethiopian princess enslaved in Egypt, Radamès, the Egyptian military commander she loves, and Amneris, the Egyptian princess who is in love with Radamès.

The chorus often punctuates the performance with a full-throated, impressive punch with an impressive contrast to the solos and quieter moments.

Impressive, too, are the secondary parts of Ramfis, the High Priest, Amonasro, King of Ethiopia and father of Aida, and Gran Sacerdotessa, sung by Jacob Lassetter, Lloyd Reshard and Danielle Yilmaz, respectively. Among these excellent performances, Yilmaz’s is especially noteworthy for the relatively small role that plays a crucial part in setting the scene for the opera’s grand ceremonial moments.

Marsha Thompson and Melody Wilson. Photo by Dan Donovan.

Yilmaz’s vocal purity and clarity, her expressive delivery and vibrant stage presence all combine to enhance the spiritual and mystical dimensions of the production. She intones her lines with a crystalline quality, providing a contrasting texture to the more robust voices of the principal characters. Her delivery of lines like “Immenso Fthà” felt otherworldly and imbued with a sense of ritualistic importance.

Bass-baritone Reshard commands the stage as Amonasro, with a powerful and still soft-edged voice that effectively conveys his anger. As Ramfis,  Lassetter delivers his character with resonant vocal authority and depth, strong dramatic presence and gravitas.

For instance, in the Act 1 temple scene, he delivered Ramfis’s invocations and blessings with solemnity and a sense of ritualistic importance, which set the spiritual tone of the scene. In the final judgment scene, his calm, authoritative demeanor contrasted with the emotional turmoil of the other characters.

In the title role, soprano Marsha Thompson delivers a rich and satisfying performance of Aida with a powerful-yet-lyrical voice that conveys the character’s deep emotional turmoil, torn between love for Radamès and loyalty to her homeland. Her nuanced portrayal (including some theatrical hand and eye movements) captures Aida’s inner strength and vulnerability, delivering her arias with tenderness and intensity, particularly in the poignant “O patria mia.”

Tenor Lemmie Pulliam displays an impressive range as Radamès. Wearing a dramatic sash, he has a commanding stage presence and vocal power that delivers a profound depth to the role. His ability to convey Radamès’s inner conflict and heroic stature with both emotional intensity and technical precision, makes his performance a standout with an effective blend of dramatic prowess and lyrical beauty.

Lloyd Reshard and Marsha Thompson/ Dan Donovan Photography.

Amneris is the archetypal jealous diva with a heart of ice, and Melody Wilson weaves that personification seamlessly with the other characters. Wilson invites the audience to love to hate her as a royal drama queen whose idea of a fun includes thwarting her rivals and flaunting her power.

Wilson brings emotional complexity to Amneris, capturing her conflicted feelings of jealousy, power, and vulnerability. This adds layers to the character, making her more than just a scheming antagonist.

Beneath these characters – physically and aurally – is the orchestra, which shines with Schoonover’s adept and subtle directing. The orchestral accompaniment often provides a subtle underscoring that enhances the emotional context without overpowering the singers.

Although there are moments when the orchestra sonically overshadowed the singers (it must be difficult not to become overly enthusiastic when performing Verdi’s music), mostly it supports and enriches the vocal lines and confidently delivers Verdi’s score.

This can be particularly noted in the quieter, more introspective moments of the opera, where the orchestra’s role is to support and enrich the vocal lines.

The opera concert format was a good choice for Union Avenue. The modestly sized venue at Union Avenue Christian Church would have been challenging to put on a full production of “Aida.” The concert format is a nice change of pace that placed a premium on the singers. performances.

The result is an intimate and powerful interpretation of the opera that is distinguished by  vocal artistry and dramatic expression with just the right amount of costuming and theatrically.

Union Avenue Opera’s “Aida” runs July 26, 28, and through Aug. 3 at Union Avenue Christian Church. Visit  https://unionavenueopera.org for ticket information.

The company of “Aida in Concert.” Photo by Dan Donovan.

Union Avenue Opera’s ‘Carmen’ Delivers Compelling Moments Tempered by Contemporary Issues

Union Avenue Opera’s ‘Carmen’ Delivers Compelling Moments Tempered by Contemporary Issues

By CB Adams

Poor Carmen. As the protagonist in George Bizet’s 1875 opera, she’s sometimes reduced to being the poster person for critical analysis of gender dynamics and relationships.

Carmen’s character is often presented as some mixture of her as a free-spirited and independent woman who is simultaneously objectified and demonized (and ultimately murdered) for her sexuality. Then there are the issues related to Romani cultural representation and exoticism.

As a result, poor “Carmen.” As long as opera companies continue to mount productions of “Carmen,” they are going to beg these issues, including the normalization of toxic relationships like the one between Carmen and Don José that is marked by possessiveness, obsession and violence.

Oh, and add to these issues the way Bizet’s vibrant tapestry of unforgettable melodies and rich orchestration has been the victim of its own success. The drama and passion of Bizet’s dynamic and emotionally resonant soundscape, with evocative themes like the “Habanera” and the “Toreador Song” and their fusion of Spanish folk influences with classical operatic elements, have been hijacked by countless films, cartoons, commercials and television shows from “Looney Tunes” to “Bad Santa,” “The Simpsons” and “Gilligan’s Island.”

A lot has happened since 1875, and Carmen’s dual portrayal can be problematic in a contemporary context that seeks to dismantle harmful stereotypes and promote respect for women’s autonomy. Yet “Carmen” continues to be one of the most popular and frequently performed operas worldwide.

Elise Quagliata as Carmen and Brendan Tuohy as Don Jose. Photo by Dan Donovan.

Its enduring appeal is reflected in the regular inclusion of “Carmen” in the repertoires of major opera houses and festivals, consistently drawing large audiences and receiving critical acclaim for its compelling music and dramatic storyline.

As someone who generally accepts John Ruskin’s notion that “art is in the expression, not the subject matter,” I can’t discount “Carmen” solely on the basis of some of its problematic attributes. Its emotional and imaginative qualities are part of opera’s DNA in particular and Western cultural heritage in general, and I believe that most opera-goers can see that the opera was of its time.

Modern productions of “Carmen” often attempt to address these issues through reinterpretation and modern settings. Directors and performers may emphasize Carmen’s agency and critique Don José’s behavior more explicitly. Some productions have even changed the ending to subvert the narrative of female victimization.

Not so with Union Avenue’s production, directed by Mark Freiman, and sung in the original French with English super-titles. This “Carmen” is a traditional interpretation that encourages a critical approach to understanding  how the characters navigate a narrative fraught with jealousy, cultural clashes and fatal consequence.

Freiman, whose previous productions of “Carmen”  have infused modern elements with fresh and contemporary elements, provides Union Avenue Opera with a more classic interpretation that remains true to the Bizet’s work and offers a restrained yet still poignant commentary on love, passion and the societal pressures that shape the characters’ destinies.

It achieves this by placing a bit more emphasis on the downfall of a straightforward Don José, torn between the sincere affection of his mother and his hometown sweetheart, Micaëla, and the seductive temptation of the morally unconventional Carmen.

Joel Balzun as Escamillo. Photo by Dan Donovan.

Elise Quagliata in the role of Carmen brings a compelling and nuanced portrayal to Bizet’s iconic character. Known for her powerful mezzo-soprano voice, Quagliata’s interpretation of Carmen emphasizes her character’s boldness and independence and captures the character’s magnetic allure and defiance against societal norms.

Quagliata has tremendous stage presence filled with charisma and restrained dramatic flair. The same could be said for Brendan Tuohy as Don José, Joel Balzun as Escamillo, Joel Rogier as Moralés and Jacob Lassetter as Zuniga, but their individual performances do not cohere into a palpable chemistry, which is too bad.  

This is one of this production’s significant weaknesses despite Freiman’s direction that explores the complexities of the characters’ interactions while attempting to clarify the psychological and emotional underpinnings of their actions. This is difficult to achieve when the main characters remain self-contained in their individual performances, not matter how well sung.

Quagliata is also this production’s choreographer. A good production of “Carmen” should enhance the storytelling and atmosphere of the opera. Quagliata’s choreography effectively conveys, with a light Spanish flair, the personalities and emotions of the characters, particularly Carmen.

In one moment, she confidently plants her leg on a chair. This is small but potent gesture. I haven’t seen a leg used to such great effect since the leg lamp scene in “A Christmas Story.” Another delightfully staged moment is the “cigarette girl” scene (played to great effect by the women of the chorus) as the factory workers puff and prance.

Marc Schapman, Jacob Lassetter, Xavier Joseph, and Elise Quaglata. Photo by Dan Donovan.

Quagliata’s choreography effectively synchronizes with Bizet’s music (performed vivaciously by the orchestra conducted by the always-excellent Scott Schoonover) and the stage design. Patrick Huber’s stage design provides an appropriate (if somewhat generic) backdrop that complements the characters’ movements across Union Avenue’s modestly sized stage.

Huber is also the lighting designer. During one of the two intermissions, the set’s two doorways were modified for the smugglers’ scene with what appeared (in the bright lights) to be vagina-like pelts. As the scene began, Huber’s atmospheric low light effectively created a subdued atmosphere – and the furry openings transformed into cave entrances. Oooh, what a little light design can do!

Tuohy presents a compelling Don José that highlights the character’s transformation from a dutiful soldier to a man consumed by obsessive love and jealousy. Tuhoy is strong but not brutish and presents his emotionally conflicted character with a palpable sense of longing and desperation.

Tuohy’s portrayal is characterized by a powerful tenor voice that effectively conveys Don José’s emotional turmoil and ultimately unacceptable violence. His stage presence and dramatic intensity bring depth to the character, even if not to the ensemble as a whole.

Meroe Khalia Adeeb as Micaela. Photo by Dan Donovan.

One of the standout performances is provided by Meroë Khalia Adeeb as Micaëla. Adeeb delivers a character that embodies innocence and fidelity while navigating the opera’s moral landscape with her steadfast love for Don José. Adeeb’s rich and resonant voice captures the character’s gentle nature and inner strength, and the rest of performance hits all the right notes: flexibility and emotional range, expressiveness and technical skill that is precise and controlled.

Her performance of Micaëla’s most famous aria, “Je dis que rien ne m’épouvante” (I say that nothing frightens me), was heartfelt, determined and poignant.

Also commendable is the performance by Xavier Joseph as the smuggler Le Dancaïre. The role is a secondary character, but Joseph delivers his character with physicality, wit and bonhomie.

And while on the topic of fun, this production includes two scenes with controlled mayhem and exuberance provided by a delightful children’s chorus.

Lassetter presents his Zuniga with a big-throated blend of authority and moral ambiguity and a performance that captures the character’s commanding presence and underlying conflict. Rogier’s Moralés is equally strong. Rogier exudes a robust and confident demeanor that emphasizes his steady, grounded nature and his role of Moralés’ as a foil to Don José.

Balzun provides an acceptable Escamillo, the bullfighter. The role of Escamillo demands a charismatic singer who embodies traditional masculinity through physicality and social admiration and serves as a foil to Don José. Balzun delivers a Escamillo who is a pompous yet effete man.

“Carmen” continues at Union Avenue Opera through July 13. For more information, visit: www.unionavenueopera.org


Youth Ensemble : Lucca Badino *, Bryce Cleveland *, Blaise Magparangalan *, Chloe Melton, Nora Moss *, Lila Treuiller *, Louis Wang *, Tristan Williams * (not in order). Photo by Dan Donovan.

Cover photo: Holly Janz, Marc Schapman, Elise Quagliata, Xavier Joseph, and Gina Galati/ Photo by Dan Donovan.

Opera Theatre’s ‘Galileo Galilei’ Mixes Brilliance With Bafflement

Opera Theatre’s ‘Galileo Galilei’ Mixes Brilliance With Bafflement

By CB Adams

I won’t bury the lede: I wanted to like Opera Theatre of St. Louis’ production of “Galileo Galilei” more than I did. I had high expectations.

I appreciate the compositions of Phillip Glass, especially “Einstein on the Beach,” “Akhnaten” and the soundtrack to the documentary “Koyaanisqatsi.” I find mesmerizing (and hypnotic in the best way) his minimalist compositions, intricate structures and innovative fusion of classical and contemporary elements.

His talents (he wrote something like 25 operas), combined with Mary Zimmerman’s and Arnold Weinstein’s as co-librettists, as well as OTSL’s high artistic standards, set my expectation meter to high.

And yet, at the completion of the 90-minute performance (with no intermission), my first thought/best thought was “so close and yet so far.” Sort of like the way I imagine Galileo felt sometimes staring at the heavens through his rudimentary telescope – with the moon and stars appearing so close that he could – almost but not quite – touch them. A matter of reach versus grasp.

Is this a “bad” production? Of course not. Is this a “great” or even “good” production? The answer to that depends on how you define a fulfilling opera experience. If you like your opera narratives to didactically follow the highlights of a famous person’s life story (one act with 10 titled scenes in this case) with the dramatic depth of a History Channel documentary, then “Galileo Galilei” might be for you.

From L to R: Jared Werline as Cardinal 3, Elijah English as Cardinal 1, Robert Mellon as Cardinal 2, Hunter Enoch as Pope Urban VIII, Paul Groves as Older Galileo, and Gabriela Linares as Scribe in Philip Glass’ “Galileo Galilei.” Photo © Eric Woolsey

This episodic, highlight-reel depiction of Galileo’s complex relationship with the Catholic Church, his personal struggles and his enduring quest for scientific truth was like watching his travails through a remote telescope. As such, we can’t get below the surface to understand Galileo at a more meaningful, microscopic level. We get facts, not empathy.

However, the narrative structure itself was as intriguing as it was innovative. I don’t know of any other opera that presents its story backwards. That structure called to mind “The Curious Case of Benjamin Button” (the movie, not the short story by F. Scott Fitzgerald) and the novel “Time’s Arrow” by Martin Amis.

“Galileo Galilei” begins with the scientist as an old, blind, regretful man under house arrest, then follows his life in reverse order, and ends with him peering through a telescope as a hopeful boy. At the risk of being too literal and not allowing enough artistic license, that concluding scene was jarring because that telescope hadn’t yet been invented yet – by way of Hans Lippershey – so how could the boy be using one?

Yet, the tone of the final scene is impactful and lasting. History and time have proved Galileo right, and one would hope that today he would feel vindicated. As the great man himself once wrote, “The Bible shows the way to go to heaven, not the way the heavens go.”

And, there’s a certain irony in the fact that “the middle finger of his right hand—has been housed at various museums in Italy since at least the first half of the 1800s. The purloined vertebra ended up at the University of Padua, where Galileo taught from 1592 to 1610,” according to History.com.

Vanessa Becerra as Maria Celeste and Sean Michael Plumb as Younger Galileo in Philip Glass’ “Galileo Galilei.” Photo © Eric Woolsey

Portraying Galileo’s story in reverse is genius and puts the focus on hope rather than despair or tragedy. We see the hopeful beginning, not the seemingly defeated end. Amis in “Time’s Arrow” explores the storytelling potential of this approach. In the opening scene of “Galileo Galilei” there’s a resonance of Amis’ line, “We are prisoners of our own past, forever chasing the echoes of what has already happened.” And when exploring the themes of this opera, Glass, Zimmerman and Weinstein could very well have been thinking of Amis when he wrote “We understand time only in retrospect” and “Time is not linear, but a vast web of interconnected moments.”

Also praiseworthy is OTSL’s commitment to providing newer operas. Even if the sum of “Galileo Galilei” doesn’t synergistically exceed its individual parts, it’s a worthy experience to see how creatively and flexibly the opera form continues to be. I enjoy being exposed to all of the theatrical experiences provided by operas old and new – and everything in between.

Additionally, this opera is an interesting choice because it highlights – yet again – that science deniers have been around for a long, long time. To quote Amis again, “The present is the result of the past, and the foundation for the future.” Not exactly a reassuring or hopeful thought in this context. Revealing such prescience is definitely on the “plus side” of OTSL’s “Galileo Galilei.”

One playful sidenote to this production: in one scene (and the director’s notes) we learn that Galileo’s father, Vincenzo Galilei, was a founding member of the Florentine Camerata, which was responsible for the creation of the first operas in the final years of the Renaissance. It’s not often you leave an opera learning a factoid like that.

This production, under the stage direction of James Robinson (OTSL’s artistic director), is overtly, baroquely theatrical. At first glance, the staging appears inventive and dynamic as it attempts to breathe life into 17th century Italy. And with the quick pacing, that may be enough. But reflecting on the performance afterward, the staging deflects attention from the general lack of empathy for Galileo. There’s not time in this opera to feel deeply for him as a well-developed, multi-dimensional character. Don’t cry for me, Inquisition.

L to R: Kathleen O’Mara as Duchess Christina, Lucie Evans as Marie de Medici, Sean Michael Plumb as Younger Galileo, and Michelle Mariposa as Maria Maddalena in Philip Glass’ “Galileo Galilei.” Photo © Eric Woolsey

Another layer of this production’s theatricality are its costumes by Marco Piemontese. The costumes blend historical authenticity and artistic creativity to reflect the Renaissance era’s attire while incorporating modern elements that complement Glass’ minimalist score.

Piemontese’s meticulous attention to detail is generally impressive, but  there are two off-putting characters whose white, puffy costumes beg for comparison to both Oompa Loompas from “Willy Wonka and the Chocolate Factory” and the Stay-Puft Marshmallow Man of “Ghostbusters” fame. Perhaps I just have an overactive associative visual mental library.

Allen Moyer’s choices for set the set design are praiseworthy for their inventiveness and clever support for the intricate choreography (provided by Sean Curran), crisp lighting (Eric Southern) and scene changes. His choices, including a compact proscenium arch that’s essentially a stage upon the stage, are also questionable for making the OTSL’s already modestly sized stage seem even smaller.

I can argue both sides of this choice. But the unsparing set made me yearn at times for the  Lucca Christmas market scene in OTSL’s recent production of “La Boheme.”

The set’s small size keeps your attention well-focused on the elements of the opera, especially when the video projections by Greg Emetaz are presented. One of the highlights of this production is the amusing animation that “explains” Galileo’s “law of fall” about how gravity causes all objects, regardless of their mass, to fall at the same rate. Imagine how hard it would be to visually represent such a concept in an opera context.

Conversely, the small proscenium arch/stage can feel visually constricting, and the action can seem unrelenting. More than once, I felt anxious because I feared that if my eye wandered, I would miss something important. And that fear was not unwarranted.

Center: Paul Groves as Older Galileo in Philip Glass’ “Galileo Galilei.” Photo © Eric Woolsey

“Galileo Galilei” is mostly an ensemble performance (some in the cast sing multiple roles). There are four primary roles: Galileo (old and young), Maria Celeste (his devoted daughter) and the Cardinal Inquisitor. Collectively, These roles require a diverse range of vocal talents, from the introspective and reflective singing of the older Galileo to the youthful energy of the younger characters and the authoritative tones of the Inquisitor.

The ensemble in this production consistently delivers a rich tapestry of vocal expressions throughout the opera – or as much as they can wring from this libretto. There are no signature moments (or arias) in this opera, and thus no character, other than Galileo (either old or young) that really stand above the others.

As the older Galileo, tenor Paul Groves evenly delivers a nuanced portrayal of a man who reflects on his life and achievements with a mix of regret and pride. Sean Michael Plumb as the younger Galileo powerfully reveals his character’s early passion and curiosity, especially when interacting with other key figures.

Vanessa Becerra sings a very lovely Maria Celeste. Becerra’s controlled performance conveys Maria’s deep love and admiration for Galileo, especially during his trial by the Inquisition, as well as her internal conflicts and struggles with illness.

L to R: Hunter Enoch as Simplicio, Jennifer Kreider as Sagredo, Paul Groves as Older Galileo, and Sean Michael Plumb in Philip Glass’ “Galileo Galilei.” Photo © Eric Woolsey

“Galileo Galilei” makes extensive use of a chorus that represents a range of characters from fellow scholars to members of the Church, supporters and skeptics. The chorus members often sing falsetto, ostensibly to emphasize the intellectual, philosophical or “otherworldly” aspects of the opera. This use of falsetto, through no fault of the singers, was more squirm-worthy, amorphous and cerebrally detracting than effective. 

Glass was the primary draw for me with “Galileo Galilei.” Though not for everyone’s taste (and certainly not for those who prefer more traditional opera styles), his minimal style characterized by repetitive musical motifs, can be propulsive, emotional and poetic.

For those who are not Glass fans or who aren’t familiar with his style, this libretto might feel stagnant with overly repetitious themes and phrase. Musically, “Galileo Galilei” is a choose-your-own musical adventure.

“Galileo Galilei” is no “Akhnaten” or “Einstein On the Beach,” but it is not disappointing either, especially when as well played by the orchestra (with members of the St. Louis Symphony) and well directed Kwamé Ryan. There were many moments when I wished I could close my eyes and just listen to the score.

“Galileo Galilei’ is a mixed bag, but it’s still worth seeing. But keep some context in mind. This opera is best enjoyed as a cerebral and intellectual exercise rather than an emotional or cathartic experience. With a short run time and quick scenes (comparatively), effective use of multimedia, solid singing and costumes rivaling those at the Met Gala, this is an interesting quarter of the OTSL’s four-part festival.

“Galileo Galilei” is part of Opera Theatre of St. Louis 2024 repertory season continuing through June 29 at the Loretto-Hilton Center on the Webster University campus. For tickets or more information visit www.opera-stl.org.

Paul Groves as Older Galileo and Vanessa Becerra as Maria Celeste in Philip Glass’ “Galileo Galilei.” Photo © Eric Woolsey

Cover photo: L to R: Kathleen O’Mara as Duchess Christina, Lucie Evans as Marie de Medici, Sean Michael Plumb as Younger Galileo, and Michelle Mariposa as Maria Maddalena in Philip Glass’ “Galileo Galilei.” Photo © Eric Woolsey