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.
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.
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.
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.
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.
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.
Waiting for Winter Opera’s production of “Don Giovanni,” I was reminded of the forward to Milton Cross’ “Complete Stories of the Great Operas,” in which he begins, “This is a book of stories – the stories of the great and enduring operas…Some of them have become so familiar that I return to them each year, almost as one returns each season to the Christmas story.” Just a week or so before Thanksgiving and the holiday season, Winter Opera’s timing for a production of “Don Giovanni” seemed perfect for a return – Christmas-like – to one of opera’s (and Mozart’s) great and (and greatly rendered) stories.
Before the opening notes of the overture, it was clear that this production would hew closely to a traditional interpretation (kudos to stage director John Stephens) of this work with an understated, yet architecturally appropriate, set (kudos to Scott Loebl, scenic designer). There were the requisite Corinthian columns, graceful arches and stone fountain – providing the neutral setting for the intricate, sublime story to follow.
As the orchestra began the overture to the three-hour performance to come (under the confident and sure baton of conductor Scott Schoonover), I was reminded of how these early, foreboding chords – repeated in the last act – symbolize the fate that awaits Don Giovanni.
Photo by ProPhotoSTL
I was reminded, too, of that Mozart’s original title was “Il Dissoluto Punito, Ossia il Don Giovanni” (“The Rake Punished, or Don Giovanni”). From the opening, this production faithfully unfurls the looping story of Don Giovanni as well as explores the dynamics of power, control and fate – with its major events presented at the beginning and searing conclusion.
The dynamic, muscular-voiced Robert Mellon was a winning Leporello, the Don’s youthful, sometimes blustery servant. Mellon brought his character’s famous register aria – “Madamino, il catalogo è questo” – confidently and humorously to life.
One of the strengths of Winter Opera’s production is its treatment of women in the story. Gina Galati’s portrayal of Donna Elvira was exceptional, especially her affecting, poignant phrasing in “Mi tradì quell’alma ingrata.”
Raphaella Medina provided a sweet-voiced and beguiling Zerlina, especially during “Batti, batti o bel Masetto,” a love song-aria (with Mark Hosseini as Masetto) beloved for its teasing trills. Medina also paired very well with the strong performance of Jacob Lassetter as Don Giovanni, for a hugely satisfying performance of the duet “La si darem la mano.” Throughout, Lassette’s portrayal demonstrated tremendous range as well as nuance demanded by Mozart’s composition.
Nathan Whitson’s strong bass more than met the imposing demands of the character Commendatore. His performance was equal parts stentorian, imperious and stone-like (as the singing statue).
The singers were well-adorned, thanks to the costume design by Jen Blum-Tatara and wigs/makeup by Jessica Dana.
Winter Opera’s “Don Giovanni” played at the Kirkwood Performing Arts Center on November 17 and 19. The season continues with Puccini’s “Manon Lescaut” January 19 and 21, 2024. More information is available at the Winter Opera website.
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.
I have an acquaintance for whom the terms Puccini and opera are synonymous. For him, opera and the Italians define the artform. Although I don’t agree with his limited definition, I can’t deny that the Italians in general and Giacomo Puccini in particular occupy a special space within the opera canon. That’s why Winter Opera’s production of La Rondine, (music by Puccini with librettists Alfred Maria and Heinz Reichert) was a such a solid, comfortable pleasure.
For reasons not worth reiterating, La Rondine (The Swallow) is not considered one of Puccini’s “greatest hits” but, as my acquaintance might say, “Who cares?! It’s Puccini!” I would duly note his fandom and add that we would all be the poorer if La Rondine weren’t performed periodically, despite its modestness. It’s a good Puccini primer, filled with waltzes, melodies, two arias (one perhaps more famous than the entire rest of the opera) and a duet. It further makes Puccini’s higher-profile operas even more impressive by comparison.
The creative team at Winter Opera chose well with La Rondine because it benefits from a tighter production and the stage at the Kirkwood Performing Arts Center. Smaller is better for this opera, something that scenic designer Scott Loebl and stage director Erica Gibson understood, even as swapped Puccini’s original setting from France’s Second Empire era to the “roaring” 1920s. Amy Hopkins’ costume designs were perfectly matched to the updated era, as well.
The updated setting, replete with a raised chessboard-like black and white floor, allowed Gibson to move the characters move like pawns throughout the action. Although the motivation’s of Magda, especially her decision to return to her “old life” in the conclusion of the third act, aren’t understandable or compelling by modern sensibilities, this doesn’t detract from this production. “Who cares?! It’s Puccini,” is latent throughout.
Photo by Rebecca Haas
Puccini placed the La Rondine’s famous aria, “Chi il bel sogno di Doretta,” early in Act One. The piece’s soaring phrases offer sopranos the opportunity to impress an audience. In Winter Opera’s production, soprano Karen Kanakis as Magda compellingly sang the aria with her lilting, floating top notes. The piece ends with the “What do riches matter if true happiness blossoms?” Kanakis delivers this question with such truth and honesty that it sets up the tragedy of the finale, which turns this line from rhetorically hopeful into sadly ironic.
Matching Kanakis’ performance was tenor Nathan Schafer as Ruggero. Schafer overcame some of the weaknesses of the character through his performance’s clarity and warmth. His duets with Magda were some of the best, even as he had to animate Ruggero’s one-dimensionality (as written). Equally strong were Nicholas Huff as Prunier, Lauren Nash Silberstein as Lisette and baritone Jacob Lassetter as Rambaldo – as well as the chorus.
Bubbling beneath the Winter Opera singer was the orchestra, conducted by Scott Schoonover, artistic director of Union Avenue Opera. The modest size of the orchestra was enlarged by the restrained size and good acoustics of the Kirkwood Performing Arts Center.
Winter Opera is off to a terrific start with La Rondine, leaving only the question of how they will meet or exceed this accomplishment with the rest of the season’s offerings – Verdi’s MacBeth in January and Sigmund Romberg’s The Desert Song in March.
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.
There’s a moment in the “classic” 1989 movie “Fletch Lives” when Chevy Chase as Fletch says it takes a big man to admit when he is wrong. To which he adds, “I am NOT a big man.” It takes the comedic instincts and delivery of Chase to get laughs from that line, and it takes baritone Robert Mellon as the title character in Union Avenue Opera’s production of Giuseppe Verdi’s “Falstaff” to elicit that reaction for 2 ½ hours of witty, plus-sized, boozy merriment.
Mellon has big shoes to fill as Falstaff, a beloved barfly who appears in four plays by William Shakespeare (if you count the one in which he is eulogized). Plumped up in a hunchbacked fat suit, Mellon fills his Falstaff as a big man (literally) who gets big laughs while working his wiles with the merry wives of Windsor and their various and sundry significant others. As one of the “holy trinity” of comic operas, “Falstaff” may reside with the likes of “The Marriage of Figaro” and “The Master-Singers of Nuremberg,” but it’s Mellon and the rest of the cast who make this production flat-out fun.
Union Avenue Opera’s production of Falstaff on July 27, 2022.
This may be Falstaff’s show, but he, like Mellon, needs comedic foils who provide equal helpings of wit and charm, and this production has them. “Falstaff” is a concentrated opera without long arias, but with melodies that practically fly by. That’s well-suited to the talents of Marc Schapman and Mark Freiman as Falstaff’s scheming henchmen, Bardolfo and Pistola, respectively, who bounce off each other amusingly. As does Anthony Heinemann as Dr. Caius and Jacob Lassetter as Ford.
Also up to Falstaff’s formidable foibles is the trifecta of Karen Kanakis, who sings Mrs. Alice Ford, Melody Wilson as Mrs. Meg Page and Janara Kellerman as Dame Mistress Quickly. This triumvirate were delightful – individually and collectively – as they work to counter Falstaff’s schemes with a refreshing equality of the sexes. A subplot involves the young lovers, Nannetta and Fenton, and their best scene concludes Act I. As sung by soprano Brooklyn Snow and tenor Jesse Darden, it’s one of the opera’s best moments.
Under the baton of conductor Stephen Hargreaves, the music of Verdi’s final opera and only second comedy is frothy, splendid and connects deeply with the performers. Teresa Doggett’s costumes were not only tailored for the overall period of the opera, they also elevated the visual presence of each character.
The stage at Union Avenue Christian Church poses certain creative challenges, but its modest size is well-suited to this opera. Scenic designer Lex Van Blommestein makes maximum use of the stage by going “old school” and using cloth panels to set the scenes, including Falstaff’s favorite haunt, the Garter Inn. Under the direction of stage manager Megan-Marie Cahill, the crew openly raise and lower the panels, replete with squeaky pulleys. As the crew elevated the panels for the final act (during the July 30th performance), set in a forest, they created the impressive spread of a massive oak tree. It’s not often that a scene change elicits ooo’s, ahh’s and applause.
Union Avenue Opera’s production of Falstaff on July 27, 2022.
So, loosen your belt – or sash or waistline – and prepare to be served an effervescent treat ala Verdi, Shakespeare and Union Avenue Opera.
Union Avenue Opera Union presents “Falstaff” July 29 and 30 and August 5, 6 at 8 p.m. at Union Avenue Christian Church. For more information, visit www.unionavenueopera.org
Union Avenue Opera’s production of Falstaff on July 27, 2022.
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.
By Lynn Venhaus
Managing Editor
For the St. Louis premiere of Guiseppe Verdi’s Biblical epic “Nabucco,” Union Avenue Opera dreamed big.
Not since tackling Wagner’s Ring Cycle have they taken on such a massive show. The staging this four-act 1841 Italian opera is a towering achievement, both vocally and in mechanics.
They succeed in showcasing not only the top-shelf talent they attracted for this production, but also one of the best choruses featured on their cozy stage.
Conductor Stephen Hargreaves and Assistant Chorus Master Jon Garrett deep-dive into this glorious, grand signature Verdi sound – confidently creating big, bold orchestral and chorus statements. The 21-piece string-heavy orchestra is outstanding.
While the romantic and political complexities of this Old Testament story do not exactly comprise the finest libretto, the vocal prowess is stunning. This show’s cast has the vibrant voices to match the character requirements.
Librettist Temistocle Solero used the Books of Jeremiah and Daniel for the turbulent story, set in 587 B.C. The King of Babylon is Nabucco (Robert Garner), known as Nebuccadnezzer in English. He has seized control of Jerusalem in his war with the Israelites. The other major storyline is that his daughter Fenena (Melody Wilson) and her evil half-sister Abigaille (Marsha Thompson) are both in love with Ismaele (Jesse Donner), the nephew of the King of Jerusalem.
While war rages between Babylon and Jerusalem, Abigaille pledges to save Ismaele’s people if he chooses her. But he denies her, so she turns ruthless and plans to take down the kingdom, claim Nabucco’s throne and kill all the imprisoned Israelites.
First-time director Mark Freiman heightens the soap opera aspect of these treacherous elements, as the principals expressively sing about their emotional anguish and lament over their choices.
The accomplished Robert Garner is an imposing Nabucco, and when he needs to regain his sanity and strength in Act III, excels in his “Dio di Giuda” aria.
However, the two women are such dynamic forces and reach exhilarating heights as the warring half-sisters. In an impressive debut, soprano Marsha Thompson commands the stage as Abigaille, breathtaking in the demanding role. Her arias are something special, especially her dramatic coloratura “Anch’io dischiuso un giorno.”
The rising young star Melody Wilson – what an inspiring name! – demonstrates why she is one to watch, as she has one of the richest mezzo-sopranos I’ve heard. She stood out in her St. Louis debut in “Doubt” two summers ago, as part of “Regina” at Opera Theatre of St. Louis this season, and now, in this dramatic role as Fenena. What a range! Her prayer painting a picture of the heavens, “O dischius’è il firmament,” is exceptional.
Also standing out is bass Zachary James as Hebrew high priest Zaccaria, both in physical presence and in vocal prowess. He is particularly impressive performing “D’Egitto là su i lidi” that revives his people’s hopes in Act 1, and the prayer “Tu sul labbro” in Act 2.
Jesse Donner is solid as Ismaele, as is Clark Sturdevant as Abdallo, Jacob Lassetter as High Priest of Baal and Karen Kanakis as Anna.
Bravo, fervent ensemble! They do indeed stir the soul in the famous “Va, pensiero, sull’ali dorate” chorus. One of the most famous opera pieces of all-time is robustly delivered by Douglas Allebach, Madeline Black, Aleksandar Dragojevic, David Fournie, Jon Garrett, Rebecca Hetlelid, Michael Hawkins, Emily Heyl, Jeffrey Heyl, Lori Hoffman, Hannah Kauffmann, Amy Mazzeo, Jayde Mitchell, Joel Rogier, Tina Sayers and Caetlyn Van Bure in their masterful Italian vocal unison.
The cheers in Act 3 were lengthy and well-deserved, for it was quite a thrilling moment.
The technical aspects of this show are more demanding than usual at the Union Avenue Christian Church. With an idol that must fall and lightning that has to strike, the lighting design by Patrick Huber, who also did the set design, helps make those special effects happen. Theatre Marine Productions was the technical director.
Special mention must go to set designer Huber for creating the vertically tall set so that terrains, palace hallways, and Hanging Gardens of Babylon could be imagined. That was quite a feat, and that the ensemble didn’t seem as crowded on stage.
With the lyrical virtuosity and passionate spirit achieved here, Union Avenue Opera reaches new heights.
Verdi’s “Nabucco” is sung in Italian and presented by Union Avenue Opera on July 27-28 and Aug. 3-4 at 8 p.m. at the Union Avenue Christian Church, 733 Union Boulevard. For more information, visit www.unionavenueopera.org or call 314-361-2881.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
