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.
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.
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.
Benjamin Britten said that “Composing is like driving down a foggy road.” He could just as easily been describing the experience of attending Union Avenue Opera’s production of his “Turn of the Screw.” Many know the story from junior high school English lit or from one of the 12 – 12! – films that have adapted the Henry James ambiguous novella about ghosts (or not) and innocents (maybe).
Union Avenue Opera’s (UAO) production of “Screw” keys off of the story’s enigmatic opacity of the goings-on at Bly, a country house in Essex and augments the story’s ambiguities with an immersive cerebral-ness. The experience begins with the two-level set (designed by Laura Skroska and lighted by Patrick Huber) that is part Hill House and part Rose Red – Shirley Jackson and Stephen King, respectively. The set has the perfect amount of goth to visually augment Britten’s tautly composed opera with libretto by Myfanwy Piper and is perfectly scaled for Union Avenue Christian Church’s compact stage.
Much has been written about the duality of Britten’s use of musical characterizations for “Screw” since its debut in 1954. This duality concerns those characters who can be interpreted as moral (the Governess, Miles, Flora and Mrs. Grose) and those that could be considered of the more ghostly or spiritual persuasion (Peter Quint and Miss Jessel). The former are surrounded by uncomplicated music and the latter with music that is amorphous and other-worldly. As the opera progresses the two styles become ever more entwined and intense – and ending with a profound feeling of disquiet.
Dress rehearsal for Union Avenue Opera’s production of The Turn of the Screw on July 5, 2023
UAO’s production of “Screw” is richly nuanced, compelling and emotionally powerful, and that’s thanks mostly to the direction of Nancy Bell and the strong cast, including Meroë Khalia Adeeb as the Governess, Sophie Yilmaz as Miles, Cecilia Hickey as Flora, Christine Brewer as Mrs. Grose, James Stevens as Peter Quint and Alexandra Martinez-Turano as Miss Jessel. Adeeb, Yilmaz and Martinez-Turano are making their UAO stage debuts in this production.
As the opera begins, a “character” named Prologue, played by James Stevens (Peter Quint later on), provides the background to the plot and sets the action in motion. On stage are blindfolded characters, and Prologue (or is he Quint?) removes the blindfolds.
As the opera “unfolds” in this moment, it seems Prologue’s removal is a visual metaphor for what is about to be revealed. Yet, the opera’s climactic, mysterious final scene lends itself to multiple interpretations, not a clear revealing. This brilliant effect is thanks to Bell’s direction.
This production’s performers are well balanced and well cast, top to bottom. Stevens in his dual roles delivers a riveting performance in both as he slithers from taunt to seduction to malevolence. As the Governess, Adeeb’s performance stands out among the others.
She provides an impressive range of technical voice control and realistic acting during her transformation from the poised servant we meet at the beginning to the unraveled, emotionally undone protector in the final scene.
Christine Brewer as Mrs. Grose embodied her character fully through her effective acting and her rather authoritative singing with impressive dynamic control and proper diction. Yilmaz provides a Miles with an unsettling dissonance. Her voice offers the higher pitch of the boy she portrays – a sort of reverse castrati.
Britten’s score receives a beautifully haunting rendition by the UAO orchestra, led by conductor Scott Schoonover.
Dress rehearsal for Union Avenue Opera’s production of The Turn of the Screw on July 5, 2023
Union Avenue Opera presents “Turn of the Screw” at 8 p.m. on July 7, 8, 14 and 15 at the Union Avenue Christian Church, 733 Union Boulevard. For more information, visit www.unionavenueopera.org
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.
It’s been a bit of a “Sondheim Summer” here in St. Louis, bookended by Far North Theatricals’ “Assassins,” The Muny’s “Sweeney Todd” and Union Avenue Opera’s festival-ending “A Little Night Music,” with performances remaining Aug. 26-27. Extending that bookend will be Stray Dog Theatre’s production of “A Little Night Music” this October.
There seems to be more Sondheim in the air since his death last November, and these local stagings have provided an interesting juxtaposition considering that “Sweeney Todd” is generally considered the more operatic and “Night Music” as more operatta-ish.
No matter. As soon as the off-stage chorus, the Quintet, projected their voices onto the sumptuous Union Avenue Act I set, such nomenclatures were rendered unnecessary…and perhaps irrelevant. Afterall, the first three revivals of “Night Music” in New York were all operatic rather than theatrical, so this production is a good fit for Union Avenue’s strengths and direction.
James Stevens, Leann Scheuring, Eric J. McConnell, Jordan Wolk, Teresa Doggett. Photo by Dan Donovan
Isn’t It Bliss?
If there are still tickets left for the final performances of “A Little Night Music,” reserve your seats. That’s the quick review of this production. Don’t miss it. It is indeed bliss.
Hal Prince, producer of this musical’s debut in 1973, called it “whipped cream with knives.” If Prince meant knives as in sharp knives out, then Annamaria Pileggi’s direction has softened it to butter knives out. It’s a pleasure and perhaps a much-needed respite to engage so fully into this nuanced romantic farce based on Ingmar Bergman’s 1955 film “Smiles of a Summer Night.”
Debby Lennon as Desiree. Photo by Dan Donovan
Isn’t It Rich?
Of Union Avenue’s three productions in this year’s festival, the sets of “Night Music” by C. Otis Sweezey are the best, especially in Act I. The back set consisted of three columnar structures that conveyed the frets of a stringed instrument entwined with swan-like figures and backed with the richest of burgundies.
These elements avoid flaunting their presence and instead provide the right sense of place and privilege of the genteel characters.
During the intermission, as Act II’s back set of trees were moved onto the stage, their colors seemed out of place for the “Weekend In the Country,” presaged by that song at the end of Act I.
But those colors were transformed by the lighting choices of Patrick Huber. Thanks to lighting, fluorescent outlines became comfortable, dusky accents for the rest of the musical.
Peter Kendall Clark and Brooklyn Snow. Photo by Dan Donovan.
Are We A Pair?
At the risk of being unfair to a overall strong cast from the leads to the Quintet, the center of this rueful, bittersweet, Ibsenish tale from Sondheim and playwright Hugh Wheeler is the pair of Fredrik Egerman, sung powerfully by Peter Kendall Clark and Desirée Armfeldt, sung by Debby Lennon. There are multiple, circuitous story lines, but they all dodge and weave around and toward the ultimate (re)union of Fredrik and Desirée.
And at the center of their relationship is (a now-standard) “Send in the Clowns.” As a hit song by Judy Collins back in the day and as rendered into near-Muzak ubiquity, “Send in the Clowns” needs the context of the surrounding story in the musical itself to reach its fullest, layered, exquisitely painful sense of yearning. It also needs the skills and talents of Lennon to ensure it is the show-stopper it was composed to be. Lennon gave the song its due – and more. You couldn’t hear a pin drop during her performance – to use a cliché.
The other extra-noteworthy “pair” in Union Avenue’s production was Count Carl-Magnus Malcolm and grande dame Madame Armfeldt. Both are broad characters that require a careful interpretation to avoid becoming cartoonish foils. Teresa Doggett performed the wheelchair-bound Madame with a delicious – and sometimes hilarious – imperiousness that evolves into a touching sagacity. As sung by Eric J. McConnell, the peacocky Count Carl-Magus fared less well and often crossed into buffoonery.
James Stevens, Arielle Pedersen. Photo by Dan Donovan.
But Where Are the Clowns?
To borrow a line attributed to the showman’s showman P. T. Barnum, Union Avenue’s choice of “Night Music” to conclude their 2022 festival, was the perfect choice to “always leave ‘em wanting more.” Given the rich experience provided by this production, “Night Music” will leave us wanting more…well, maybe next year? The only clowns therefore are those who didn’t reserve a ticket this year.
Union Avenue Opera Union presents “A Little Night Music” August 19, 20, 26, 27 at 8 p.m. at Union Avenue Christian Church. For more information, visit www.unionavenueopera.org
Leann Scheuring, Kay Love, Eric J. McConnell. Photo by Dan Donovan.Joel Rogier, Sarah Price, Phil Touchette, Gracy Yukiko Fisher and Gina Malone. 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.
By C. B. Adams “Eugene Onegin,” the opera based on Alexander Pushkin’s verse novel of the same name, inspired another great writer, Anton Chekhov, to write a short story-cum-homage to the opera, “After the Theatre.” In it, Chekhov observed, “There was something beautiful, touching and romantic about A loving B when B wasn’t interested in A. Onegin was attractive in not loving at all, while Tatyana was enchanting because she loved greatly. Had they loved equally and been happy they might have seemed boring.”
Good point. And, as we all know from yet another member of the Russian literati, Leo Tolstoy, “All happy families are alike, but every unhappy family is unhappy in its own way.”
This is a review of Union Avenue Opera’s production of “Eugene Onegin,” not a Russian Lit course. But, as the opera builds to its final act, one must decide whether the lead characters’ unhappiness resonates in a fulfilling way. Do we cheer Tatyana as she finally spurns Onegin after he ungraciously spurned her two acts earlier?
Do we feel Onegin’s misery and despair at his impending loneliness? Do we cheer his comeuppance? Or do we embrace that tragic ambiguity?
It’s the players more than the libretto that help shape any (or none) of those answers. This year has been an interesting St. Louis opera season for strong women. Opera Theater of St. Louis put forth a tough-gal “Carmen,” sung by Sarah Mesko, and Union Avenue offered a resilient Tatyana sung by the Russian-born-and-trained Zoya Gramagin, making her Union Avenue debut.
Dress rehearsal for Union Avenue Opera’s production of Eugene Onegin on July 5, 2022.
Even in Act I, when Tatyana is a young and naïve country woman writing a gushy love letter to Onegin, Gramagin used her clear soprano to imbue Tatyana with innocence and undercurrent of strength. This Tatyana was no Cinderella, and this was most evident by Act III when she is now married to a prince. Onegin finally becomes smitten and she spurns him. Of all the characters in this “Onegin,” Gramagin’s Tatyana was the only one who seemed to have truly changed, placing her at the emotional core of this production.
Balancing the youthfulness of Tatyana was baritone Robert Garner as Eugene Onegin. Garner’s voice was rich, emotive and a pleasure to experience, though it was a challenge to identify with his narcissism and dismissiveness. Some “bad guys” you learn to like (think Walter White in “Breaking Bad”), others you just have to endure. Garner’s Onegin was handsome, rakish and self-centered – qualities that he neither shed nor eschewed.
The only reward for his inability to change seemed to be the lonely life that awaits him. Onegin may have been the last character on stage, but Tatyana had the best last word as she operatically and metaphorically dropped the mic. This being a Russian opera, with libretto by Pytor Ilyich Tchaikovsky no less, it’s appropriate to liken it to a matryoshka doll, with production elements nestled inside production elements.
Tatyana and Onegin may be the protagonists in the story, but they also require equally strong performances from the ensemble, which they certainly had in Union Avenue’s production. In fact, other than Garner’s Tatyana, tenor William Davenport as Lensky provided the most engaging and relatable performance. His superb voice, especially during the “friendship” aria in Act II, was a highlight, and his ability to reveal Lensky’s character was well matched to Onegin’s shallowness.
Rounding out the solid cast was Melody Wilson as a Tatyana’s younger sister/bestie, Olga, and basso Isaiah Musik-Ayala as Tatyana’s princely husband, Prince Gremin, who delivered a powerful area about her. Also nestled inside this matryoshka was a solid supporting cast and chorus and the always-fine orchestra under the direction of Scott Schoonover.
Dress rehearsal for Union Avenue Opera’s production of Eugene Onegin on July 5, 2022.
Union Avenue’s modestly sized stage provides challenges for large casts – a challenge that stage director Octavio Cardenas successfully surmounted. When the stage was full to the gills, it never felt constricted or distracting, not even during a peasant dance or polonaise, choreographed by Jennifer Medina.
One of the weakest elements of this matryoshka was Patrick Huber’s scenic design that included a series of tall, birch-like trees that worked well in Act II, but less so in later acts. The costumes by Teresa Doggett were superb, but some of the props appeared a bit tired.
“Eugene Onegin” was a fine way for Union Avenue to return to its home stage after two years in the pandemic hinterlands. And at the conclusion of the performance, with Gramagin’s Tatyana still pleasantly in mind, one might remember of something from Boris Pasternak in another tragic Russian love story, “Doctor Zhivago,” “If it’s so painful to love and absorb electricity, how much more painful it is to be a woman, to be the electricity, to inspire love.”
Union Avenue Opera presents “Eugene Onegin” July 8, 9, 15, 16 at 8 p.m. at Union Avenue Christian Church. For more information, visit www.unionavenueopera.org
Dress rehearsal for Union Avenue Opera’s production of Eugene Onegin on July 5, 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.
.Union Avenue Opera announces three new garden concerts taking place this spring.
This summer, Union Avenue Opera will make its highly anticipated return to its home stage within the historic Union Avenue Christian Church at 733 N. Union Blvd, just north of the intersection of Union and Delmar Boulevards.
Known for its commitment to presenting operas in their original language, Union Avenue Opera will offer a three opera festival season opening with Tchaikovsky’s masterpiece, Eugene Onegin (July 8, 9, 15, 16) which last appeared on the UAO stage in 2003 to great critical acclaim. The season will also see the return of Verdi’s riotous Italian romp Falstaff (July 29, 30, August 5, 6) which the company last produced in 2005. Rounding out the 2022 season will be the UAO debut of Stephen Sondheim and Hugh Wheeler’s charming A Little Night Music (August 19, 20, 26, 27).
“Moving back to our home stage after these harrowing two years away is a joyful outcome to the uncertainty we have faced during this pandemic” said UAO Founder and Artistic Director Scott Schoonover. “Our first two productions are personal and audience favorites from our 28 years of producing opera – Tchaikovsky’s Eugene Onegin and Verdi’s Falstaff. These new, vivacious productions welcome back to our stage many returning artists and several debut singers. Director Octavio Cardenas will make his UAO debut with Eugene Onegin bringing his own special brand of visceral, physical directing to the UAO stage. Jon Truitt returns to direct Falstaff (Jon’s favorite opera) with his proven comedic style, and Maestro Stephen Hargreaves will return to the UAO pit.”
“Our third production is a company and composer debut with Stephen Sondheim’s A Little Night Music. I’ve wanted to bring this show to UAO for many years and am so thrilled it is finally happening!” said Schoonover. “Annamaria Pileggi will return to direct this stellar cast headlined by St. Louis’ own Debby Lennon as Desirée. It is a wonderful story with so much memorable music which finishes up a season that certainly offers something for everyone! I know we say often, but this one is truly a season not to be missed – it is chock-full of amazing voices, actors, orchestra and stage technicians eager to get back to great storytelling on the intimate UAO stage.” Single tickets range from $35 to $55 and are available at unionavenueopera.org or by calling 314-361-2881. Discounts are available for Seniors (65+), Military/Educator, and Young Audiences (under 18). All performances start at 8:00PM and free parking is available in the lots behind the venue and overflow parking is available on the street.
Pytor Ilyich Tchaikovsky’s: EUGENE ONEGIN
July 8, 9, 15, 16 at 8:00PM Presented in Russian with projected English supertitles Conducted by Scott Schoonover Directed by Octavio Cardenas Libretto by Konstantin Shilovsky and Pytor Ilyich Tchaikovsky
A cautionary tale of what was, what was not, and what could have been. Tatyana, a lovesick girl from the countryside, declares her love for Onegin and finds herself spurned by the disenchanted aristocrat. Onegin, indifferent to the feelings of others, disregards Tatyana’s advances to pursue Olga, his friend Lensky’s betrothed. A duel commences and Onegin finds himself victorious albeit deeply tormented. He returns years later to find Tatyana happily married to Prince Gremin. Struck by her beauty, Onegin declares his love for her only to find himself face to face with the folly of his naïveté. Eugene Onegin is a sophisticated and melancholy masterpiece by one of classical music’s most universally beloved composers. Tchaikovsky’s lush melodies are enhanced by the opera’s unique folk tunes, infectious waltzes, and passion-soaked arias bringing to life Alexander Pushkin’s verse novel like never before.
Under the baton of Artistic Director Scott Schoonover, Robert Garner (Nabucco, Nabucco) and William Davenport (Hoffmann, Les contes d’Hoffmann) will return to UAO in their role debuts as Onegin and Lensky respectively. No stranger to the role of Tatyana, Zoya Gramagin will make her UAO debut alongside Andrew W. Potter as Prince Gremin. Melody Wilson (Fenena, Nabucco and Mrs. Miller, Doubt) will return as Olga along with local artists Debbie Stinson as Madama Larina, Victoria Carmichael as Filippyevna, Marc Schapman as Triquet, and Benjamin Worley as Zaretsky. This will be acclaimed stage director Octavio Carendas’ UAO directorial debut. Patrick Huber will provide scenic and lighting design with costume design by Teresa Doggett.
Eugene Onegin – Robert Garner Tatyana – Zoya Gramagin* Lensky – William Davenport Olga – Melody Wilson Filippyevna – Victoria Carmichael Madame Larina – Debbie Stinson Prince Gremin – Andrew W. Potter* Monsieur Triquet – Marc Schapman Zaretsky – Benjamin Worley
Giuseppe Verdi’s: FALSTAFF
July 29, 30, August 5, 6 at 8:00PM Presented in Italian with projected English supertitles Conducted by Stephen Hargreaves Directed by Jon Truitt Libretto by Arrigo Boito
Drink. Cheat. Scheme. Repeat. Just don’t get caught unaware… Old, lecherous, and down on his luck, Sir John Falstaff can’t resist the ladies. The fool hatches a plan to reverse his ill-fortune and sets his sights on not one, but two married women. Sharper than they look, Alice and Meg discover the odious Falstaff’s plan to unceremoniously seduce them and trick them out of their fortunes. The women band together and with the help of Nannetta and Dame Quickly, they concoct a scheme to teach him a lesson he’ll never forget and to put him in his place once and for all. Add in a jealous husband, a pair of young lovers, and a touch of the supernatural and what ensues is a sophisticated comedy filled with failed plans and botched disguises. Verdi’s riotous romp Falstaff bubbles with irrepressible wit and charm in this adaptation of Shakespeare’s The Merry Wives of Windsor.
On the heels of last summer’s company debut, Robert Mellon (Figaro, Il barbiere di Siviglia) will lead the cast of returning artists as Sir John Falstaff. No stranger to the UAO stage Brooklyn Snow (the Heroines, Les contes d’Hoffmann, and Cunegonde, Candide) will be reunited with her Candide co-star, Jesse Darden (Candide) as the two young lovers, Nannetta and Fenton. St. Louis-based husband and wife duo Jacob Lassetter and Karen Kanakis will portray Ford and his wife Alice for the production as Janara Kellerman (Rosina, Il barbiere di Siviglia) returns as Dame Quickly, and Melody Wilson will again be seen on the UAO stage, this time in her role debut as Meg Page. A trio of St. Louis based artists round out the cast with Clark Sturdevant as Bardolfo, Mark Freiman as Pistola, and Anthony Heinemann as Dr. Caius. Stephen Hargreaves conducts while Jon Truitt directs. Lex Van Bloomestein’s set designs and Teresa Doggett’s costume designs will be enhanced by Patrick Huber’s lighting design.
Sir John Falstaff – Robert Mellon Alice Ford – Karen Kanakis Ford – Jacob Lassetter Nanetta – Brooklyn Snow Fenton – Jesse Darden Dame Quickly – Janara Kellerman Meg Page – Melody Wilson Bardolfo – Clark Sturdevant Pistola – Mark Freiman Dr. Caius – Anthony Heinemann
Stephen Sondheim’s: A LITTLE NIGHT MUSIC
August 19, 20, 26, 27 at 8:00PM Presented in English with projected English supertitles Conducted by Scott Schoonover Directed by Annamaria Pileggi Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler Orchestrations by Jonathan Tunick Suggested by a Film by Ingmar Bergman Originally Produced and Directed on Broadway by Harold Prince Lovers reunite, passions reignite, and new romance blossoms in the magic of music on a mid-summer’s night.
A Little Night Music explores the tangled web of affairs centered around the glamorous actress Desirée Armfeldt and the two married men who love her: a lawyer by the name of Frederik Egerman and Count Carl-Magnus Malcom.
Both men—as well as their jealous wives—agree to join Desirée at her family’s estate for a scandalous “Weekend in the Country” under the watchful eyes of the wry family matriarch and harmonizing Greek chorus. With music and lyrics by Stephen Sondheim and book by Hugh Wheeler, it is no wonder A Little Night Music won the Tony Award for Best Musical. From the romance of the night waltzes to the hauntingly beautiful “Send in the Clowns,” Sondheim’s sweeping score is infused with humor and warmth weaving together musical theatre and operetta seamlessly in this tantalizing tale.
Debby Lennon (Mrs. Mullin, Carousel) returns to the UAO stage to lead this stunning cast as Desirée Armfeldt under the direction of Annamaria Pileggi, and Scott Schoonover conducts. Also returning to the UAO stage are Peter Kendall Clark (Older Thompson, Glory Denied) and Brooklyn Snow, who makes her second appearances of the season, as the newly married Frederick and Anne Egerman. Eric J. McConnell makes his UAO stage debut as Count Carl-Magnus Malcolm and Leann Schuering (Josephine, H.M.S. Pinafore) as his wife Charlotte. Local actor Teresa Doggett, best known for her work as UAO’s costume designer for the past fifteen seasons, makes her UAO stage debut as the matriarch Madame Armfeldt alongside Amy Maude Helfer as the restless maid Petra and Arielle Pedersen as the young Fredrika. A bevy of St. Louis talent round out the cast including James Stevens as Henrik Egerman, Jordan Wolk as the butler Frid, and Grace Yukiko Fisher, Gina Malone, Sarah Price, Joel Rogier, and Philip Touchette as the “Liebeslieders”. C. Otis Sweezey will provide scenic design for A Little Night Music along with costume design by Teresa Doggett and lighting design by Patrick Huber.
Desirée Armfeldt – Debby Lennon Frederick Egerman – Peter Kendall Clark Count Carl-Magnus Malcolm – Eric J. McConnell* Charlotte Malcolm – Leann Schuering Madame Armfeldt – Teresa Doggett* Anne Egerman – Brooklyn Snow Henrik Egerman – James Stevens Petra – Amy Maude Helfer* Fredrika – Arielle Pedersen* Mrs. Nordstrom – Gina Malone Mrs. Anderssen – Grace Yukiko Fisher Mrs. Segstrom – Sarah Price* Mr. Erlanson – Philip Touchette Mr. Lindquist – Joel Rogier Frid – Jordan Wolk
A Little Night Music is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com *UAO stage debut
Opera in the Garden In anticipation of the season, UAO will bring classic opera front and center in its 2022 Opera in the Garden – Garden Concert Series Fundraiser this spring. Launched in 2018, as a House Concert Series, UAO moved the concerts outdoor in the fall of 2020 for the safety of its artists and patrons and were some of the first, live, operatic performances held in St. Louis during the pandemic. Each concert will feature two UAO artists from the upcoming season performing an eclectic and entertaining selection of arias, art songs and musical theatre favorites, and will showcase a scholarship winner from UAO’s 2022 CRESCENDO! program along with a guest instrumentalist from UAO’s talented opera orchestra.
Sunday, May 8 at 5:00PM Our opening concert will take place on Mother’s Day and headlined by two singing moms – Gina Malone and Danielle Yilmaz – celebrating the day with us with some wonderful music and fun. Guest artists Raven Brooks, soprano, from Blackburn College and UAO principal flutist, Ann Dolan will join pianist Sandra Geary for this perfect Mother’s Day afternoon. The backdrop for our first concert is the beautiful lawn of the 1959 home of CK Siu and Shannon Hart which sits on what used to be the Krause farm in Ladue.
Sunday, May 22 at 5:00PM Our second concert takes us to the grounds of the former Rand Mansion, now the home of University City mayor, Terry Crow. Artists Sarah Price, Mark Freiman and Nancy Mayo will lead this concert, along with guest soprano, Erica Ancell from Webster University and UAO principal horn player, Nancy Schick, who will team up with Ms. Price and Ms. Mayo for a not-to-be-missed special performance of Schubert’s Auf dem Strom D. 943.
Sunday, June 5 at 5:00PM The 2022 Garden Concert Series concludes with a return to the beautiful flower-filled garden of the University City home of Richard and Mary Ann Shaw. Grace Yukiko Fisher, Philip Touchette and Nancy Mayo will entertain us with opera and musical theatre fun, and guest artists Madalyn Tomkins, soprano, from Webster University, and Carolina Neves, violinist will round out this beautiful afternoon.
Fundraiser tickets are $50 for individuals or $100 for Patron Seating which includes the best reserved seats and a $50 tax-deductible donation to UAO. Tickets are on sale now at www.unionavenueopera.org and must be ordered in advance (no door sales). About Union Avenue Opera
UAO was founded in 1994 to bring affordable, professional, original-language opera t St. Louis, a mission the company continues to pursue to this day. UAO is committed to hiring the most talented artists, directors, designers and technicians both locally and from across the United States. UAO provides promising singers the first steppingstone of their professional career. The company celebrated its 25th Anniversary Season in 2019 and offers vibrant and affordable opera experiences in original languages to audiences who reflect the breadth and diversity of the St. Louis region. UAO is a publicly supported 501(c)(3) nonprofit organization registered in Missouri.
Financial assistance for the 2022 Festival Season has been provided by the Missouri Arts Council, a state agency, and with support from the Regional Arts Commission
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.
This July, Union Avenue Opera (UAO) will make its return to presenting live, in-person opera following a summer of cancellations due to the COVID-19 Pandemic. For the 2021Season, UAO will move its performances to The Big Top, in St Louis’ Grand Center district, for three exciting, socially distanced performances of both Offenbach’s Les contes d’Hoffmann and Rossini’s Il barbiere di Siviglia.
“I am beyond thrilled that we have found a way to safely bring opera back to the city of St. Louis this summer. It is an incredible opportunity for us to be creative and offer audiences something different for this one unique season,” said UAO founding Artistic Director and conductor Scott Schoonover.
This summer, audiences will have the opportunity to see two classic, beloved operas in one week – even on the same day, as UAO will offer two matinee performances for the first time in eight years.
“The operas will unfold, acted in front of our wonderful orchestra on The Big Top stage with costumes and lights, to delight socially distanced crowds in the large open-air tent. I can’t wait to see our patrons again and hope that new audience members will come out as well, in support of this effort to put St. Louis artists, orchestra members and technicians back to work after this difficult year,” said Schoonover.
Operated by the Kranzberg Arts Foundation, The Big Top is Missouri ArtSafe Certified and will employ rigorous COVID-19 mitigation policies for the benefit of all guests, staff, and artists in its 1,200-person tent which will have reduced capacity for 2021. The Big Top will also employ a contact-less ticketing and concession experience for opera goers and masks will be required.
“I know those who attend will be moved in a special way by hearing live singing and orchestra again, and by seeing wonderful portrayals of these complex and sometimes hilarious characters in person. It certainly gives us all something which we can look forward to in the upcoming months. Finally, I would like to assure our loyal supporters that UAO fully intends to be back in its home venue next season with a full, 3-opera lineup.”
Single tickets range from $25 to $55 and will be available exclusively through MetroTix beginning June 1, for members of the public. All tickets must be purchased in advance either online at www.metrotix.com or by calling 314-534-1111 or 800-293-5949. UAO will utilize tiered on-sale dates for past subscribers and donors prior to the public on-sale date – more information regarding tiered ticket on-sale dates can be found online at www.unionavenueopera.org.
Brooklyn Snow
Offenbach’s: LES CONTES D’HOFFMANN Three Performances: July 21 and 24 at 7:30PM and July 23 at 2:00PM Presented in French with projected English supertitles Conducted by Scott Schoonover Staging by Mark Freiman
Offenbach’s grand French opera follows the poet Hoffmann as he searches for true love in a magical tale of thwarted love, art, and revenge! Best known for the Barcarolle “Belle nuit, ô nuit d’amour,” “Chanson de Kleinzach,” and the ultimate showcase of coloratura soprano singing, Olympia’s “Doll aria.” Les contes d’Hoffmann is a haunting tale of one man’s desire for the perfect woman. Hounded by his other-worldly nemesis and accompanied by Nicklausse, his ever-faithful friend, Hoffmann seems forever unlucky in love. Darkly playful and set against fantastical backdrops and stirring chorus formations, the opera renders the story of Hoffmann’s descent into madness and intoxication in faithful detail
Under the baton of Artistic Director Scott Schoonover, lyric tenor William Davenport will make his UAO debut in the title role. Soprano Brooklyn Snow, who received high praise for her portrayal of Cunegonde in 2019’s Candide returns to sing the three heroines as Jeremiah Sanders makes his UAO debut as the opera’s four villains. Anthony Webb (Enoch Snow, Carousel) returns to sing the roles of the four servants and Emma Sorenson (Hänsel, Hänsel und Gretel) as Hoffmann’s faithful companion, Nicklausse.
Hoffmann – William Davenport* Lindorf / Coppélius / Dappertutto / Dr. Miracle – Jeremiah Sanders* Andrès / Spalanzani / Pittichinaccio / Frantz – Anthony Webb Olympia / Giulietta / Antonia – Brooklyn Snow Nicklausse – Emma Sorenson Luther / Crespel – Joel Rogier Hermann / Schlemil – Randell McGee Nathanael / Cochenille – Anthony Heinemann Voice of Antonia’s Mother – Liya Khaimova
Rossini’s: IL BARBIERE DI SIVIGLIA Three Performances: July 22 and 23 at 7:30PM and July 24 at 2:00PM Presented in Italian with projected English supertitles Conducted by Stephen Hargreaves Staged by Jon Truitt
Figaro! Figaro! Figaro! Only the clever barber Figaro can help the fair Rosina outwit her guardian, the aging Dr. Bartolo and live out her days in the arms of her true love, Count Almaviva. A grand plan is hatched, full of mischievous escapades and inventive antics sure to delight audiences of all ages. This Rossini Italian classic features one of the most well-known pieces of music in history, Figaro’s “Largo al factotum” along with Rosina’s dazzling “Una voce poco fa.” Full of laughter and beautiful music, see why Il barbiere di Siviglia has been an audience favorite for more than two centuries.
No stranger to his role, Pedro Barbosa will make his UAO debut as Conte d’ Almaviva as Robert Mellon makes his UAO and role debut as the barber Figaro, and Janara Kellerman (Mrs. Herring, Albert Herring) makes her role debut as Rosina. Also returning are Andy Papas (Ko-Ko, H.M.S. Pinafore) as Dr. Bartolo, Erin Haupt (Hebe, H.M.S. Pinafore) as Berta, Isaiah Musik-Ayala (Colline, La bohème) as Basilio, as Stephen Hargreaves (Nabucco) conducts.
Conte d’ Almaviva – Pedro Barbosa* Figaro – Robert Mellon* Rosina – Janara Kellerman Dr. Bartolo – Andy Papas Basilio – Isaiah Musik-Ayala Berta – Erin Haupt Fiorello – Ben Worley
In anticipation of its season, UAO will bring classic opera front and center in its 2021 Opera in the Garden – Garden Concert Series this spring featuring thrilling operatic performances. Launched in 2018, as a House Concert Series, UAO moved the concerts outdoor last fall for the safety of its artists and patrons and were some of the first, live, operatic performances held in St. Louis during the pandemic.
Sunday, May 16 at 6:00PM Our series starts in the Ladue garden of Margaret Gilleo and Charles Guenther with performances by UAO artists Leann Schuering, Anthony Heinemann, and Randell McGee with Nancy Mayo on piano. The concert will feature operatic favorites including “Je veux vivre” Roméo et Juliette, “Kuda, kuda” Eugene Onegin, “Caro nome” Rigoletto, “Cosa sento!” Trio from Le nozze di Figaro, “Refrain, audacious tar” – Duet from H.M.S. Pinafore.
Saturday, June 5 at 7:00PM Join us as we return to the Compton Heights garden of Dr. Kenneth and Marjorie Smith and welcome back Metropolitan Opera soprano Mary Dunleavy for a special Saturday night concert. Ms. Dunleavy will present a selection of arias from opera’s favorite courtesans (such as Violetta, Manon, Madama Butterfly) as well as art songs by American composer Amy Beach with pianist Gail Hintz.
Sunday, June 27 at 6:00PM We conclude our series in the in Webster Groves garden of Jack and Mary LaBarge as we introduce our very own Figaro, Robert Mellon alongside 2021 season artists Erin Haupt and Liya Khaimova with Nancy Mayo on piano. Concert highlights include “Largo al factotum” Il barbiere di Siviglia, “Elle a fui, la tourterelle” Les Contes d’Hoffmann, “Che faro senza Euridice” Orfeo, “Evening Prayer” duet from Hansel and Gretel, and “Soave il vento” trio from Così fan tutte.
Tickets are $50 for individuals or $100 for Patron Seating which includes the best reserved seats and a $50 tax-deductible donation to UAO. Tickets are on sale now at www.unionavenueopera.org and must be ordered in advance (no door sales)
About Union Avenue Opera – UAO was founded in 1994 to bring affordable, professional, originallanguage opera to St. Louis, a mission the company continues to pursue to this day. UAO is committed to hiring the most talented artists, directors, designers and technicians both locally and from across the United States. UAO provides promising singers the first steppingstone of their professional career. The company celebrated its 25th Anniversary Season in 2019 and offers vibrant and affordable opera experiences in original languages to audiences who reflect the breadth and diversity of the St. Louis region. UAO is a publicly supported 501(c)(3) nonprofit organization registered in Missouri. In 2018 UAO became an OPERA American Professional Company Member. OPERA America is the national membership organization for artists, administrators and audiences, dedicated to support the creation, presentation and enjoyment of opera.
Financial assistance has been provided by the Missouri Arts Council, a state agency, and with support from the Regional Arts Commission, and funded in part by the Arts and Education Council.
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.
