To appreciate the exceptional experience of “Color Into Form Into Sound” — the clarity, intimacy and high-caliber artistry within the Pulitzer Arts Foundation’s concrete calm — it helps to understand the why behind the evening.
Curated by Christopher Stark, composer and professor at Washington University in St. Louis, the program invited listeners to consider how music, space and visual art illuminate one another. Inside Tadao Ando’s serene geometry, four musicians from the St. Louis Symphony Orchestra shaped an evening where sound behaved like form, breath became structure and attention felt like devotion.
As Stark shared in his opening remarks, the program grew directly from Jennie C. Jones’ listening life. Jones lives with contemporary classical music in her studio, especially works by pioneering Black composers who bridge classical lineage with improvisational energy, and she offered Stark the pieces and voices that inform her world. He spoke with admiration for how intuitively her surfaces and these sonic landscapes connect — tone, texture and resonance moving easily between gallery and score.
He also noted acoustic affinities between Jones’ layered materials, which recall studio treatments designed to address sound, and the Pulitzer’s concrete hush. A quiet echo of Miles Davis hovered in that framing — his belief that “a painting is music you can see, and music is a painting you can hear” felt beautifully at home. With that sensibility, Stark curated solo and small-ensemble works that met the room, the art and our listening with clarity and presence.
Jones’ exhibition and the Pulitzer’s tranquil architecture created a receptive space where breath and resonance felt almost architectural. Against this backdrop, the program brought together four groundbreaking voices — Carlos Simon, Alvin Singleton, George Lewis and Pauline Oliveros — each offering a distinct approach to line, rhythm and listening. Simon, Singleton and Lewis stand among the pioneering Black composers who have shaped contemporary classical and improvisational music, and Oliveros offered a complementary Deep Listening dimension rooted in awareness and breath. Heard inside Jones’ world of tuned surfaces and charged quiet, the works formed a sonic exhibition, each piece focused and individually framed, inviting the audience to lean in and listen with care.
Simon’s “Silence,” performed by cellist Bjorn Ranheim, and “Move It,” played by flutist Andrea Kaplan on alto flute, revealed the physical and expressive demands of his writing. The musicians approached these works like elite athletes at peak form, shaping tone and breath with clarity and vigor. Kaplan drove through “Move It” with a stamina that felt architectural in its discipline, while Ranheim revealed taut strength beneath “Silence,” each bow stroke carrying sculptural intention. In “Between Worlds,” double bassist David DeRiso extended Simon’s sense of grounded lyricism, giving the instrument weight, lift and presence.
Singleton’s “In My Own Skin,” performed by Peter Henderson, offered a vivid demonstration of musical command — a flourishing traversal through a score that carried the room with it, idea by idea. Kaplan returned for Singleton’s “Argoru III,” shaping sound and silence with poised clarity, each gesture finely articulated.
In Lewis’ “Endless Shout,” Henderson again proved a compelling guide, allowing musical thought to move with conversational ease, alert to both structure and spontaneous color.
Oliveros’ “Horse Sings From Cloud,” performed by Kaplan, Ranheim, DeRiso and Henderson, asked performers and listeners to treat tone, breath, silence and space as equal materials. This performance felt quietly luminous, meditative and humming, the result of disciplined listening and collective trust. Silence breathed differently here, less like absence than a living medium in which sound appeared and receded. The effect was gently sublime, delivering a moment of stillness that settled the room into a deeper register of experience.
The connection between Jones’ work and these sounds lived in sensibility rather than illustration. Stark’s framing centered Jones’ listening — an invitation to imagine her in the studio with these composers sounding around her, much as one imagines Basquiat painting with Parker or Gillespie in the air. Music and art infused, each informing the other as parallel commitments to color, energy and imagination.
The gallery was full, and the audience listened with a calm, steady attentiveness that felt in tune with the room and the music — a presence that reflected both the strength of the SLSO community and St. Louis enthusiasm for programs where contemporary music and visual art meet in shared focus. Cross-disciplinary evenings like this affirm how vividly the arts speak to one another when we move among galleries, stages and concert halls, embracing perspectives shaped by diverse voices and modern compositional language.
The evening also affirmed the value of the St. Louis Symphony Orchestra’s Live at the Pulitzer series, which brings adventurous programming into conversation with contemporary art and architecture. As the final tones settled, the space held a gentle afterglow, as though the music had entered the walls as quietly and surely as Jones’ works inhabit them.
Her pieces remain on view, and the evening’s sounds may still hover in the gallery air — a testament to curation grounded in discernment and performances shaped by devotion, the kind of experience that lingers and encourages us toward the fullness of artistic experience across forms.
St. Louis Symphony Orchestra: Live at the Pulitzer performed “Color Into Form Into Sound” on Nov. 4 at the Pulitzer Arts Foundation.
Photo Credit: Courtesy of the Pulitzer Arts Foundation. Photography by Chris Bauer.
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.
Dateline: Sept. 1 By Lynn Venhaus, Alex McPherson, C.B. Adams and Carl “The Intern” Middleman
Are we ready to cross into the spooky season? And no, I don’t mean the pumpkin-spice aisle at the grocery store. (And besides, aren’t you stockpiling Halloween candy like sensible adults?). In the pop culture universe, we’re buzzing about film festivals, new television season, live theatre coming our way, and outdoor fall activities.
Here’s Round 3 of our new endeavor — our curated weekly round-up guaranteed fresh every Monday on our website and in your inbox. (Or in case of holidays, Tuesday. We hope you not only enjoy but spread the word – we’d like to reach as many fellow Popsters as we can.
This newsletter features links to our recent online works, in other publications, and heads’ up tips on what’s ahead, is meant to serve as a guide for you navigating an extensive ‘what to watch, go, see, do” that the universe is beckoning us to check out.
Now Showing: Our timely film reviews so you can decide what’s worth your time and money.
Caught Stealing: Austin Butler’s star charisma enlivens a scruffy, grungy, brutal chase through late 90s New York. Mayhem ensues in a bloody treasure hunt.
Hamilton: To celebrate its 10th anniversary on Broadway, the filmed version of the musical, which premiered on Disney + during the pandemic on July 1, 2020, will be available in local theatres, and will feature a cast reunion special feature.
“This view has new opportunities for discovery, to marvel at Miranda’s attention to detail and his nimble storytelling. The recurring themes and repetitive nature of the score add texture to the rhythms and harmonies, and the cast’s enunciation and verbal dexterity is remarkable.” – Lynn
New to Streaming:
“The Thursday Murder Club” — charming -2-hour comedy-mystery with an all-star British cast on Netflix, including Helen Mirren, Pierce Brosnan, Ben Kingsley, Celia Imrie, Jonathan Pryce, David Tennant, Naomi Ackie and Think “Knives Out” meets “The Best Exotic Marigold Hotel.”
Here’s Lynn’s review on KTRS Aug. 29: (My segment starts at 34:30 and ends at 49:30)
The mystery may be by the book, but the team in the retirement home solving cases is a delight to watch — Helen Mirren, Pierce Brosnan, Ben Kingsley and Celia Imrie (you know her from The Best Exotic Marigold Hotel movies and Bridget Jones).
The great Jonathan Pryce plays Helen Mirren’s husband who has dementia and Naomi Ackie plays a local police officer who is investigating a real murder.
I had fun watching them all play together on the playground (in this case, a grand old senior living center).
PopLifeSTL Presents Podcast: ChasAdams joined Lynn this week as Carl the Intern Middleman is on an epic hero’s journey on the Mother Road with his family, and we had a swell time talking with promoter Greg Hagglund of Steve Litman Productions about a Napoleon Dynamite Bash at the District in Chesterfield on Sept. 3.The Napoleon Dynamite Bash is a teaser in preparation for showing the movie on Oct. 9 at The Factory, with cast members Jon Heder (title character), Jon Gries (Uncle Rico) and Efren Ramirez (Pedro) in attendance for a Q&A.
We also enjoyed talking with Eric Dundon from the St. Louis SymphonyOrchestra and talk about an epic journey! Their upcoming events this month — unveiling Powell Hall’s additions, the free community concert in Forest Park Sept. 17, and release of their new album with composer in residence Kevin Puts. They have many things going on!
Our Playlist: We recommend — Chas: My playlist has been a continuous shuffle of my 200+ song playlist called The Road — tunes with traveling, driving and getting away as the theme or vibe.
Alex: The soundtrack/score for “Inglourious Basterds.”
Lynn: After certifiable musical genius Jon Batiste rocked the Muny Thursday, exuding goodness and light, I’ve been listening to different cuts from several albums. I love the vast scope of his music, but I’ll share his Grammy-nominated song “Butterfly” from his 2024 “World Music” album, live from “Late Show with Stephen Colbert”: https://youtu.be/CR115pxSjWM?si=czO2tsGn51myAWjg
Good Eats and Fun Treats: Fans of “Napoleon Dynamite” can try “Tot Dogs” at Steve’s Hot Dogs in The District at Chesterfield, plus take their photo with a llama on site, enter a look-a-like contest, play trivia and win tickets to the upcoming movie event, and more to celebrate the 2004 cult classic film on Wednesday, Sept. 3, from 5 to 7 p.m. The Napoleon Dynamite Bash is a teaser in preparation for showing the movie on Oct. 9 at The Factory, with cast members Jon Heder (title character), Jon Gries (Uncle Rico) and Efren Ramirez (Pedro) in attendance for a Q&A.
Rear Window with Jimmy Stewart and Grace Kelly.
The Vault: Special anniversaries this week –
Sept. 1, 1984: Tina Turner’s single “What’s Love Got to Do with It,” shot to no. 1, his first as a solo artist. Turner, who attended Sumner High School in St. Louis, launched her music career here, singing with Ike Turner’s band.
Sept. 2, 1954: Alfred Hitchcock’s classic thriller Rear Window was released in American theaters. Often imitated. A luminous Grace Kelly takes your breath away.
Sept. 3, 1972: Everybody, sing along! “It was the 3rd of September, that day I’ll always remember.” That’s the first line of The Temptations’ iconic cover “Papa Was a Rollin’ Stone,” which won a Grammy and went to no. 1 on the Billboard Top 100.
Sept. 4, 2002: Kelly Clarkson was crowned winner of the first “American Idol” singing competition show.
Sept. 5, 1976: Jim Henson’s “The Muppet Show” premiered on TV and Mia Farrow was the first guest star.
Sept. 6, 1997: The funeral of Diana, Princess of Wales, was watched by an estimated 2.5 billion people globally. She had died a week earlier, at age 36, in a car accident in Paris on Aug. 31. Sept. 7, 2008: Jonathan Larson’s Tony and Pulitzer Prize winning musical “Rent” closed after 12 years on Broadway, and 5,123 performances.
The company of ‘The Cottage.’ Photo by Jon Gitchoff.
On Our Radar: What we’re excited about this week.
Chas: I’m looking forward to this week’s return of the Two Reps – The Black Rep and St. Louis Repertory Theatre!
On my radar is the upcoming “Art Work: On the Creative Life” by Sally Mann, one of my top five photographers. Not only is she a stellar artist, but she can also write beautifully. I’ve pre-ordered a hardcover on its Sept. 9 release.
Alex: “Sanatorium Under the Sign of the Hourglass” at the Webster Film Series next weekend (Sept. 5-7).
Carl the Intern: Finishing the last 302 miles of the Route 66 trip from Santa Monica to Chicago.
Lynn: The fall theatrical season kicks off with the farce “The Cottage” at The Rep and the musical “Raisin” at the Black Rep, and I’m excited to see both productions.
“The Paper” starts Thursday on Peacock, and it may become my new favorite show. It’s the new spin-off of “The Office,” and it’s the same documentary crew now at a struggling small-town newspaper in Ohio – the Toledo Truth-Teller. Domhnall Gleeson, plays the new editor-in-chief. After 50 years in news, I may either laugh or cry, or both.Chas:
Where Can You Find Us?
Chas: St. Louis Arts Scene, PopLifeSTL.com, STL Stage Snaps on YouTube and IG, and the socials.
Alex: https://bsky.app/profile/gdogmcp.bsky.social and https://letterboxd.com/gdogmcp/
Carl the Intern: Find me@_CarlTheIntern on IG, X & Threads and on the Big 550 KTRS M-F 5a-10a.
Lynn: KTRS, “The Frank and Jill Show,” every Friday at 11:08 a.m., PopLifeSTL.com, Webster-Kirkwood Times, Alliance of Women Film Journalists (awfj.org), plus Belleville News-Democrat for news and features, St. Louis Magazine for dining contributions, and all the socials.
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.
Available worldwide September 19 on the Delos label, album includes recordings of Puts’ Concerto for Orchestra, Silent Night Elegy, and Virelai (after Guillaume de Machaut), recorded at Powell Hall
The St. Louis Symphony Orchestra (SLSO) has announced the international release of an album featuring the world premiere recordings of three works by Pulitzer Prize-winning composer Kevin Puts. The album marks the SLSO’s first collaboration with the Delos label.
Conducted by SLSO Music Director Stéphane Denève, the album features Puts’ Concerto for Orchestra, a six-movement orchestral showcase; Silent Night Elegy, a single-movement essay of music from the Pulitzer Prize-winning opera Silent Night; and Virelai (after Guillaume de Machaut), composed to celebrate Denève’s inaugural concerts as SLSO Music Director. The SLSO was the lead commissioner and gave the world premiere performances of Concerto for Orchestra and Virelai, and was a co-commissioning orchestra for Silent Night Elegy.
Since 2004, Puts has been a close artistic collaborator of the orchestra and will serve as the SLSO’s Composer in Residence for the 2025/26 season, which celebrates the reopening of the orchestra’s venue, Powell Hall at the Jack C. Taylor Music Center, following a transformational expansion and renovation. The opening weekend of concerts features the world premiere of an SLSO-commissioned song cycle by Puts, House of Tomorrow. Puts’ music will be performed throughout the season, including Concerto for Orchestra and Virelai.
Stephane Deneve
Stéphane Denève, SLSO Music Director, said, “Discovering during our first conversations that Kevin and I share many similar interests and connections—including St. Louis, a city where he was born and where I live today— helped to create our years-long friendship. The SLSO likewise has had a rewarding relationship with Kevin for more than 20 years, and this album is a beautiful representation of our musical kinship. His music is a symphonic tour de force which proves that wondrously crafted music of our time can touch the heart as well as the mind.”
Kevin Puts, composer, said, “I often tell my students about the importance of finding one’s people over the long arc of a career: write the music you care most earnestly about and a supportive network of musicians to coalesce around your work. For me, Stéphane and the SLSO is primary among these. All three works on this album were fueled by our musical kinship. As a native of St. Louis, it is especially meaningful to hear my work endorsed so expertly by the great musicians of the SLSO, an orchestra which I have known since my earliest years.”
Recorded at historic Powell Hall in September 2019 (Virelai), February 2020 (Silent Night Elegy) and January 2023 (Concerto for Orchestra), the album is slated for physical and digital release on the Delos label on September 19. Pre-orders begin on August 22.
The album celebrates the dynamic partnership between Puts, Denève, and the SLSO. Dedicated to the SLSO and Denève, Puts composed Concerto for Orchestrain response to an Amanda Gorman poem written in the wake the horrific school shooting that occurred in Uvalde, Texas, in 2022. Silent Night Elegy is drawn from Puts’ acclaimed opera, which adapts Joyeux Noël, the award-winning film that tells the story of the spontaneous ceasefires along the Western Front on the first Christmas Eve of World War I. Virelai, a brief and celebratory fanfare, was inspired by Guillaume de Machaut, the 14th-century composer and poet.
Kevin Puts
Since the first SLSO performances of his music in 2004, the orchestra has performed many of Puts’ pieces ranging from full orchestral works to chamber works and choral music sung by the St. Louis Symphony Chorus. As the SLSO’s historic home reopens for the 2025/26 season, the inaugural concerts in the renovation venue include the world premiere of Puts’ new song cycle, House of Tomorrow, featuring acclaimed mezzo-soprano Joyce DiDonato. Kevin Puts’ music is published worldwide by G. Ricordi & Co., New York, a Universal Music Publishing Classics & Screen company.
This SLSO release is the latest in a robust history of recordings that has resulted in nine Grammy Award wins. Most recently, the SLSO, in conjunction with Pentatone, released the SLSO’s inaugural recordings with Denève and violinist James Ehnes with music by Leonard Bernstein and John Williams. The SLSO won the 2014 Grammy Award for Best Orchestral Performance for the Nonesuch release of John Adams’ City Noir conducted by former Music Director David Robertson.
About the St. Louis Symphony Orchestra
Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 146th year with the 2025/26 season and its seventh with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music. The 25/26 season marks the reopening of the orchestra’s historic home following a two-year transformational expansion and renovation designed by acclaimed architecture firm Snøhetta. The Jack C. Taylor Music Center, with a renovated Powell Hall at its heart, builds on the institution’s momentum as a civic leader in convening individuals, creators, and ideas, while fostering a culture welcoming to all. For more information, visit slso.org.
About Stéphane Denève
Known for his visionary storytelling and heartfelt interpretations, Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director, joined the St. Louis Symphony Orchestra in September 2019, having served as Music Director designate during the 2018/2019 season.
Now in his seventh season as the 13th Music Director of the SLSO, Stéphane has shaped his tenure around creating extraordinary experiences that give an authentic voice to music. An expert with repertoire across genre and time, he has cultivated specific recognition for his interpretation of French, American, vocal, and operatic music.
Through thoughtful and innovative programming, he maintains an enthusiasm for music and composers of today. A gifted communicator and educator, he is committed to inspiring the next generation of musicians and listeners, as well as nurturing the SLSO’s role as a creative leader for the St. Louis community and making orchestral music accessible to all.
Recognized internationally for the exceptional quality of his performances and programming, he regularly appears at major concert venues with the world’s greatest orchestras and soloists. In addition to his role in St. Louis, he is the Artistic Director of the New World Symphony (Miami) and the Principal Guest Conductor of the Netherlands Radio Philharmonic. He has held leadership positions at the Brussels Philharmonic, the Philadelphia Orchestra, and the Royal Scottish National Orchestra.
Stéphane regularly works with orchestras and opera companies worldwide and is also a popular guest at many of the US summer music festivals and venues. As a recording artist, he has won critical acclaim for his recordings of the works of Connesson, Debussy, Franck, Poulenc, Ravel, and Roussel. He is a triple winner of the Diapason d’Or of the Year and has been shortlisted for Gramophone’s Artist of the Year Award. His inaugural album with the SLSO, featuring the music of Leonard Bernstein and John Williams with violinist James Ehnes, earned critical acclaim.
Since his first visit to St. Louis in 2003, Stéphane has charmed audiences with his wit, warmth, and genuine passion for music and the St. Louis region. He is shaping the future of the SLSO through his appointments of artistic leaders and one-quarter of the orchestra to date, advanced audience-building initiatives with new happy hour concerts, and made music more accessible to the community through cross-artistic collaborations with partnering St. Louis arts organizations. He has welcomed music lovers to SLSO performances in St. Louis, at universities throughout the Midwest, and in some of Europe’s most-respected concert venues.
About Kevin Puts
Pulitzer Prize and Grammy®-winning composer Kevin Puts has established himself as one of America’s leading composers. He has been commissioned and performed by leading organizations, including the Metropolitan Opera, Philadelphia Orchestra, the New York Philharmonic, Carnegie Hall, Opera Philadelphia, Minnesota Opera, and many more, and has collaborated with world-class artists such as Renée Fleming, Joshua Bell, Yannick Nézet-Séguin, and Marin Alsop, among others.
In March 2022 Puts’ fourth opera, The Hours, had its world premiere on the concert stage by the Philadelphia Orchestra under the baton of Yannick Nézet-Séguin. The Hours premiered to sold-out houses at the Metropolitan Opera in November 2022 starring Renée Fleming, Kelli O’Hara, and Joyce DiDonato and was called “a stunning triumph” by Variety Magazine. The opera’s revival in May 2024 played to packed houses and marked the first instance in the Metropolitan Opera’s history of a work returning the season after its premiere. His multi-media song cycle The Brightness of Light featured Renée Fleming and Rod Gilfry at its Tanglewood premiere with Andris Nelsons and the Boston Symphony and has been presented by over 20 orchestras. Puts’ triple concerto, Contact, had its world-premiere in March 2022. A recording of the piece by the Philadelphia Orchestra and conductor Xian Zhang was released on the Deutsche Grammophon album “Letters for the Future” and was awarded “Best Contemporary Classical Composition” at the 2023 Grammy® Awards. Puts was named Musical America’s Composer of the Year in 2024.
Puts’ breakthrough opera Silent Night–for which he was awarded the 2012 Pulitzer Prize– was heralded as “remarkable” (The New York Times). Since 2006, he has been a member of the Composition Faculty at the Peabody Institute. He has also served as Distinguished Visiting Composer at the Juilliard School as well as Director of the Minnesota Orchestra Composer’s Institute.
About Delos
Founded 50 years ago in California by Amelia Haygood and later expertly led by pianist Carol Rosenberger, Delos features collaborations with a host of renowned artists and ensembles and is a beacon for American composers. With more than 680 albums featuring top artists from America and around the world, Delos is known as a label with a strong personality which has also garnered acclaim for the technical excellence of its recordings. Outhere Music welcomed the prestigious label into its family in November 2023.
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.
The Jack C. Taylor Music Center opens following a two-year, $140 million expansion and renovation, transforming the audience and artist experience
Music Director Stéphane Denève leads a reopening performance for the venue’s neighbors and community and an opening weekend celebration with mezzo-soprano Joyce DiDonato;venue welcomes entire region for community open house in November
World premieres of three SLSO commissions: Nathalie Joachim’sFamily (composed for the SLSO IN UNISON® Chorus), James Lee III’sFanfare for Universal Hope, and Kevin Puts’House of Tomorrow (song cycle with JoyceDiDonato and members of the St. Louis Symphony Chorus); SLSO co-commissions and St. Louis premieres of Carlos Simon’s Double Concerto with violinist Hilary Hahn and cellist Seth Parker Woods and a new work by Jasmine Guo
Commitment to music of today, with 40 percent of pieces on classical programs by living composers, including four pieces by Kevin Puts, who will serve as composer in residence
Denève conducts pillars of the symphonic repertoire, including Richard Strauss’ Ein Heldenleben; Sergei Rachmaninoff’s Symphony No. 2; Benjamin Britten’s War Requiem; Igor Stravinsky’s complete score to the ballet, The Firebird; W.A. Mozart’s The Magic Flute in its entirety; Gustav Mahler’s Symphony No. 5; Maurice Ravel’s complete Daphnis and Chloé; and Igor Stravinsky’s Pulcinella Suite with dancers from Saint Louis Dance Theatre
New chamber music series, featuring two programs curated by and performed with visiting artists, violinist Augustin Hadelich and pianist Orli Shaham
Introduction of recital series, with performances by acclaimed pianists Víkingur Ólafsson and Isata Kanneh-Mason
Denève welcomes his predecessors, David Robertson (Music Director 2005-2018) and SLSO Conductor Laureate Leonard Slatkin (Music Director 1979-1996), alongside returning conductors Hannu Lintu, Nicholas McGegan, John Storgårds, and Xian Zhang; plus returning pianists Emanuel Ax, Stewart Goodyear, Víkingur Ólafsson, Orli Shaham, Jean-Yves Thibaudet, and Joyce Yang; violinists Augustin Hadelich, Hilary Hahn, Leila Josefowicz, and Nikolaj Szeps-Znaider; vocalists Christine Goerke, John Matthew Myers, Sherezade Panthaki, and Philippe Sly; and ensembles The St. Louis Children’s Choirs and Saint Louis Dance Theatre
Artists new to the SLSO include conductors Ryan Bancroft, Tabita Berglund, Kevin John Edusei, Dima Slobodeniouk, and Anna Sułkowska-Migoń; pianists Isata Kanneh-Mason, Jan Lisiecki, and Gabriela Montero; cellists Seth Parker Woods and Kian Soltani; vocalists Ben Bliss, Ian Bostridge, Sara Couden, Joyce DiDonato, Rainelle Krause, and Roderick Williams; trio Time for Three; saxophonist Steven Banks; and sheng player Wu Wei
More concerts to be announced, including chamber music at the Pulitzer Arts Foundation and The Sheldon; happy hour concerts; Concerts for Kids; and additional specials
The St. Louis Symphony Orchestra (SLSO) and Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director, announced programming for the orchestra’s 2025/2026 season, the orchestra’s 146th and Denève’s seventh as Music Director. This celebratory season welcomes the community back to the SLSO’s concert venue following two years of construction. The Jack C. Taylor Music Center includes a complete renovation of Powell Hall—the historic venue built in the 1920s that has served as the orchestra’s home since 1968—and a 64,000-square-foot expansion. Designed with community service at its forefront, the project preserves the civic treasure for generations to come, transforms the audience and artist experience, and makes music more accessible.
Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director of the SLSO, said,
“From the celebratory first notes of Aaron Copland’s Fanfare for the Common Man to the world premiere of Nathalie Joachim’s all-embracing Family to close our season, I dreamed of a festive musical journey that will serve and unite our entire community through the joy of music, resonating again in our wonderfully restored Powell Hall. This new season is filled with vibrant, compelling, and diverse repertoire, accelerating our belief that our home—this ‘House of Tomorrow’ as our composer in residence Kevin Puts calls it in his monumental new piece— is for everybody. Our musical offering looks towards the future but will also commemorate important moments in history—the 80th anniversary of the end of World War II and America’s 250th birthday. I cannot wait to feel the momentum of this new era with our immensely talented musicians, chorus members, and outstanding guest artists.”
Marie-Hélène Bernard, SLSO President and CEO, said,“The 25/26 season realizes our vision of an expanded concert venue that welcomes the community wholeheartedly, supports the immense talents of our orchestra musicians and choruses, and centers music as a catalyst to gather, learn, and celebrate. Stéphane and our team have crafted a season that showcases the vitality of symphonic music, welcoming an outstanding roster of guest artists, performing treasured classics, and building on our history of fostering the future of our art form. We anticipate with excitement sharing meaningful experiences with our audiences both at the renovated Powell Hall and throughout the region.”
Bjorn Ranheim and Chris Tantillo, co-chairs of the SLSO Musicians’ Council, said, “The musicians of the St. Louis Symphony Orchestra are thrilled to return to our beloved Powell Hall for a season full of orchestral fireworks. Celebrating the past, present, and future of the organization will be an incredibly powerful experience in our beautifully restored and revitalized home. We look forward to welcoming the community back and continuing our mission of enriching people’s lives through the power of music.”
Curated and Compose Your Own Subscriptions are on sale now. Single tickets go on sale later in 2025. Visit slso.org/season or call the Box Office at 314-534-1700 for more information.
St. Louis Symphony Orchestra performs during a projection of Harry Potter and the Deathly Hallows™ in Concert Saturday, April 16, 2022 at Powell Hall in St. Louis. (Photo by Whitney Curtis)
REOPENING THE SLSO’S HOME
The 146th season welcomes audiences to experience the Jack C. Taylor Music Center, for the first time since the completion of a transformational expansion and renovation project. The $140 million project, designed by the internationally acclaimed architecture firm Snøhetta, centers the SLSO’s priorities on artistic excellence, community engagement, and education leadership. The project provides new and improved amenities for audiences and artists, while preserving and enhancing the internationally recognized acoustics and aesthetics of the concert hall. A new Education and Learning Center provides additional space for the SLSO’s two resident choruses, its Youth Orchestra, and a robust portfolio of education and community programs.
A season-long celebration of Powell Hall’s reopening, programming showcases the virtuosity and nimbleness of the orchestra musicians and guest artists, and includes a wide variety of music, responding to the community’s diverse tastes and interests. Pillars of orchestral repertoire share programs with music by composers of today with 40 percent of pieces on classical concerts by living composers. While looking to today’s and tomorrow’s musical voices, Denève and the SLSO also honor important moments in history, notably the 80th anniversary of the conclusion of World War II through performances of war-time and war-inspired pieces, and the 250th anniversary of the founding of the United States, building on the SLSO’s long-held priority of elevating music by American voices. Broadening the definition of what a symphonic organization can achieve, programming also includes films with scores performed live, cross-genre collaborations and presentations, chamber music in multiple settings, holiday commemorations, happy hour concerts, and a new recital series.
On September 19, Denève leads the orchestra for the first time in the renovated Powell Hall, inaugurating the Jack C. Taylor Music Center with a ceremonial ribbon cutting and special performance for the venue’s neighbors and community partners.
On September 26-28, Denève opens the season with a triumphant trio of fanfares by Aaron Copland, Joan Tower, and a world premiere by James Lee III, and leads the world premiere of Kevin Puts’ House of Tomorrow, written for and featuring acclaimed mezzo-soprano Joyce DiDonato and members of the St. Louis Symphony Chorus on a text adapted from the poet Kahlil Gibran. Richard Strauss’ Ein Heldenleben closes the program.
On November 8, the SLSO will welcome the community to a free day of music. Additional details about this and other reopening events will be shared later.
SEASON HIGHLIGHTS WITH DENÈVE
Denève opens the season with the celebratory free community concert on Art Hill in Forest Park, an annual tradition that draws tens of thousands of people and serves as the ceremonial start of the SLSO’s season, performed in memory of longtime SLSO supporter Mary Ann Lee (September 17).
Denève welcomes a roster of internationally recognized guest artists to St. Louis, including violinist Nikolaj Szeps-Znaider for a program that pairs two iconic Romantic pieces: Pyotr Ilyich Tchaikovsky’s Violin Concerto and Sergei Rachmaninoff’s Symphony No. 2 (November 1-2). On November 7 and 9, the SLSO commemorates the 80th anniversary of the conclusion of World War II with performances of Benjamin Britten’s monumental War Requiem, with the St. Louis Symphony Chorus, The St. Louis Children’s Choirs, and a stellar cast of vocalists: soprano Christine Goerke, tenor Ian Bostridge, and baritone Roderick Williams.
Denève leads a rare complete performance of Igor Stravinsky’s score to the ballet, The Firebird, and his close friend and collaborator, Jean-Yves Thibaudet, joins for Aram Khachaturian’s Piano Concerto (November 21-22). The New Year’s Eve concert features pianist Stewart Goodyear in George Gershwin’s Rhapsody in Blue in a French and American-themed musical celebration led by Denève (December 31).
Furthering Denève’s interest in artistic collaborations, Saint Louis Dance Theatre dancers perform original choreography by Kirven Douthit-Boyd alongside the orchestra for Igor Stravinsky’s Pulcinella Suite (January 10-11). The program also includes signature Denève programming with music by Claude Debussy and Albert Roussel.
For the first time on the Powell Hall stage, the orchestra performs Mozart’s complete concert version of the opera, The Magic Flute,with Denève, the St. Louis Symphony Chorus, and The St. Louis Children’s Choirs, and a cast of vocalists including tenor Ben Bliss as Tamino and coloratura soprano Rainelle Krause as The Queen of the Night(February 20 and 22), advancing Denève’s commitment to large-scale choral and operatic performances.
Denève shares his lifelong respect and admiration for his personal friend, prolific film composer John Williams, in a program that includes excerpts from Williams’ scores to Close Encounters of the Third Kind, Star Wars, and E.T. alongside the first SLSO performances of Kevin Puts’ Contact, a triple concerto performed by trio Time for Three (March 20 and 22).
Welcoming back the acclaimed pianist and former SLSO touring partner Víkingur Ólafsson, Denève leads Beethoven’s Emperor Piano Concerto, a new SLSO co-commission by Jasmine Guo as part of the Virginia B. Toulmin Foundation Orchestral Commission program, and Kevin Puts’ Concerto for Orchestra, premiered by the SLSO in 2023 (March 27-28). Denève leads another SLSO co-commissioned work, Carlos Simon’s Double Concerto with star violinist Hilary Hahn and cellist Seth Parker Woods, alongside Gustav Mahler’s massive Symphony No. 5 (April 10-12).
Denève brings the entire SLSO roster of musicians together for the final symphonic concert of the season. The SLSO IN UNISON® Chorus, with the unique mission of performing and preserving music from the African diaspora, gives the world premiere of Family, composed by Nathalie Joachim following many conversations with chorus members. The concert opens with SLSO’s previously commissioned work, Kevin Puts’ Virelai. The St. Louis Symphony Chorus joins the orchestra for Maurice Ravel’s Daphnis and Chloé.
Emanuel Ax
RETURNING ARTISTS AND SLSO ENSEMBLES
Many of the world’s leading conductors return to the SLSO. David Robertson, who served as the 12th SLSO Music Director from 2005-2018, returns in a program that features music by Steve Mackey and Sarah Kirkland Snider, and pianist Orli Shaham on Robertson’s own piano concerto, and Leonard Bernstein’s Symphony No. 2, “The Age of Anxiety” (March 6-7). Conductor Laureate Leonard Slatkin leads the second week of classical concerts, welcoming back his friend, pianist Emanuel Ax, for Mozart’s Piano Concerto No. 25, Edward Elgar’s Symphony No. 1, and his own Schubertiade: An Orchestral Fantasy (October 11-12).
Additional returning conductors include John Storgårds, in a program anchored by Dmitri Shostakovich’s Symphony No. 15 (December 5-6); Nicholas McGegan, leading G.F. Handel’s Messiah (December 12-14); Xian Zhang conducting Billy Childs’ Diaspora (Saxophone Concerto) and Sergei Prokofiev’s Symphony No. 5 (February 6-7); and Hannu Lintu leading a program of works by Richard Wagner, W.A. Mozart, Samy Moussa, and Ottorino Respighi’s rarely performed Church Windows (April 18-19).
Pianists making their SLSO returns include Jean-Yves Thibaudet on Aram Khachaturian’s Piano Concerto (November 21-22); Joyce Yang on Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini (November 29-30); Stewart Goodyear on George Gershwin’s Rhapsody in Blue (December 31); and Víkingur Ólafsson on Ludwig van Beethoven’s Piano Concerto No. 5, “Emperor” (March 27-28) and in recital (March 26). Returning violinists include Augustin Hadelich on Sergei Prokofiev’s Violin Concerto No. 2 (October 24-25) and in a program of chamber music with SLSO musicians (October 26); Nikolaj Szeps-Znaider on Tchaikovsky’s Violin Concerto (November 1-2); Leila Josefowicz on Alban Berg’s Violin Concerto (March 14-15); and Hilary Hahn on Carlos Simon’s Double Concerto (April 10-12).
Soprano Christine Goerke, in Benjamin Britten’s War Requiem (November 7 and 9), as well as most of the vocal cast for Handel’s Messiah: soprano Sherezade Panthaki, tenor John Matthew Myers, and baritone Philippe Sly (December 12-14) also return.
The St. Louis Symphony Chorus, which has performed repertoire from the entire choral-orchestral canon to critical acclaim since its formation in the 1976/1977 season, performs alongside the SLSO under the direction of Erin Freeman. In the 25/26 season, the chorus performs Kevin Puts’ House of Tomorrow (September 26-28); Benjamin Britten’s War Requiem (November 7 and 9); G.F. Handel’s Messiah (December 12-14); W.A. Mozart’s The Magic Flute (February 20 and 22); Maurice Ravel’s Daphnis and Chloé (May 8-10).
The St. Louis Symphony IN UNISON® Chorus, which preserves and performs music from the African diaspora and is directed by Kevin McBeth in his 15th season, returns for its annual holiday-time soulful celebration: IN UNISON® Christmas (December 19). The chorus performs its annual Lift Every Voice: Celebrating Black History Month concert, also under McBeth’s direction and featuring vocalist Rosephanye Dunn Powell (February 27). The chorus joins the SLSO in the final classical concerts of the season, performing the world premiere of Nathalie Joachim’s Family (May 8-10).
The St. Louis Symphony Youth Orchestra, the region’s premiere training orchestra for young musicians aged 12-22, will present three concerts in its 56th season. Concert details will be announced later.
Sherezade Panthaki
ARTIST DEBUTS
Throughout the 25/26 season, many acclaimed artists will make their SLSO debut.
Five conductors make their debuts on symphonic programs, including Tabita Berglund in a program of Russian and Scandinavian music (October 24-25); Kevin John Edusei with Beethoven’s Symphony No. 7 (November 29-30); Dima Slobodeniouk leading a concerto for sheng and Tchaikovsky’s Symphony No. 4 (January 24-25); Anna Sułkowska-Migoń in a program with Polish connections, alongside Rimsky-Korskov’s Scheherazade (March 14-15); and Ryan Bancroft leading Copland’s Symphony No. 3 (April 24-25).
Instrumentalists making their SLSO debuts include: pianists Jan Lisiecki performing Mozart’s Piano Concerto No. 9, “Jeunehomme” (April 18-19), Gabriela Montero performing Prokofiev’s Piano Concerto No. 3 (April 24-25), and Isata Kanneh-Mason in a recital with music by Beethoven, Ravel, and Tabakova (May 14); cellists Kian Soltani on Haydn’s Cello Concerto in C major (December 5-6), and Seth Parker Woods in Carlos Simon’s Double Concerto (April 10-12); sheng player Wu Wei on Jukka Tiensuu’s Teoton, a concerto for sheng (January 24-25); and saxophonist Steven Banks, an international ambassador for his instrument, who performs Billy Childs’ Diaspora (February 6-7).
Time for Three—a trio consisting of violinists Nick Kendall and Charles Yang, and double bassist Ranaan Meyer—debut on Kevin Puts’ Contact (March 20 and 22).
Vocalists making their debuts include mezzo-soprano Joyce DiDonato singing the world premiere of Kevin Puts’ House of Tomorrow (September 25-27); tenor Ian Bostridge and baritone Roderick Williams in Britten’s War Requiem (November 7 and 9); contralto Sara Couden in Handel’s Messiah (December 12-14); and tenor Ben Bliss and soprano Rainelle Krause in Mozart’s The Magic Flute (February 20 and 22).
WORLD PREMIERES, COMMISSIONS, AND FIRST SLSO PERFORMANCES
More than 20 pieces enter the SLSO’s repertoire during the 2025/2026 season, including 15 works by living composers. In addition to world premieres by Nathalie Joachim, James Lee III, and Kevin Puts, the SLSO performs works by living composers including Billy Childs, Guillaume Connesson, Reena Esmail, Samy Moussa, David Robertson, Leonard Slatkin, Sarah Kirkland Snider, Jukka Tiensuu, and Joan Tower. Nearly 40 percent of the pieces on symphonic programs are by living composers.
World premieres
Kian Soltani Cellist
Photographer: Marco Borggreve
all rights reserved/no third commercial parties
James Lee III’s Fanfare for Universal Hope builds on the composer’s relationship with Denève and the orchestra as one of the SLSO’s most-performed composers in recent years. Since 2019, the SLSO has performed four of Lee’s pieces, including the 2023 world premiere of the SLSO-commissioned Visions of Cahokia, inspired by the indigenous civilization near present-day St. Louis.
Kevin Puts’ House of Tomorrow is a new song cycle based on texts by Kahlil Gibran, the writer, poet, and artist. Mezzo-soprano Joyce DiDonato delivers the world premiere performance alongside the SLSO and members of the St. Louis Symphony Chorus. Puts serves as composer in residence during the SLSO’s 25/26 season, and the orchestra will play three additional pieces by him: Contact, Concerto for Orchestra, and Virelai. The latter two were SLSO commissions premiered in 2023 and 2019 respectively.
Nathalie Joachim’s Family takes inspiration from the St. Louis Symphony IN UNISON® Chorus, a resident chorus with the unique mission to perform and preserve music from the African diaspora. Joachim logged many conversations with IN UNISON® Chorus singers, utilizing their words as the text for her piece.
SLSO Co-commissions
A new work by Jasmine Guo is part of the Virginia B. Toulmin Foundation Orchestral Commission program of the League of American Orchestras, connecting female composers with orchestras to commission new work. The SLSO previously participated in the program as the lead commissioner of Stacy Garrop’s Goddess Triptych, premiered in March 2022.
Carlos Simon’s Double Concerto will receive its Midwest premiere with the SLSO and violinist Hilary Hahn and cellist Seth Parker Woods.
Leonard Slatkin
First SLSO performances
Joan TowerFanfare for the Uncommon Woman No. 1 (September 26-28)
Leonard Slatkin Schubertiade: An Orchestral Fantasy (October 11-12)
Harald SæverudThe Ballad of Revolt (October 24-25)
Guillaume ConnessonMaslenitsa (November 21-22)
Clara Wieck Schumann (orch. de Murashkin) Three Romances (December 5-6)
Jukka TiensuuTeoton (Concerto for Sheng and Orchestra) (January 24-25)
Reena Esmail RE|Member(February 6-7)
Billy ChildsDiaspora (Concerto for Saxophone and Orchestra) (February 6-7)
David RobertsonLight forming, A Piano Concerto(March 6-7)
Sarah Kirkland Snider Something for the Dark (March 6-7)
Grażyna Bacewicz Overture (March 14-15)
Kevin Puts Contact (March 20 & 22)
Samy MoussaElysium (April 18-19)
Chamber music and recitals
In a two-concert series, the SLSO presents acclaimed guest artists in chamber music concerts they curate, collaborating with orchestra musicians in a more intimate setting. Violinist Augustin Hadelich curates the October 26 program and pianist Orli Shaham leads the March 8 concert.
The SLSO introduces a new two-concert recital series, presenting acclaimed musicians in solo works on Powell Hall’s stage. Inaugural artists in this series include pianists Víkingur Ólafsson, performing Beethoven’s final three piano sonatas (March 26), and Isata Kanneh-Mason, presenting Beethoven’s famous “Moonlight” sonata alongside works by Maurice Ravel and Dobrinka Tabakova (May 14).
Additional information about the SLSO’s Live at the Pulitzer (chamber music exploring the intersection of visual and aural art by composers of today, performed at the Pulitzer Arts Foundation) and Live at The Sheldon (music from the entire chamber music library curated and performed by SLSO musicians at The Sheldon) will be announced later.
Films with live score
The Wizard of Oz
The SLSO continues its popular film series, performing acclaimed scores live while the movie plays overhead. Films in the 25/26 season include Harry Potter and the Sorcerer’s StoneTM(October 3-5), The Lion King (November 15-16), Home Alone (December 27-28), and The Wizard of Oz (January 30-February 1). The SLSO presents Marvel Infinity Saga in Concert, a cross-film journey through Marvel’s most exciting moments (May 1-3).
Holiday and special programming
Broadening the definition of a symphony concert, the SLSO plans several special events to respond to patrons’ diverse tastes.
The SLSO pays tribute to the memory of St. Louis icon Chuck Berry in a brand new program celebrating the rock legend’s 100th birthday and in collaboration with the Chuck Berry estate (October 17-18). Curated and arranged by prolific composer Carlos Simon, the SLSO explores the legacy of jazz great John Coltrane, led by Edwin Outwater and featuring saxophonist Joe Lovano (February 28).
Holiday concerts include the popular IN UNISON® Christmas concert, previously known as Gospel Christmas (December 19), which features the IN UNISON® Chorus led by Kevin McBeth. The Mercy Holiday Celebration presents five concerts of beloved holiday music with conductor Stuart Malina at Powell Hall (December 20-21 and 23). Denève leads the annual New Year’s Eve Celebration Concert, featuring pianist Stewart Goodyear and music by Leonard Bernstein, Georges Bizet, and George Gershwin (December 31). The SLSO also performs its annual Lift Every Voice: Celebrating Black History Month concert with the IN UNISON® Chorus and vocalist Rosephanye Dunn Powell (February 27).
Additional special concerts, happy hour concerts, and Concerts for Kids, will be announced later.
Kevin McBeth
OPERA THEATRE OF SAINT LOUIS
The SLSO will conclude its season as the resident orchestra of Opera Theatre of Saint Louis (OTSL), the 49th year of this partnership. The 2026 Festival Season runs May 23–June 28, 2026. Programming for OTSL’s 2026 Festival Season will be announced later this summer. The current 2025 Festival Season takes place this May and June, marking the occasion of OTSL’s 50th anniversary; tickets and more information can be found at ExperienceOpera.org.
About the St. Louis Symphony Orchestra
Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 145th year with the 2024/2025 season and its sixth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music.
The core of the SLSO’s artistic foundation is its dynamic partnership with Denève, whose energetic musicianship, visionary storytelling, and collaborative spirit have created stronger connections with local and visiting artists, as well as advanced the SLSO’s role as a leader in music education. The SLSO musical family also includes two resident choruses: the St. Louis Symphony Chorus, founded in 1976, performs choral-orchestral music from the Baroque era to today; and the St. Louis Symphony IN UNISON® Chorus, founded in 1994, focuses on the performance and preservation of music from the African diaspora. The St. Louis Symphony Youth Orchestra, founded by Conductor Laureate Leonard Slatkin in 1970, is the region’s premiere training orchestra for high school and college students.
In March 2023, the SLSO broke ground on a 65,000-square foot expansion and renovation of the orchestra’s home, Powell Hall—the first major renovation project at the historic Grand Center building since it became the SLSO’s permanent home in 1968. Led by the internationally acclaimed architecture firm Snøhetta, the project will transform the audience and artistic experience while protecting Powell Hall’s historic character and celebrated acoustics, creating a state-of-the art center for community, innovation, and powerful music experiences. While construction is underway, the SLSO will perform throughout the community. The revitalized Powell Hall will open in September 2025, coinciding with the building’s centennial.
An integral part of the vibrant St. Louis community, the SLSO enjoys a long history of robust and enduring artistic collaborations with individuals and organizations locally and around the world. Orchestra musicians share dozens of education and community performances throughout the region each year at medical facilities, places of worship, community centers, and schools. For 20 years, the St. Louis Symphony Orchestra: Live at the Pulitzerseries has highlighted today’s leading musical voices through innovative performances in collaboration with, and reaction to the exhibitions at, the Pulitzer Arts Foundation. The SLSO has served as the resident orchestra for Opera Theatre of Saint Louis for more than 45 years. The orchestra also continues to foster impactful artistic collaborations, including a chamber music series with The Sheldon, as well as regular partnerships with The Muny, Saint Louis Dance Theatre, the Saint Louis Art Museum, and others. Beyond the St. Louis region, the SLSO’s impact is realized through Saturday night concert broadcasts on St. Louis Public Radio and Classic 107.3, acclaimed recordings, regular touring activity, and a digital portfolio that includes a robust online education platform with curriculum materials, interactive programs, activities, and learning opportunities for all ages.
Since the arrival of Marie-Hélène Bernard as President and CEO in 2015, the SLSO has aligned its mission to make music more accessible, while fostering a culture welcoming to all. Building on its momentum, the SLSO serves as a convener of individuals, creators, and ideas, and is committed to building community through compelling and inclusive musical experiences. As it continues its longstanding focus on equity, diversity, inclusion, and access, the SLSO embraces its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.
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.
Denève leads the SLSO in its annual concert for the community in works by Ludwig van Beethoven, Hector Berlioz, Edvard Grieg, Scott Joplin, Hugh Martin, W.A. Mozart, John Philip Sousa, Pyotr Ilyich Tchaikovsky and John Williams, with guest vocalist Kennedy Holmes
Celebratory opening of SLSO’s 145th season includes food trucks on Art Hill and concludes with fireworks display over Forest Park’s Grand Basin
Led by Music Director Stéphane Denève, the St. Louis Symphony Orchestra marks the beginning of its 2024/2025 season with the return of its free concert in Forest Park at 7:00pm CDT, Thursday, September 19, on Art Hill. Since its inaugural Forest Park concert more than 50 years ago, the SLSO has performed for thousands of people each year as a community celebration of music and the kick-off of the SLSO’s season.
A portion program serves as preview for the orchestra’s 145th season and Denève’s sixth as The Joseph and Emily Rauh Pulitzer Music Director. Selections include favorites from symphonies by Ludwig van Beethoven, W.A. Mozart, and Pyotr Ilyich Tchaikovsky. The orchestra brings a local flair to the concert with performances of St. Louis-native Scott Joplin’s The Cascades—written for the 1904 World’s Fair—and a tribute to St. Louis’ turn hosting the 1904 Olympics with John Williams’ Olympic Fanfare and Theme.
The orchestra will be joined by guest vocalist, St. Louis native Kennedy Holmes, a finalist on NBC’s The Voice, for performances of “The Trolley Song” from Meet Me in St. Louis—also a nod to the World’s Fair—in her third appearance with the SLSO. A close collaborator of the inimitable film composer John Williams,
Denève programmed selections of Williams’ score from E.T. the Extraterrestrial, which the orchestra will play in its entirety September 21-22 at Stifel Theatre. The festivities end with a show-stopping fireworks display following John Philip Sousa’s patriotic anthem The Stars and Stripes Forever.
Performed in memory of longtime SLSO supporter Mary Ann Lee, this concert marks the 56th anniversary of the first Forest Park concert in 1968. Attendees are encouraged to come early, bring chairs and blankets, and enjoy food trucks at the top of Art Hill. Designed to engage families with children, the SLSO’s Education and Community Partnerships team will host a family fun zone at the top of Art Hill from 6:00 to 7:00pm, engaging children through musical activities, including music creation and conducting members of the St. Louis Symphony Youth Orchestra.
Annual Forest Park community concert. Photo courtesy of St. Louis Symphony Orchestra.
SLSO staff and volunteers will hand out glow sticks for children to join Denève in conducting the orchestra. Local vendors at the concert will include Angie Burger, ByJack, Cajun Seduction, Delicious Delights, Doggie Mac’s Food Truck, Falafel Saha Food Truck, Fire and Ice Cream Truck, Go Gyro Go, Grace Meat + Three, Holy Crepe, Honey Bee Tea, Picture Perfect Panini, Ron Ron’s Black Fried Rice, Scoops of Joy, STL BarKeep, Takozz Real Mexican Food, The Popcorn Bar, and Urban Chestnut Brewing Company. Food and drink vendors will be available starting at 5:00pm.
Audiences can sign up to receive updates about the concert, including information about food trucks, parking, and shuttles, at slso.org/forestpark.
Following the opening of the season in Forest Park, Denève leads the orchestra in performances of the complete score to E.T. the Extraterrestrial, with music by John Williams, at Stifel Theatre as the film plays (September 21-22). The orchestra’s first classical concerts of the season, September 27 and 29, welcome violinist and friend of the SLSO Gil Shaham for performances of Mason Bates’ Nomad Concerto alongside Hector Berlioz’s Symphonie fantastique.
As the transformational expansion and renovation of the orchestra’s home—Powell Hall—enters its final year, the SLSO will perform throughout the St. Louis region, most notably at the Touhill Performing Arts Center at the University of Missouri–St. Louis and Stifel Theatre.
Tickets for all 24/25 season concerts are on sale now and can be purchased at slso.org or by calling the SLSO Box Office at 314-534-1700.
John Stafford Smith The Star-Spangled Banner Arranged by Adam Maness
J. Rosamund Johnson “Lift Every Voice and Sing” Arranged by Hale Smith Ludwig van Beethoven Molto vivace from Symphony No. 9 Hector Berlioz “Hungarian March” from The Damnation of Faust W.A. Mozart Allegro from Symphony No. 31, “Paris” Edvard Grieg Selections from Peer Gynt Suite No. 1 Pyotr Ilyich Tchaikovsky Finale from Symphony No. 5 Various Armed Forces Salute Arranged by Hayman/Kessler Hugh Martin “The Trolley Song” from Meet Me in St. Louis Arranged by Salinger/Russ Scott Joplin The Cascades Arranged by Virgil Barstad John Williams Olympic Fanfare and Theme John Williams Flying Theme from E.T. John Philip Sousa The Stars and Stripes Forever
This concert is performed in memory of Mary Ann Lee.
About the St. Louis Symphony Orchestra
Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 145th year with the 2024/2025 season and its sixth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music.
The transformational expansion and renovation of its historic home, Powell Hall, slated to be completed in 2025, builds on the institution’s momentum as a civic leader in convening individuals, creators, and ideas, while fostering a culture welcoming to all. Committed to building community through compelling and inclusive musical experiences, the SLSO continues its longstanding focus on equity, diversity, inclusion, and access, embracing its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.
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.
The Muny has announced its full cast, design and production teams for Les Misérables, which opens the theatre’s 106th season and runs June 17-23 on the James S. McDonnell Stage in Forest Park.
“We are ready to storm the barricade of Muny 106 with this beautiful musical,” said Muny Artistic Director & Executive Producer Mike Isaacson. “The cast, crew and artistic team are striving to create a production you’ll remember for a lifetime.”
Joining the previously announcedJohn Riddle (Jean Valjean), Jordan Donica (Javert), Teal Wicks (Fantine), Red Concepción (Thénardier), Jade Jones (Madame Thénardier), Ken Page (The Bishop of Digne), Emily Bautista (Éponine), Gracie Annabelle Parker (Cosette), Peter Neureuther (Marius), James D. Gish (Enjolras), Kate Kappel (Little Cosette), Grace Moore (Young Éponine) and Will Schulte (Petit Gervais/Gavroche) are Lee H. Alexander, Leah Berry, Patrick Blindauer, Matías De La Flor, Chris Hunter, Dan Klimko, Ángel Lozada, Daniel Brooks McRath, Sydni Moon, Grant Pace, Sarah Pansing, Nicholas Pattarini, Tim Quartier, Shelby Ringdahl, Matt Rosell, Grace Marie Rusnica, Liv Shivener, Sydney Short, Cecilia Snow, Kyle Timson, Noah Van Ess and Annie Zigman. The company also will be joined by the Muny Kids and Muny Teens Youth Ensemble.
The Les Misérables creative team is led by Director Seth Sklar-Heyn, with Choreographer Jesse Robb, Music Director James Moore and Associate Musical Director Michael Horsley.
The production includes Associate Choreographer Paige Parkhill, Scenic Designer Ann Beyersdorfer, Costume Designer Gail Baldoni, Lighting Designer Jason Lyons, Co-sound Designers John Shivers and David Patridge, Video Designer Shawn Duan, Wig Designer Ashley Rae Callahan and Production Stage Manager Willie Porter.
The Telsey Office is the official casting partner of The Muny.
As previously announced, 20 singers from the St. Louis Symphony Chorus will join the company as the supernumerary chorus for “Do You Hear the People Sing?,” “One Day More” and “Finale: Do You Hear The People Sing? (Reprise).” The singers are Nicholas Bashaw, Annemarie Bethel-Pelton, Rachel Buttram, Laurel Dantas, Mary Donald, Lea Frost, Megan Glass, John Herget, Matthew Jellinek, Jei Mitchell Evens, Hannah Nelson, Brian Pezza, Valerie Reichert, Greta Rosenstock, Paul Runnion, Matthew Stansfield, Philip Touchette, Robert Valentine, Nicole Weiss and Tristan Wood. Members of the St. Louis Symphony Chorus will appear as a courtesy and in partnership with the St. Louis Symphony Orchestra.
The Muny artistic staff includes Artistic Director & Executive Producer Mike Isaacson, Associate Artistic Director Michael Baxter, Production Manager Tracy Utzmyers and Music Supervisor Michael Horsley.
Here is John Riddle singing “Bring Him Home’ in rehearsals at The Muny, with music director James Moore accompanying him on piano. https://youtu.be/t33Cj8KB7g8?si=BM-_IyQ3AQVz5QBg
Principal Cast Bios
JOHN RIDDLE(Jean Valjean) received a St. Louis Theater Circle Award for his performance of Anatoly Sergievsky in last season’s production of Chess. Other Muny: Disney’s The Little Mermaid, Titanic, Show Boat, Legally Blonde and others. Broadway: The Visit (OBC), Frozen (OBC) and Raoul in the final company of The Phantom of the Opera. Off-Broadway/NY: Cal Hockley in Titanique the Musical (Lortel nomination), The Secret Garden in Concert (Lincoln Center), Cinderella’s Prince in Into the Woods (Town Hall). National tour: Evita. Regional: Kennedy Center, Long Wharf Theatre, Goodspeed, Pittsburgh Civic Light Opera, Casa Mañana, Naples Opera. Other: Cincinnati Pops Orchestra, American Pops Orchestra.
JORDAN DONICA(Javert) most recently starred as Sir Lancelot in the Lincoln Center Theater production of Camelot, for which he received a Tony Award nomination. He originated the role of Freddy Eynsford-Hill in the Tony-nominated My Fair Lady (Lincoln Center Theater) and starred as Raoul in Broadway’s The Phantom of the Opera. New York City Center Encores!: Into the Woods (Rapunzel’s Prince). Tour: Hamilton (first national tour, Marquis de Lafayette/Thomas Jefferson, SF/LA companies). Concerts: Washington National Opera, Pasadena Symphony, The New York Pops (Carnegie Hall), Indianapolis Symphony and Lincoln Center Theater’s Camelot. Featured performer at the American Songbook Hall of Fame. TV: Jordan Chase in the CW’s Charmed. Directing: The Exonerated in conjunction with the Center on Wrongful Convictions, Little Prints by Anna Mulhall.
TEAL WICKS(Fantine) On Broadway, Teal originated the roles of Lady in The Cher Show, Mary Barrie in Finding Neverland and Emma Carew in the revival of Jekyll & Hyde. She made her Broadway debut as Elphaba in Wicked after playing the role to critical acclaim in Los Angeles and San Francisco. Off-Broadway and across the US, Teal has created lead roles in The Ballad of Little Jo (Two River Theater), The Blue Flower (Second Stage/A.R.T.), Piece of My Heart: The Bert Berns Story (Signature Theatre NYC), The Life of the Party (TheatreWorks, with Andrew Lippa) and Fahrenheit 451 (59E59). TV/streaming appearances include The Peripheral (Amazon), The Night Agent (Netflix), NCIS: New Orleans, Evil, Elementary, The Good Wife, Chicago Justice.
RED CONCEPCIÓN (Thénardier) Broadway: Chicago (Amos Hart). National/International tours: Miss Saigon (The Engineer, US national and UK/Ireland tours). Asian and Philippine credits: Priscilla, Queen of the Desert (Adam/Felicia; Manila and Singapore; Gawad Buhay Outstanding Male Lead in a Musical and Aliw Award for Best Actor in a Musical), Equus (Alan Strang), The Normal Heart (Tommy), Annie (Rooster), Rodgers & Hammerstein’s Cinderella (Lionel), West Side Story (A-rab) and more.
JADE JONES(Madame Thénardier) The Muny: Disney & Cameron Mackintosh’s Mary Poppins, The Color Purple. Off-Broadway: Vanities. Regional: Disney’s Beauty and The Beast (Belle), A.D. 16, The Amen Corner, Macbeth, Into the Woods, The Wiz, 110 in the Shade, Sweeney Todd, School Girls; or, The African Mean Girls Play. TV: Chicago P.D., Cinderella: The Reunion, A Special Edition of 20/20 (ABC).
KEN PAGE(The Bishop of Digne) has performed in over 45 shows on the Muny stage. Ken is widely known as the voice of Mr. Oogie Boogie in the classic Disney/Tim Burton animated film The Nightmare Before Christmas. He has performed the score live at The Hollywood Bowl, Barclays Center NY, LA’s Banc of California Stadium, Glasgow, London (SSE Arena, Wembley), Dublin and Tokyo. Film: Dreamgirls, Torch Song Trilogy, All Dogs Go to Heaven and more. Ken made his Broadway debut in the all-Black revival of Guys and Dolls as Nicely-Nicely Johnson (Theatre World Award). Other Broadway: Cats (Old Deuteronomy, OBC video/film cast), Ain’t Misbehavin’ (OBC, LA, Paris, Drama Desk Award for Best Actor, Grammy Award cast album), The Wiz (Lion). London’s West End: Children of Eden (Father, OLC), My One and Only in Concert (London Palladium). Mr. Page’s solo concert, Page By Page, was released on CD (LML Music). He is the recipient of a Lifetime Achievement Award from the Manhattan Association of Cabaret Artists (MAC), Project One Voice/Black Theatre and the St. Louis Arts Foundation.
EMILY BAUTISTA(Éponine) made her Broadway debut in the 2017 revival of Miss Saigon, where she understudied the lead role of Kim. She later returned to the role full time on the first national tour. In between the Broadway and touring productions of Miss Saigon, Emily took on the role of Éponine in Cameron Mackintosh’s North American touring production of Les Misérables. Following her time on tour, Emily made her London debut in the world premiere of Vanara: The Legend in the lead role of Ayla. On television, she is recognized for her role as Elodie on Pretty Little Liars: Original Sin. Additionally, Emily has made notable appearances in films The Compound (2021) and Which Brings Me to You (2023).
GRACIE ANNABELLE PARKER(Cosette) Regional: Guys and Dolls (Sarah Brown, The Carnegie), Brigadoon (Fiona, Wagon Wheel), Legally Blonde (Ensemble). Gracie is a recent graduate of the University of Cincinnati College-Conservatory of Music, BFA musical theatre.
PETER NEUREUTHER(Marius) Regional: Newsies (Jack Kelly) at the Warsaw Federal Incline Theater. Peter is a recent graduate of the University of Cincinnati’s College-Conservatory of Music (CCM).
JAMES D. GISH(Enjolras) Broadway: Wicked (Fiyero). Off-Broadway: The Light in the Piazza (Fabrizio, New York City Center Encores!), The Jerusalem Syndrome (Mickey Rose, York Theatre, OOBC). National tours: Beautiful (Gerry Goffin), Les Misérables (Feuilly). Recent regional: Daddy Long Legs (Jervis, Phoenix Theatre Co.), West Side Story (Tony), Newsies (Jack Kelly) and The Toxic Avenger (Toxic Avenger).
KATE KAPPEL(Little Cosette) was last seen at The Muny in The Sound of Music (Gretl von Trapp) and in the Youth Ensemble of Joseph and the Amazing Technicolor Dreamcoat and Sister Act. Kate is 12 years old and just finished the sixth grade at South City Catholic Academy in St. Louis. She is a vocal student at Lisa Christine Studios and learns dance at the Professional Dance Center, where she is a member of the Ensemble competition team. Kate is a member of the Muny Kids and Muny Holiday troupes.
GRACE MOORE (Young Éponine) is 10 years old and is going into fifth grade, where she sings with her school choir and is a student house leader. Grace studies dance at Performing Arts Centre. She performs with the competition team and is a classroom helper. She studies voice with Kelly Stinnett Studios.
WILL SCHULTE(Petit Gervais/Gavroche) made his Muny debut in the Youth Ensemble of Beauty and the Beast last summer and is so excited to be performing with the Muny Kids touring troupe this summer. Will has also performed with Gateway Center for Performing Arts and was most recently seen as Kassim in Aladdin Jr. at his school. Will studies voice with Katie Kopff and also enjoys playing tennis. He will be attending St. Louis University High School in the fall.
Les Miz Broadway revival 2014
About the Show
Les Misérables previously was produced at The Muny in 2007 and 2013. The show includes music by Claude-Michel Schönberg and lyrics by Herbert Kretzmer, with a book by Alain Boublil and Claude-Michel Schönberg. Set against the backdrop of post-Revolutionary France and based on Victor Hugo’s 1862 novel, this celebrated musical follows the journey of Jean Valjean, an ex-convict seeking a fresh start, and his relentless pursuer, Javert. Its powerful songs and thrilling story of love, passion, sacrifice and redemption have been beloved the world over for generations.
Performances of Les Misérables begin at 8:15 p.m. nightly, June 17-23. Single-performance tickets and season tickets are on sale now at muny.org, by calling (314) 361-1900 or at the Muny Box Office in Forest Park.
To learn more about the Muny production of Les Misérables and the show’s history, visit muny.org/show/les-mis. For actor headshots, show logos, video and other assets, visit the Muny Press Room at muny.org/press.
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s oldest and largest outdoor musical theatre, we welcome more than 350,000 theatregoers each summer for seven world-class productions. Now celebrating 106 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre. For more information, visit muny.org.
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.
Single-performance tickets for all seven musicals in the 106th Muny season — and for John Legend: A Night of Songs and Stories With the St. Louis Symphony Orchestra — go on sale at muny.org starting at 9 a.m. Monday, May 20, at The Muny Box Office, 1 Theatre Drive in Forest Park.
It’s fast and easy to purchase tickets online using MetroTix, the only authorized vendor for Muny tickets. But buyers who visit the Muny Box Office in person May 20 will be able to learn more about each of this summer’s Broadway hits and sneak a peek at sketches by our design teams.
Box office guests who buy three or more single-performance tickets for the 106th season will be entered to win a VIP seat upgrade — with parking. Free In the Heights-inspired snow cones also will be available.
Only tickets for the 106th Muny season will be available at the Muny Box Office; tickets for John Legend: A Night of Songs and Stories With the St. Louis Symphony Orchestra must be purchased through MetroTix at muny.org.
The Muny will present EGOT-winning, critically acclaimed, multiplatinum musician John Legend on its iconic James S. McDonnell Stage for John Legend: A Night of Songs and Stories With the St. Louis Symphony Orchestra at 8 p.m. Sept. 7.
Renowned for producing exceptional musical theatre, The Muny, in collaboration with the St. Louis Symphony Orchestra, revives a beloved tradition by presenting its first live concert in more than 30 years.
John Legend: A Night of Songs and Stories With the St. Louis Symphony Orchestrawill feature intimate reimaginings of Legend’s greatest hits (“All of Me,” “Ordinary People,” “Tonight”), unexpected stories from his life and career, and selections from his most recent release, LEGEND (“Nervous,” “Wonder Woman”). This concert is Legend’s first-ever performance with the SLSO.
Tickets for John Legend: A Night of Songs and Stories With the St. Louis Symphony Orchestra are $75-$300 and go on sale at 9 a.m. CT May 20 at metrotix.com and muny.org/johnlegend. Muny and SLSO subscribers can access a presale from 9 a.m. May 17 to 9 p.m. May 19 CT. MetroTix is the only authorized vendor of Muny tickets.
The Muny also will offer tickets for its famous “free seats.” Details will be announced.
“We have been eager but deliberate in recent years about creating the right opportunity to bring live concerts back into the Muny tradition, and the alignment of an icon like John Legend with one of the best orchestras in the world, the St. Louis Symphony Orchestra, is the perfect opening for this next chapter,” said Muny President & CEO Kwofe Coleman. “Generations of St. Louisans have memories of seeing legendary music acts on our magnificent stage, and I am excited to deliver this bit of nostalgia to our community at the end of our 2024 summer season.”
The last concert at The Muny was by the Moody Blues and Kansas in 1991. Other notable artists who have performed on the Muny stage include Whitney Houston, Patti LaBelle, Sting, Barry Manilow, Bob Dylan, the Allman Brothers and Hank Williams Jr.
“We are thrilled to partner with The Muny and the incredible John Legend for this truly not-to-be-missed performance,” said SLSO President & CEO Marie-Hélène Bernard. “This concert highlights the best St. Louis has to offer — the remarkable talents of our musicians on one of the most celebrated musical theatre stages in the country. This collaboration with The Muny is another milestone in our treasured partnership and elevates our shared vision of providing unique artistic experiences for the community.”
JOHN LEGEND
John Legend is an EGOT-winning, critically acclaimed, multiplatinum musician who has garnered 12 Grammy Awards, an Academy Award, a Golden Globe Award, a Tony Award and three Emmy Awards, among others.
Legend is one of only nineteen people in the prestigious EGOT club. Legend has released nine celebrated albums over the course of his career, including Get Lifted (2004), Once Again (2006), Evolver (2008), Love in the Future (2013), Darkness and Light (2016), A Legendary Christmas Deluxe (2019), Bigger Love (2020), LEGEND (2022), and most recently, LEGEND (Solo Piano Version) (2023). In 2022, his critically acclaimed Las Vegas Residency, “Love In Las Vegas,” took place at Zappos Theater at Planet Hollywood Resort & Casino.
Legend starred as Jesus in NBC’s JESUS CHRIST SUPERSTAR LIVE IN CONCERT in April 2018. That year, he was nominated for an Emmy Award for “Outstanding Lead Actor in a Limited Series or Movie” and won an Emmy as a producer in the “Outstanding Variety Special (Live)” category for the show. Legend joined THE VOICE as a coach for Season 16 (2019) and has returned for a number of seasons, most recently Season 25 (2024).
Beyond his music career, Legend, along with partners Mike Jackson and Ty Stiklorius, is a principal of Get Lifted Film Co., a production company which has developed projects with major networks including ABC, NBC, FOX, HBO, Showtime, Netflix, and FX. Get Lifted’s latest projects include the MAX documentary STAND UP AND SHOUT, Emmy Award-winning HBO documentary 1000% ME: GROWING UP MIXED, Paramount+ documentary LOUDMOUTH, PBS documentary RACIST TREES and the Netflix hip-hop competition series “RHYTHM & FLOW.” Their upcoming projects include NBC/Peacock’s BEFORE I LET GO, based on the New York Times Best Selling Author Kennedy Ryan’s book, and REVERB with Renée Elise Goldsberry attached to star; the film THE WAR & TREATY, inspired by real-life husband-and-wife Black country music stars Michael and Tanya Trotter; the TV adaptation of S.A. Cosby’s novel BLACKTOP WASTELAND; and the forthcoming Broadway-bound musical SOUL TRAIN.
In 2021, Get Lifted and Erik Feig’s PICTURESTART formed Picture LIFT, a joint venture focused on developing, producing and financing multiple films in the $10M range, featuring diverse filmmakers and inclusive casts. Get Lifted and Universal Studio Group’s UCP inked a first-look deal for unscripted series and an exclusive multi-year overall deal for scripted content. Additionally, Get Lifted recently renewed their first look feature documentary deal with HBO.
Aside from film, TV and theater, Get Lifted has partnered with Zando to form Get Lifted Books, which builds upon Get Lifted Film Co.’s mission of spotlighting stories from dynamic creatives. Their most recent acquisition, “Wild Life,” a memoir by National Geographic Explorer and ecologist Dr. Rae Wynn-Grant, published in April. Previous titles include “Rosewater,” by Liv Little, and “Black Love Letters,” which features a foreword by Legend.
Legend’s skincare line, Loved01, launched in 2023 and is available online and through CVS and Walmart. Loved01 is an effective and affordable unisex skincare brand formulated to treat the needs of melanin-rich skin.
As an activist, Legend launched FREEAMERICA in 2015 to change the conversation surrounding criminal justice policies and to end mass incarceration. Legend serves on the Board of Directors of Harlem Village Academies and Management Leadership for Tomorrow, and on the Advisory Boards for The Quattrone Center for the Fair Administration of Justice at the University of Pennsylvania Carey Law School and Teach for All.
THE MUNY
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s oldest, largest outdoor musical theatre, we welcome more than 350,000 theatregoers each summer for seven world-class productions. Now celebrating 106 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre. For more information, visit muny.org.
ST. LOUIS SYMPHONY ORCHESTRA
Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 145th year with the 2024/2025 season and its sixth with Stéphane Denève, the Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy Award-winning SLSO maintains its commitment to artistic excellence, educational impact and community collaborations — all in service to its mission of enriching lives through the power of music. For more information, visit slso.org.
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.
By CB Adams It must have been a challenge trying to fill the Stifel Theater on April 5 for a program with the St. Louis Symphony and guest conductor Ward Stare playing backup band to The Music of R.E.M. Die-hard symphony goers might have resisted a hybrid program of orchestral interpretations of R.E.M. songs and the “Concerto for Violin, Rock Band and String Orchestra” by the band’s bassist, Mike Mills.
The program might have been overshadowed by the reputation of R.E.M., one of the most influential rock bands from the early 1980s to the early aughts, known for their melodic-yet-enigmatic sound, poetic lyrics and the distinctive vocals of frontman Michael Stipe.
On the other side of the spectrum die-hard R.E.M. fans who want nothing less than the band to reunite (good luck with that), might have resisted the program for softening and diluting R.E.M.’s potent oeuvre. Despite the challenges of such perceptions or expectations, St. Louisans delivered a respectable showing while the symphony Mills delivered a satisfying experience that beautifully integrated rock elements into classical structures.
The first half of the performance were two sets of “Orchestral Reconstructions” of R.E.M. songs by composers Carl Marsh and David Mallamud. It is these two composers who deserve the kudos for this portion of the program – come for the R.E.M., stay for Marsh, Mallamud and the SLSO.
Emphasizing a desire for originality, Mills expressed his preference for orchestral pieces that incorporated R.E.M. melodies in innovative ways rather than relying on conventional symphonic embellishments. And that’s exactly what was most interesting and intriguing about these works.
Other than the occasional recognizable phrase, they weren’t really recognizable as R.E.M. songs. Even if you knew nothing of R.E.M., these reconstructions stand alone as enjoyable experiences. For instance, you wouldn’t miss Stipe’s plaintive howl in “Cuyahoga” even if you knew the song – that’s how differently distinctive Marsh’s interpretation is.
Mills and McDuffie in concert with Winston-Salem Orchestra. J Farley Photography.
Several years ago, Mills approached Marsh with a commission, inviting him to “deconstruct” several R.E.M. songs (a mix of hits and personal favorites) and create new orchestral compositions from their elements. Marsh is known for his eclectic blend of classical orchestration and contemporary electronic elements, crafting immersive soundscapes that traverse genres with depth and innovation.
Mills tasked Marsh deconstructing five R.E.M. songs: “Pilgrimage” from Murmur (1983), “Cuyahoga” from Life;s Rich Pageant (1986), “Near Wild Heaven” from Out of Time (1991), and “Try Not To Breathe” and “Everybody Hurts” from Automatic for the People (1992). Marsh’s approach to “Everybody Hurts,” R.E.M.’s iconic song, involved exploring variations of the dominant piano line’s triplet patterns.
To complement Marsh’s contributions, Mills enlisted David Mallamud, a renowned composer and arranger, to deconstruct another set of R.E.M. songs. Mallamud’s selections included “Fall on Me” from Life’s Rich Pageant (1986), “It’s the End of the World as We Know It (and I Feel Fine)” and “The One I Love” from Document (1987), “Find the River” and “Man on the Moon” from Automatic for the People (1992), and “Supernatural Superserious” from Accelerate (2008).
Mallamud’s approach differed from Marsh’s, resulting in a single long suite composed of his six deconstructed pieces that began that flowed from the Intro and Bargaining through Denial, Anger, Depression and Acceptance. All interpretations were strong, but the last song, a jaunty “It’s The End of the World As We Know It” was the clear crowd-pleaser.
The second half of the performance featured Mill’s own “Concerto for Violin, Rock Band, and Orchestra,” which is a hybrid of a song suite and a true concerto. The piece is a collaboration between Mills and lifelong friend and violin virtuoso Robert McDuffie, who is known for his appearances with prestigious ensembles like the New York and London Philharmonic Orchestras.
Debuting in 2016, the concerto has been performed a dozen times and explores a unique fusion of rock and classical elements. Unlike previous attempts at blending these genres, the concerto stands out for its focus on melody, effectively marrying the raw energy of rock with the sophistication of a string ensemble.
Divided into six sections, the concerto resembles more of a diverse suite than a cohesive violin-centric composition. Notably, the orchestration and additional music contributions from David Mallamud underscore the collaborative nature of the piece. As you might expect, the rock influence predominated during this performance, with Mills assuming his role on bass alongside McDuffie, William Tonks on guitar and Gerry Hansen on drums.
Unlike previous attempts at blending these genres, the concerto stands out for its focus on melody, effectively marrying the raw energy of rock with the sophistication of a string ensemble. This was most evident in “Stardancer’s Waltz,” during which McDuffie fully explored a variety of riffs that could make the tune an enduring standard.
Mills in concert at another hall with this touring show.
He showcased remarkable confidence and strength in his rendition of melody lines and demonstrated mastery in precision, fluidity and speed. He also displayed skills that would challenge even the most adept electric guitarists, which contributed immensely to the success of this hybrid concerto.
Another crowd-pleaser was “A Little Nightswimming,” a poignant, piano-driven track from R.E.M.’s acclaimed 1992 album, Automatic For The People – and a personal favorite. “Nightswimming,” is one of the best songwriting achievements that Mills made with R.E.M. and the concerto’s version was a beautiful, graceful duet between Mills and McDuffie.
For those who took a chance on the SLSO’s R.E.M. performance (let’s call ourselves shiny, happy people), the experience demonstrated that the mutability of music is a big tent that can accommodate hybridizations among genres. After all, classical composers from Bartók and Dvořák to Copland and Williams have drawn folk songs and popular music, infusing classical compositions with the rich cultural tapestry of their respective regions. And you can add Mills to that list.
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.
R.E.M. co-founder Mike Mills, violinist Robert McDuffie, and a rock band join the orchestra for performances of Mills’ Concerto for Violin, Rock Band, and Orchestra; concert opens with symphonic arrangements of R.E.M. hits
The St. Louis Symphony Orchestra has announced a one-night-only symphonic tribute to the music of R.E.M., the award-winning American rock band. Mike Mills, R.E.M. co-founder and bassist, joins the orchestra in the second half of the concert for a performance of his new Concerto for Violin, Rock Band, and Orchestra, with celebrated violinist Robert McDuffie, who collaborates with the SLSO for the first time in more than 20 years. The concert is 7:30pm, Friday, April 5, at the Stifel Theatre in downtown St. Louis.
Tickets starting at $45 are on sale now and may be purchased at slso.org or by calling the Box Office at 314-534-1700.
R.E.M. Explored Friday, April 5, 2024, 7:30 pm Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Ward Stare, conductor Mike Mills | bass, piano, and guitar Robert McDuffie, violin Gerry Hansen, drums John Neff, guitar William Tonks, guitar Note: This concert does not feature vocalists.
R.E.M. Co-Founder Mike Mills and Robert McDuffie in “R.E.M. Explored” with Winston-Salem Symphony. J Farley Photography
The SLSO explores some of the greatest hits of R.E.M.—the Grammy Award-winning American rock band hailing from Georgia—in newly reimagined orchestrations of the band’s legendary catalogue. The orchestra performs many of R.E.M.’s chart toppers including “It’s the End of the World As We Know It,” “Man on the Moon,” and “Everybody Hurts.” Then, Mike Mills—R.E.M. co-founder, singer-songwriter, and bassist—joins the SLSO for performances of his eponymous Concerto for Violin, Rock Band, and Orchestra, a synthesis of his rock background fused with symphonic form that also draws partially from the band’s catalogue, including the 1993 song “Nightswimming.” Grammy-nominated violinist Robert McDuffie joins Mills and a rock band for the St. Louis premiere of this concerto.
About the St. Louis Symphony Orchestra
Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 144th year with the 2023/2024 season and its fifth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music.
The transformational expansion and renovation of its historic home, Powell Hall, slated to be completed in 2025, builds on the institution’s momentum as a civic leader in convening individuals, creators, and ideas, while fostering a culture welcoming to all. Committed to building community through compelling and inclusive musical experiences, the SLSO continues its longstanding focus on equity, diversity, inclusion, and access, embracing its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.
Concerto for Violin and Rock Band. Photo J. Farley Photography
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.
