Subscription Tickets On Sale May 16 for Sheldon’s 2023-2024 Season

Subscription Tickets On Sale May 16 for Sheldon’s 2023-2024 Season

Line-Up Includes Rising Stars and Returning Favorites, Plus New Partnership with St. Louis Symphony – 

ST. LOUIS, MO – New subscription tickets for The Sheldon’s exciting 2023-2024 concert season go on sale Tuesday, May 16 at 10 a.m. through The Sheldon at 314-533-9900 or at TheSheldon.org. Concert packages start at $85 and offer an eclectic mix of artists and genres set in the acoustically-perfect and intimate Sheldon Concert Hall.  Signature series including The Sheldon Rhythm & Jazz, Sheldon Folk, Coffee Concerts and the Whitaker World Music Concerts return, along with an expanded classical music series – St. Louis Symphony Orchestra (SLSO): Live at The Sheldon – debuting in partnership with the SLSO.  

Highlights for the season include modern jazz great Christian McBride and Inside Straight featuring St. Louis favorite, Peter Martin; alt-country originators The Jayhawks; mandolin wizard Sam Bush; dynamic Afro-Cuban percussionist Pedrito Martinez; bluegrass and world music superstars Béla Fleck, Zakir Hussain, Edgar Meyer and Rakesh Chaurasia; Eliades Ochoa, an original member of the famed Buena Vista Social Club; rising bluegrass star Sierra Hull; and many more. The series also showcases local favorites including jazz vocalist Denise Thimes, swing band Sweetie and the Toothaches anda Christmas concert withsaxophonist Kendrick Smith. 

Bela Fleck

The Friends of The Sheldon fall benefit will see the return of Grammy-winning roots artist Rhiannon Giddens, 2023 Pulitzer Prize winner, co-founder of the Carolina Chocolate Drops and McArthur Genius Grant recipient.

The Sheldon is also pleased to announce an expanded classical music series in partnership with the St. Louis Symphony Orchestra. Curated and performed by SLSO musicians, the St. Louis Symphony Orchestra: Live at The Sheldon series will give classical music fans a rare chance to see their favorite SLSO musicians in an intimate setting, performing new and beloved chamber works in The Sheldon’s perfect acoustics.  

Sheldon Rhythm & Jazz series tickets are $180 orchestra / $164 balcony; Sheldon Folk series tickets are $210 orchestra /  

$190 balcony; St. Louis Symphony: Live at The Sheldon series tickets are $175 orchestra/$153.75 balcony 1 / $132.50 balcony 2, and Coffee Concerts are $85 orchestra / $70 balcony.  

Single tickets go on sale Friday, August 4 at 10 a.m. through MetroTix at 314-534-1111 or at TheSheldon.org.     

SHELDON RHYTHM & JAZZ 


Subscription Price: $180 orchestra/$164 balcony (Best Value!) 

Pedrito Martinez                                                                                                             Saturday, October 14, 2023 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student 

Brad Mehldau Trio                                                                                                          Wednesday, November 15, 2023 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student  

John Pizzarelli and Catherine Russell                                                                      Saturday, February 24, 2024 at 8 p.m. 

Two Legendary Singers Share the Stage 

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student 

Christian McBride and Inside Straight                                                                     Friday, May 24, 2024 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student 

Rhythm & Jazz is sponsored by Steward Family Foundation  |  Welcomed by 88.7 The Sound 

SHELDON FOLK 

Subscription Price: $210 orchestra/$190 balcony (Best Value!)

The Black Opry Revue                                                                                                   Friday, October 6, 2023 at 8 p.m. 

$45 orchestra / $40 balcony 1 / $35 balcony 2  

Hasta La Muerte: A Day Of The Dead Show by Las Cafeteras                       Wednesday, November 8, 2023 at 8 p.m. 

$45 orchestra / $40 balcony 1 / $35 balcony 2 

Sam Bush Band                                                                                                                 Friday, February 9, 2024 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2  

Sierra Hull                                                                                                                          Thursday, March 21, 2024 at 8 p.m. 

$45 orchestra / $40 balcony 1 / $35 balcony 2 

The Jayhawks                                                                                                                    Friday, April 19, 2024 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2 

WHITAKER WORLD MUSIC CONCERTS 

Béla Fleck, Zakir Hussain, Edgar Meyer and Rakesh Chaurasia                    Friday, November 3, 2023 at 8 p.m. 

$55 orchestra / $50 balcony 1 / $45 balcony 2 / $15 student 

Eliades Ochoa                                                                                                                    Saturday, March 9, 2024 at 8 p.m. 

$45 orchestra / $40 balcony 1 / $35 balcony 2 / $15 student 

Oumou Sangaré                                                                                                               Saturday, April 13, 2024 at 8 p.m. 

 $45 orchestra / $40 balcony 1 / $35 balcony 2 / $15 student 

Made possible by the W H I T A K E R F O U N D A T I O N

St Louis Symphony Orchestra

St. Louis Symphony Orchestra: Live at The Sheldon 

Subscription Price: $175 orchestra/$153.75 balcony 1/$132.50 balcony 2 (Best Value!) 


Valerie Coleman and Louis Spohr: Winds with Strings                            Wednesday, October 25, 2023 at 7:30 p.m.  

$41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Schubert, Jessie Montgomery, Christian Quiñones: Strings                    Wednesday, December 6, 2023 at 7:30 p.m.  

 $41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Ravel and Dvořák: Strings with Piano                                                    Wednesday, February 7, 2024 at 7:30 p.m. 

$41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Stravinsky, Martinů, and Shannon Wood: Percussion Spotlight              Wednesday, March 6, 2024 at 7:30 p.m. 

 $41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Beethoven and Hindemith: Horns with Strings                                      Sunday, April  7, 2024 at 3 p.m. 

 $41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Sheldon Classics is sponsored by the Sinquefield Charitable Foundation  |  Welcomed by Classic 107.3 

COFFEE CONCERTS 

Subscription Price: $85 orchestra/$70 balcony (Tuesday mornings only) (Best Value!)  

Denise Thimes                                                                                                                  Tues. & Wed., October 10 & 11, 2023 

$23 orchestra / $20 balcony 

Christmas with Kendrick Smith                                                                                  Tues. & Wed., December 12 & 13, 2023 

$23 orchestra / $20 balcony 

Eleanor & Dario:                                                                                                               Tues. & Wed., February 20 & 21, 2024 

A Trip Around the World  

$23 orchestra / $20 balcony 

Steve Neale & Ben Nordstrom: We’re Not Cool                                                 Tues.** & Wed., March 12 & 13, 2024 

$23 orchestra / $20 balcony  

Sweetie and The Toothaches                                                                                      Tues.** & Wed., April 16 & 17, 2024 

$23 orchestra / $20 balcony 

SPECIAL CONCERTS 

Friends of The Sheldon benefit featuring
Rhiannon Giddens                                                                                                          Thursday, September 14, 2023 at 8 p.m. 

Patron tickets: $175 Patron  |  Concert-only tickets: $66 orchestra / $56 balcony 1 / $46 balcony 2 

All prices include a $1 per ticket historic preservation fee. 

SLSO and In Unison Chorus to Celebrate Robert Ray in Concert May 1

SLSO and In Unison Chorus to Celebrate Robert Ray in Concert May 1

THE ST. LOUIS SYMPHONY ORCHESTRA AND IN UNISON CHORUS CELEBRATE THE LEGACY OF FOUNDING IUC DIRECTOR DR. ROBERT RAY AT TRIBUTE CONCERT, MAY 1, AT POWELL HALL

The IN UNISON Chorus and SLSO musicians will be joined by ensembles connected to Ray, including IN UNISON Chorus alumni, The Legend Singers, the UMSL Community Choir, and the choirs of Manchester United Methodist Church and Webster Groves Presbyterian Church, led by IN UNISON Chorus Director Kevin McBeth and guest conductor Dr. Brandon Boyd

This community concert is free, tickets are required

The St. Louis Symphony Orchestra and its IN UNISON Chorus will pay tribute to the life and legacy of Dr. Robert Ray in a free community concert at Powell Hall on Monday, May 1, 2023. Ray was the founding director of the IN UNISON Chorus, a resident SLSO chorus that specializes in the performance and preservation of music from the African diaspora. He passed away in December 2022 at age 76.

The concert celebrates Ray’s many contributions to the country’s arts and music landscape, featuring the IN UNISON Chorus, SLSO musicians, vocalists Denise Thimes and Jermaine Smith, and singers from ensembles impacted by Ray’s signature musicianship, led by current chorus director Kevin McBeth and guest conductor Dr. Brandon Boyd.

The concert is Monday, May 1, at 7:30pm. Free tickets can be reserved by visiting slso.org.

Dr Robert Ray

Marie-Hélène Bernard, President and CEO of the St. Louis Symphony Orchestra, said, “Dr. Robert Ray was a trailblazer—a brilliant musician and educator with a heart for the St. Louis community. His formation and leadership of the IN UNISON Chorus, and his devotion to its evolution as an essential choral group in the region, is one of countless legacies he leaves. We are honored to pay tribute to his legacy with the IN UNISON Chorus and Director Kevin McBeth.”

With unwavering dedication, Ray led the ensemble from its formation in 1994 through 2010, shaping its distinct sound and deep artistic profile. In addition to his wholehearted leadership of the IN UNISON Chorus for 16 years, Ray was a gifted composer and teacher, guiding many young musicians into their careers as a professor first at the University of Illinois, and most recently at the University of Missouri–St. Louis. His music filled many spaces, from local churches all the way to Carnegie Hall. Many of his compositions blended elements of music from the African diaspora with traditional classical forms, resulting in pieces with a singular voice. The SLSO and IN UNISON Chorus have performed selections from Ray’s Gospel Mass many times since its SLSO premiere in December 1996.

The free community concert highlights Ray’s career as a composer, director, and educator. More than 200 singers from various ensembles impacted by Ray will collaborate on the concert, including the IN UNISON Chorus and IUC alumni, The Legend Singers, the UMSL Community Choir, and the choirs of Manchester United Methodist Church and Webster Groves Presbyterian Church. Current IN UNISON Chorus Director Kevin McBeth will lead the concert alongside Dr. Brandon Boyd, a protégé of Ray’s and the Assistant Director of Choral Activities and Assistant Professor of Choral Music Education at the University of Missouri. Boyd’s I’ll Fly Away and Sign Me Up will be performed. The concert includes music by John Rutter, whose music Ray championed during his career. The performance includes selections from Ray’s own Gospel Mass—a landmark work that has been performed in Carnegie Hall—with well-known local vocalists Denise Thimes and Jermaine Smith, as well as Ray’s He Never Failed Me Yet. Throughout the concert, family, friends, and past and present IN UNISON Chorus members will remember Ray through song, poetry, and spoken word.

John RUTTER                                           Selections from Suite Antique

Brandon BOYD                                       I’ll Fly Away

Evelyn SIMPSON-CURENTON            O Glory

Jeffrey AMES                                          In Remembrance

Isaac CATES                                             It’s Working

Brandon BOYD                                       Sign Me Up

Robert RAY                                              Selections from Gospel Mass

Robert RAY                                              He Never Failed Me Yet

About the St. Louis Symphony Orchestra

Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 143rd year with the 2022/2023 season and its fourth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.

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.

About the St. Louis Symphony IN UNISON Chorus

The St. Louis Symphony IN UNISON Chorus is an auditioned ensemble of 100+ volunteer singers that performs a variety of musical styles, with a focus on the interpretation, performance, and preservation of music from the African diaspora.

Founded in 1994 by Dr. Robert Ray as an extension of the SLSO’s IN UNISON community outreach initiative, the IN UNISON Chorus performs several times each year with the St. Louis Symphony Orchestra and throughout the community. Chorus members often come from IN UNISON Program partner churches. Many chorus members sing in other vocal ensembles or church choirs. All share a love of music and of singing.

Bayer Fund has supported the Chorus since its inception. The Chorus has been led by Kevin McBeth since 2011. Learn more about the IN UNISON Chorus at slso.org.

IN UNISON CHORUS

St Louis Symphony Orchestra Announces Changes for Feb 10-11, Feb 18-19

St Louis Symphony Orchestra Announces Changes for Feb 10-11, Feb 18-19

Grammy Award-nominated violinist Tessa Lark makes her SLSO debut on short notice in February 18-19 program, performing works by Ernest Chausson and Maurice Ravel

(February 8, 2023, St. Louis, MO) – Today, the St. Louis Symphony Orchestra announced artist and repertoire changes to its February 10-11 and February 18-19 concerts at Powell Hall. Due to illness, violinist Nicola Benedetti is unable to perform with the SLSO over the next two weeks. Benedetti was originally scheduled to perform James MacMillan’s Second Violin Concerto on February 10-11, and the Wynton Marsalis’ Violin Concerto on February 18-19.

With Benedetti’s withdrawal, the February 10-11 concerts, conducted by Sir James MacMillan, will now open with Felix Mendelssohn’s The Hebrides (Fingal’s Cave). The remainder of the previously announced program will still be performed: the SLSO premiere of MacMillan’s The World’s Ransoming featuring SLSO English horn player Cally Banham; Nikolai Rimsky-Korsakov’s Russian Easter Overture; and Pyotr Ilyich Tchaikovsky’s Francesca da Rimini.

In the February 18-19 program, Grammy Award-nominated violinist Tessa Lark makes her SLSO debut, stepping in for Benedetti on short notice, with concerts led by SLSO Music Director Stéphane Denève. An Avery Fisher Career Grant recipient, Lark will perform Ernest Chausson’s Poème and Maurice Ravel’s Tzigane, transforming the concerts into an all-French program. The program also includes Claude Debussy’s Scottish March on a Popular Theme and Ibéria from Images and Maurice Ravel’s La Valse. Lark was nominated for a 2020 Grammy Award for her performance of Michael Torke’s violin concerto, Sky, with the Albany Symphony Orchestra.

Both Saturday night concerts will be broadcast live on 90.7 FM KWMU St. Louis Public Radio, Classic 107.3, or online (stlpr.org). Audiences can attend a Pre-Concert Conversation, an engaging discussion about the music and artists on the program, one hour prior to each classical concert in the auditorium. 

Tickets start at $15 and are on sale now at slso.org or by calling the Box Office at 314-534-1700.

Calendar listings:

Friday, February 10, 2023, 7:30pm CST

Saturday, February 11, 2023, 8:00pm CST

Powell Hall, 718 N. Grand Blvd., St. Louis, MO


Sir James MacMillan, conductor (SLSO debut)

Cally Banham, English horn


Felix MENDELSSOHN                            The Hebrides (Fingal’s Cave)

James MacMILLAN                               The World’s Ransoming (First SLSO performances)

Nikolai RIMSKY-KORSAKOV               Russian Easter Overture

Pyotr Ilyich TCHAIKOVSKY                  Francesca da Rimini

Saturday, February 18, 2023, 10:30am CST 

Sunday, February 19, 2023, 3:00pm CST 

Stéphane Denève, conductor 

Tessa Lark, violin (SLSO debut)

Claude DEBUSSY                                    Scottish March on a Popular Theme  
Ernest CHAUSSON                                 Poème

Maurice RAVEL                                       Tzigane 
Claude DEBUSSY                          Ibéria  
Maurice RAVEL                                La Valse  

About the St. Louis Symphony Orchestra

Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 143rd year with the 2022/2023 season and its fourth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.

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.

Symphony, Shelea and IN UNISON Chorus Deliver a Spirited and Spiritual Gospel Concert

Symphony, Shelea and IN UNISON Chorus Deliver a Spirited and Spiritual Gospel Concert

By CB Adams

On the 1988 U2 album “Rattle and Hum,” singer Bono introduced the band’s cover of “Helter Skelter” by saying, “This is a song Charles Manson stole from the Beatles. We’re stealing it back.” Although “Helter Skelter” may seem a strange way to begin a review of the St. Louis Symphony Orchestra’s Dec. 15 performance of A Gospel Christmas, it’s actually an apt comparison. The tsunami of seasonal carols and jingles that retailers start blasting in early fall threatens to steal our attention from the hymns and ecclesiastical music that examines – if not downright proclaims – the “reason for the season.”

A show like A Gospel Christmas aims to steal back holiday music – at least for one performance a year. The songs, like Michael Lawrence’s “Carol of Christmas,” Camille Saint-Saens’ “Praise Ye, the Lord of Hosts,” and the traditional “The First Noel” resonate more fully than songs about flying reindeer, mommy kissing Santa Claus or little fir trees who cry so much.

To borrow a quote from Stephen Hill, the host of the long-running radio program Hearts of Space, hymns “engage us on a deeper, more internal level when we simply open ourselves to the sound and listen with the heart.”

Kevin McBeth

There’s an unmatched power and vibrancy of human voices raised en masse, and the St. Louis Symphony IN UNISON Chorus transformed Powell Hall into a sanctuary of soulful celebration. Conducted by Kevin McBeth, A Gospel Christmas was really three concerts woven into one. The IN UNISON Chorus provided the lion’s share of performances with songs that included the “Hallelujah” from Handel’s Messiah: A Soulful Celebration,” the traditional “Beautiful City” and Kirk Franklin’s “Silver and Gold.”

Among all the excellent voices contributing to IN UNISON, the program included outstanding solos by several members, including soprano De-Rance Blaylock who performed “God Rest Ye Merry Gentleman” and countertenor Tai Oney who performed “Mary Had A Baby.” “Praise Ye, The Lord of Hosts” from Saint-Saëns’ “Christmas Oratorio” received a rousing performance from IN UNISON’s Men’s Glee Club.

Early in the show, McBeth announced that IN UNISON’s founding director, Dr. Robert Ray, had passed away that day. Ray led the ensemble from its formation in 1994 through 2010 and shaped its distinct sound as it evolved into an essential choral group in the region. The evening was dedicated to Ray and celebrated his vision for the chorus, many members of which come from the IN UNISON Program partner churches.

Shelea

The second concert within a concert was a sprinkling of songs by American singer, songwriter and pianist Sheléa Frazier, known professionally by the single moniker Sheléa. With a reputation as a “singer’s singer,” Sheléa has also portrayed gospel singer Dorinda Clark Cole in the 2020 Lifetime biopic, “The Clark Sisters: First Ladies of Gospel.”

Both the IN UNISON Chorus and Sheléa could have carried the show singly, the combination, along with the SLSO, provided a lively cadence and welcome variety of material. Sheléa sauntered easily through chestnuts like Mel Torme’s “The Christmas Song” and Vince Guaraldi’s “Christmas Time Is Here” as well as one of her own compositions, the delightful “Don’t Wanna Wait ‘Til Christmas.”

Balancing out the program was the SLSO, which swelled Powell with wordless wonders such as the traditional “Overture of Joy (A Christmas Melody)” and Hugh Martin’s “Have Yourself A Merry Little Christmas.”

In this season of aural plentitude, A Gospel Christmas provided a welcome respite from the jingle-jangle of more commercial holiday music – made all the more precious by both its impressive quality and one-night-only scarcity. I was reminded of an Elton John quote, “When in doubt, write a hymn.” To which I would add, “And then sing it out loud.” By the end of A Gospel Christmas, I felt that I had been satisfyingly “churched” and yearned to shout out, “Say amen, somebody!”

Popster Picks for Weekend Oct 28-30

Popster Picks for Weekend Oct 28-30

By Lynn Venhaus

What a weekend ahead – especially all the festivities to celebrate Halloween. Here’ s a round-up of events, movies, music, TV and more.

Local Spotlight: Our National Landmark

Our Gateway Arch was completed on Oct. 28 in 1965. America’s tallest monument, The Gateway to the West, the Jefferson National Expansion Memorial, is the grand symbol of our region and riverfront.

I was 10 when they put the final link in place. Now it’s 57! I remember coming home from college, and as soon as I saw the Arch, I knew I was home.

Here’s more from the History Channel about this day in history: https://www.history.com/this-day-in-history


Movies: Slashfest at the Skyview Drive-In

Belleville Oct. 28 and 29, box office opens at 6 p.m.

Screen 1 – Family Slashfest – Hotel Transylvania PG 8:00 and Gremlins 2 PG13 9:40              Midnight – Rocky Horror Picture Show

Screen 2 – Hardcore Slashfest – Texas Chainsaw Massacre R 7:15, Friday the 13th 7: New Blood R 8:50, The Fog R 10:25 and Killer Klowns from Outer Space R 12:00

They will start the Hardcore Slashfest at 7:15 and the Family Slashfest will start at 8:00.  This is so they can play four movies on the Hardcore side. At midnight, you can choose to stay on screen 2 or move up to screen 1 to see RHPS.


Live and Local: Saint Charles Legends & Lanterns® is taking over Main Street this weekend – Saturday from 11 a.m. to 8 p.m. and Sunday from noon to 5 p.m.  

More info: https://www.discoverstcharles.com/events/legends-lanterns/

Local Content: Broken Strings

The first episode of a planned local series on artists’ journeys as they search for harmony will be screened at The .ZACK, 3224 Locust Avenue, at 7 p.m. this Saturday and Sunday.

Created as a part of the Kranzberg Artist in Residency program, writer/director Catherine Dudley-Rose has gathered multiple local artists and activists. First one features Dr. Marty K. Casey, Don McClendon, Sydney Russell, and Chrissie Watkins along with supporting cast. Crew: cinematography by Mallory Ingles, edited by Abbey Heise, sound by Bailey Hilmes and assisted by Once Films, and the Regional Arts Commission. Find out more about the development of this community series and how you can participate. Tickets are $15.

More info: https://www.kranzbergartsfoundation.org/events/broken-strings-preview-screenings/

Live: St. Louis Symphony Orchestra “Psycho”

Oct. 30, 7 p.m., Powell Hall, 718 N. Grand Blvd.

SLSO is checking into the Bates Motel as Alfred Hitchcock’s classic psychological thriller “Psycho” will be on the big screen, and they will play Bernard Herrmann’s suspenseful score – with its shrieking strings and slashing chords – live.

Beforehand, a costume contest will take place in the foyer, with prizes for best overall, scariest and most creative.

Tickets: https://shop.slso.org/7612

Streaming: “Stars at Noon” on Hulu

Here’s PopLifeSTL film critic Alex McPherson’s review of “Stars at Noon,” currently streaming on Hulu.

‘Stars at Noon’ Is A Provocative, Challenging Love Story

TV Movies: Hallmark Channel’s Countdown to Christmas

Every Friday, Saturday and Sunday night, there is a new Christmas film to view. Here’s this weekend’s line-up:

Friday – A Cozy Christmas Inn
Saturday – Jolly Good Christmas
Sunday – Ghost of Christmas Always

Movie: “Decision to Leave”

Now playing at Plaza Frontenac, writer-director Park Chan-wook’s mystery-thriller uses his distinct visual style to weave a love story and murder case, with flashes of Hitchcock’s “Vertigo” and using nature as a character. The official South Korean selection for the Oscar’s Best International Feature, this will indeed be in the awards conversation at year’s end. Park won best director for this at the Cannes Film Festival in May.

Here’s my review in the Webster-Kirkwood Times:

https://www.timesnewspapers.com/webster-kirkwoodtimes/arts_and_entertainment/reel_world/decision-to-leave/article_d7231646-56e5-11ed-b004-9be9c42616d1.html


TV Mini-Series: “The White Lotus,” season 2

Sunday, 8 p.m., HBO

We move on to Sicily this time, for a take on the staff at an upscale resort and the wealthy guests who stay there. Cast includes Aubrey Plaza, F. Murray Abraham, Michael Imperioli, and Haley Lu Richardson, with Jennifer Coolidge reprising her role as the ditzy socialite Tanya McQuoid.

Playlist: Million Dollar Quartet

With the death of Jerry Lee Lewis Friday, one of the pioneers of rock ‘n roll, I am reminded of the one historic night where Johnny Cash, Carl Perkins, Elvis Presley, and Lewis gathered at Sun Studios in Memphis for one heckuva recording session on Dec. 4, 1956.

The basis for a 20120 jukebox musical

It has played at the Fox Theatre (2013) and at the Repertory Theatre of St. Louis (, and will be part of Stages St. Louis’ 37th season next summer. Here is the Broadway cast performing at the 2010 Tony Awards. Levi Kreis, who played Jerry Lee Lewis, won the Tony for best featured actor in a musical.

Word: Stephen King

“We make up horrors to help us cope with the real ones.”

Symphony and Chorus Deliver Emotional, Cathartic Performance of Poulenc and Others

Symphony and Chorus Deliver Emotional, Cathartic Performance of Poulenc and Others

By CB Adams

It goes against form to start a symphony review (or any review for that matter) by pointing out the limits of words to describe a performance. Even the inestimable writer Virginia Woolf, when attempting to describe paintings in a 1920s essay, wrote, “But words, words! How inadequate you are! How weary one gets of you.” If words can fail the masterful Woolf, there’s not much hope for the rest of us – though she more than adequately spent the rest of the essay brilliantly describing the art, anyway.

Still, words are our medium. Thus, perhaps the best that can be said for the Friday, Oct. 21 performance of the St. Louis Symphony Orchestra, directed by Stéphane Denève, is: You had to be there. The same could no doubt be said for the Oct. 22 performance, too.

If you were there, you know how the orchestra, along with the SLSO Chorus, performed a powerfully emotional quadtych of complementary compositions (two by Francis Poulenc, and one each by Florent Schmitt and Reena Esmail). Denève has an avowed passion for Poulenc, a sentiment he reinforced in his introduction to the evening’s performance. “I looooove Poulenc!” he proclaimed from the podium.

Poulenc comprised the second half of the evening’s bill, and Denève avoided giving the Schmitt and Esmail compositions short shrift by describing the interconnected themes of love, faith, dedication and sacrifice. The well-considered choices to explore these themes added up to an entirely fulfilling and engaging experience while locally premiering Esmail’s “Testament” (From “Vishwas”) and the 12-movement “Stabat Mater” by Poulenc.

Jeanine De Bique

The strength of this concert was, at a macro level, the focus on love, faith, dedication and sacrifice. That focus was often filtered through a religious perspective. “Testament,” the final movement of a three-part composition for classical Indian dancer and orchestra, illuminates the fervent belief and hunger strike of a 15th-century poet.

Schmitt’s “The Tragedy of Salome,” is a symphonic suite that presents the sacrifice of virginal innocence, exemplified by its femme fatale protagonist, Salome of Biblical fame. The piece climaxes with a Stravinskian crash in the “Dance of Fear” movement.

Poulenc’s “Stabat Mater” uses the setting of a 13th-century hymn in Latin to the Blessed Virgin Mary’s reaction to the crucifixion of Jesus. The final scene from his opera “Dialogues of the Carmelites” presents a cast of nuns conversing about “anguish, fear, and the human condition.” It ends with their systematic beheadings, complete with guillotine sound effect.

Heavy stuff – indeed. But words fall short of the ultimately cathartic and uplifting nature of the SLSO’s performance. It was akin to attending a Greek tragedy. As Friedrich Nietzsche has observed: experiencing tragedy through art can lead to a meaningful affirmation of our own existence.

The success of this slate of compositions relies on the pieces themselves, the interplay of styles, themes and influences, and the performance by the SLSO and chorus. The sequence of pieces began with a religious person’s hunger strike, continued with the decapitation of John the Baptist, focused on the intense loss of Jesus’ crucifixion and concluded with the execution of 16 nuns. Although this description might sound unappealingly grisly, it was anything but. In sum, it was a satisfying, cerebral experience.

The orchestra, under Denève’s direction, was clean, confident and balanced – as usual. The “exotic” elements in the Esmail and Schmitt compositions were not exaggerated. Neither were the 16 uses of the guillotine sound effect during the “Dialogues of the Carmelites.” The effect was quite similar to the one used during The Muny’s production of “Sweeney Todd” this past summer.  

The addition of the chorus, guest directed by Scott Allen Jarrett, for the Poulenc pieces was a welcome addition and filled the stage with an aural presence that only a large choir can bring.

Reena Esmail

The highlight of the performance was certainly the SLSO debut of soprano Jeanine De Bique. Clad in blood red gown among the more soberly black dress of the rest of the musicians, De Bique delivered a beautiful and commanding performance, especially during the “Stabat Mater.”

The choice of works was innovative and balanced, and it certainly fits within this season’s overarching goal of journeying the world through music – compositions and musicians.

Through the fervency expressed in the works individually stood on their own, it was the cohesive ways the fit together to create a whole experience that proved most successful.


SLSO Delivers Bold, Emotional Renderings of Rachmaninoff and Corigliano Works

SLSO Delivers Bold, Emotional Renderings of Rachmaninoff and Corigliano Works

By CB Adams
Suspension of disbelief is a term usually associated with works of fiction, film or theater. It’s a term that got its start way back in 1817 when Samuel Taylor Coleridge wrote of the “…suspension of disbelief for the moment, which constitutes poetic faith.”

It’s high time we apply this term to music. This was certainly applicable to the Saint Louis Symphony’s diptych program on Oct. 15-16 of Sergei Rachmaninoff’s Piano Concerto No. 2 and John Corigliano’s Symphony No. 1. When a conductor and orchestra can perform in a way that disappears themselves, that’s suspending the reality that people are only just rubbing strings and blowing into mouthpieces.

The program, guest conducted by Hannu Lintu, was worthy of Coleridge’s “poetic faith” with the shared maelstrom of themes that rose and fell in tandem – a perfect storm. The suspension of disbelief came after I forgot that there were musicians on stage and entered into my own reveries elicited by the drama of music itself. In service to this review, I had to keep reminding myself to stop my mind’s reverie and pay attention to who was doing what on stage.

Some of this is attributable to conductor Lintu, a regular guest artist with the SLSO since 2013. I was reminded of Lintu as I watched a sneak peek of the new film “Tár.” In it, a world-class conductor played by Cate Blanchett says, “If you want to dance the mask, you must service the composer. You’ve got to sublimate yourself…You must, in fact, stand in front of the public and God and obliterate yourself.”
That might be a bit hyperbolic, but Lintu certainly serviced the strengths of a program that put Rachmaninoff and Corigliano – the old and the new – into lockstep.

Lintu was sometimes metronomic, sometimes feet-together obedient and sometimes commanding, but always he was the conduit for music to swell unimpeded over him and into the audience.

Also in service to the music was Gerstein, the featured pianist on Rachmaninoff’s No. 2. Gerstein delivered a taut, polished, restrained performance that avoided any exaggeration that the composition can encourage. Just think back to 1975 and Eric Carmen’s hit “All By Myself,” which liberally borrowed from No. 2’s Adagio sostenuto. Or the soundtracks to “Brief Encounter” and “Fifty Shades of Grey.”
Gerstein’s performance was noteworthy for his ability to balance lyrical nuance and athletic discipline to a well-known and -loved composition.

A great performance is always a team effort, and the orchestra rippled through Rachmaninoff’s alternations of sweet melancholy and darkness. On par with Gerstein’s solos were performed by Matthew Roitstein (principal flute), Scott Andrews (principal clarinet) and Thomas Jöstlein (associate principal horn).

Creating a program that positions a beloved classic with a newer composition is to risk a “bait and switch” response. But when it works, it can work charms as did placing Rachmaninoff and Corigliano, the latter of which is a celebrated orchestral composer whose works have been performed by the best international ensembles. This was my introduction to Corigliano and I’m all the better for it. The genesis
of Symphony No. 1 was Corigliano’s deeply personal response to the HIV/AIDS pandemic, but the music enabled me to surf the dramatic crests and delicate troughs of its waves.

Perhaps because of the SLSO’s fine performance that relied on the talents of approximately 110 onstage musicians , I can imagine only listening to No. 1 live. It’s hard to think of a recording and stereo system capable of presenting this composition in all its highly charged power and range, evident even in the title of the opening movement, “Apologue: Of Rage and Remembrance” and in Corigliano’s description of the second movement’s ending as a “brutal scream” and the Epilogue’s ending with a cello duet performing a
slow diminuendo that shimmers with a single, fading note.

That cello duet, performed with grace and emotion by Danny Lee (principal cello) and Melissa Brooks (assistant principal cello), was a highlight of the entire performance, made stronger by ending the program of poetic faith and promise.

Hannu Lintu, guest conductor

Symphony Presents Pleasing Western-Eastern Fusion Featuring Mahler’s ‘Das Lied von der Erde’

Symphony Presents Pleasing Western-Eastern Fusion Featuring Mahler’s ‘Das Lied von der Erde’

By CB Adams

Upon first reviewing the selections for the St. Louis Symphony Orchestra’s second performance of the 2022-23 season, it might have seemed like a concert designed by Debbie Downer.

Two of the pieces, Tōru Takemitsu’s “Night Signal” and Qigang Chen’s “L’Éloignement” (The Distancing), are neither well-known nor necessarily upbeat sounding based on their titles. And the better known Mahler work, “Das Lied von der Erde” (“The Song of the Earth”), is an hour-long cycle of six song movements that explore themes and variations on the shuffling off of this mortal coil, i.e., life and death.

But not all first thoughts are best thoughts.

Stéphane Denève, Music Director, and Erik Finley, development partner and the SLSO’s Vice President and General Manager, chose a more sophisticated and ultimately uplifting curation of pieces chosen to be experienced in person in a concert hall. This concert was designed to be both self-contained and part of the overall arc of the entire season – to experience through music the interconnectedness of the world.

To use a twenty-five-cent word: it was polyphony. To quote the Sherman Brothers’ Disneyland boat ride ditty, “It’s a small world after all.” Either way, Denève and SLSO delivered an exquisite performance from first note to last.

The performance began with the brass section standing in a line behind the strings. This arrangement provided a potent visual clue that Takemitsu’s “Night Signal” was about to emit something out of the ordinary. According to The Guardian, “Takemitsu’s understated and crystalline compositions combine elements of his own Japanese traditions with the western modernism he loved so much.” That modernism included American jazz, elements of which are woven into “Night Signal” like “tsuzure-nishiki,” the Japanese term for polychrome tapestry.

“Night Signal” was unusual in another way. At the three-minute mark, a time when listeners are just getting settled into a piece, it was over. It was brief only in duration. It made a complete, minimalist statement unto itself while serving as a fanfare for the pieces that followed. Roger Kaza, principal horn, and the entire horn section rendered the score with a nimbleness and restraint.

The orchestra then settled into place for Qigang Chen’s “L’Éloignement.”  Chen is a Chinese-born French composer whose credits include symphonies, chamber pieces, film scores and songs, including “You and Me,” the theme song for the opening ceremony of the Beijing Olympics (he also served as music director). Moving from “Night Signal” to the string-only “L’Éloignement” was a logically smooth transition into the latter’s bustling, cinematic phrases woven with a touching Chinese folk love song.

“Night Signal” and “L’Éloignement” were clearly selected and sequenced because they share a delicate aesthetic melding for western and eastern influences. These influences were pleasing and expanding in the effects. The pieces were expert choices to demonstrate polyphony at its most subtle and worldliness. And Danny Lee, principal cellist, and Beth Guterman, principal violist, proved in their performances why they deserved to sit at the head of their sections. 

Many who attended the Sept. 22 or 23 performances probably came for “Das Lied von der Erde,” described by Leonard Bernstein as Mahler’s “greatest symphony.” Such a listy designation may be debatable, but “The Song of the Earth” is almost universally considered Mahler’s most autobiographical work.

It’s a symphonic cycle of six songs for alto and tenor voices and orchestra. Kelley O’Connor, mezzo-soprano, and Clay Hilley (making his SLSO debut), tenor, were the soloists for these performances.

So, what’s this piece got to do with the intermingling of western and eastern musical influences? The answer is not really sonically. It’s somewhat part academic and definitely part Six Degrees of Kevin Bacon. The source material is a bit removed as it was inspired by an anthology of Chinese poems translated into German. This text was further translated into English and projected during the performance. The result was often more Germanic sturm und drang (and drinking), especially during Hilley’s songs.

“’Das Lied von der Erde’” is about loss, grief, memory, disintegration, and, ultimately, transfiguration,” according to Robert Greenberg, a noted historian, composer, pianist and author. And it’s those themes that make a compelling case for including it with the preceding compositions rather than Mahler’s masterful use of eastern pentatonic scales.

Mahler’s “song symphony” is essentially a two-part symphony with six songs that explore the phases of life (songs 1-5) and the transition to death (song 6). O’Connor and Hilley were splendid and powerful in distinctively different ways. They were definitely a study in contrast, with Hilley storming through his songs with operatic passion while O’Connor presented her lyrics with refined, gossamer restraint. This binary approach aligned with – mirrored – the song symphony’s themes of life and death, light and dark, conflict and acceptance.

And it’s that last word – acceptance – that ended the performance so satisfyingly. As O’Connor sang “Der Abschield” (“The Farewell”), her voice led toward the ending that Mahler intended: acceptance of death as well as acceptance of the pairing of these compositions into a cohesive experience.

Symphony-Muny Collaboration Sings Sondheim’s Praises Sunday

Symphony-Muny Collaboration Sings Sondheim’s Praises Sunday

By CB Adams

Every so often, The Muny and the St. Louis Symphony come together like Peaches & Herb: “Reunited, and it feels so good…”

These two cultural cousins know how to celebrate. That was definitely the vibe at Power Hall on October 2 when these two local cultural titans combined talents for “A Little Sondheim Music,” a concert to celebrate composer-lyricist Stephen Sondheim, a titan of different sort. The last time the Symphony and Muny combined forces was to celebrate the The Muny’s 100th birthday.

With Mike Isaacson, the Muny’s Artistic Director and Executive Producer, at the helm as host and master of ceremony, the lively event perked along through a well-curated roster of songs from Sondheim’s career. This was no jukebox jaunt through Sondheim’s songbook. It was a journey into Sondheim’s impressive range of songs and characters, some of which aren’t among his greatest hits.

So, along with the familiar titles from “Follies,” “A Little Night Music,” “Company” and “Sweeney Todd,” the audience was also to treated to selections from the lesser-known “Saturday Night,” “Evening Primrose” and “Anyone Can Whistle.” Another entire concert or two could be created from Sondheim’s deep cuts from other shows. To borrow a line from “Send In the Clowns, “…well, maybe next year.” (hint, hint).

In his opening, Isaacson quoted the three guiding principles that Sondheim hewed to during his career: content dictates form, less is more and God is in the details. To which Sondheim also added, “All in service of Clarity, without which nothing else matters.”

Bryonha Marie in rehearsal. Julie Merkel photo.

Clarity ruled the afternoon performance and elevated the achievements of Sondheim rather than mourn his passing last November at age 91. Lending their vocal talents to the celebration were some of Broadway’s brightest babies:  Ben Davis, Bryonha Marie, Matthew Scott, Emily Skinner and Elizabeth Stanley. Their talents were on full display, whether performing individually, in duets or as an ensemble. And it would be unfair if not impossible to cite any one performance as a standout because they were all standouts.

Ask 10 audience members what their favorite was, and you’d probably get 10 different answers. My own personal favorite was Skinner’s interpretation of “Send In the Clowns.” Her use of pauses and emphasis provided new insight into the lyrics’ meanings and to the rueful ruminations of the character Desirée in “A Little Night Music.”  I’m just a sucker for that song.

Clarity was certainly one of the concert’s throughlines. Songs such as ”If You Can Find Me, I’m Here,” sung by Scott, and “Broadway Baby,” sung by Marie, exemplify Sondheim’s ability to pack an entire show’s worth of characterization into a single lyric. And Scott interpreted his song by channeling an inner Dustin Hoffman, ala “The Graduate,” and Marie delivered sass, sashay and plenty of boop-oop-a-doop to hers.  

Each Sondheim song is its own mini-musical. All of the performers tapped into this with brio and moxie, moving across the narrow strip of stag and conjuring the spirit of the actual musicals. Even if you didn’t know the show, you understood it from the song itself. That’s part Sondheim genius, part musical magic and part high-caliber performance from the artists.

Rehearsal photo of the two Bens – Davis and Whiteley. Photo by Julie Merkel.

Cases in point: Davis, fresh off this last summer’s successful Muny production of “Sweeney Todd,” reprised his take on the chilling “My Friends” by pivoting from fetishistic heavy petting of cutlery to the abrupt declaration, “At last, my arm is complete again!” Dexter should be so lucky.

And Stanley provided a disarmingly plaintive interpretation of “In Buddy’s Eyes” from “Follies” that reworked the breathless suffering usually associated with this song – written for an older character – into an ironic conscience examination of someone younger.

Also providing clarity to the concert was the St. Louis Symphony Orchestra, under the direction of Maestro Ben Whiteley, who has long been a member of the Muny artistic family. Host Isaacson thanked Whiteley “…who really created this program, bringing his incredible knowledge and passion to the creation of this program.”

The orchestra launched the performance with the opening overture to “Merrily We Roll Along” and was featured post-intermission with the overture to “A Funny Thing Happened on the Way to the Forum,” as well as a smooth and graceful “Night Waltz” from “A Little Night Music” in the second half. These were a potent reminder of the beauty of Sondheim’s compositions and how much a fine performance of them deepens their impact.

Also in the second half was a special appearance by St. Louis native Ken Page who sang “Anyone Can Whistle” with a sage-like preciousness that did the Old Deuteronomy cat proud.

As the concert drew to a close, Isaacson quoted Sondheim who answered an interviewer’s question about what he hoped his legacy would be. “Oh, I just would like the shows to keep getting done. Whether on Broadway, or in regional theaters, or schools or communities, I would just like the stuff to be done. Just done and done and done and done and done.”

With a concert like “A Little Sondheim Music,” The Muny and the Symphony have ensured that at least one of those done’s was accomplished – and done to perfection. It doesn’t get much clearer than that.

Featured Photo: Ben Whiteley, Michael Baxter, Nicolas Valdez, Bryonha Marie, Ben Davis, Matthew Scott, Emily Skinner.. Photo by Julie Merkel.

Matthew Scott in rehearsal. Photo by Julie Merkel.

St Louis Symphony Opens Season with Alluring, Boundary-Busting Line-Up

St Louis Symphony Opens Season with Alluring, Boundary-Busting Line-Up

By CB Adams
It’s been more than a week since the Saint Louis Symphony’s (SLSO) opening performance, the first salvo in the 2022-23 season. Across the St. Louis cultural landscape, as we have emerged from the isolating effects of the pandemic, the last several
months have seemed like a time of emergence, anticipation and expectation for theater, live music and the visual arts. The pandemic was not a pleasant experience, but for some, this hunker-down time was like a creative chrysalis or inspiring incubator.

Such seems to have been the case for Stéphane Denève, Music Director of the Symphony, and his development partner, Erik Finley, the SLSO’s Vice President and General Manager. “Stéphane’s big idea for 2022/23 was the French word ailleurs,” Finley is quoted in the
Symphony’s Playbill. “Loosely translated, the word means ‘elsewhere,’ or ‘another place.’ Stéphane and I began our conversation around the idea of ‘journeying’ – of traveling the world through music.”

The onus on reviewers is usually to provide one’s critique like a loaf of freshly baked bread – best hot from the oven (i.e., performance). But some reviews benefit from a little more time, more of a stew, perhaps (to continue the culinary metaphor). Such is the case
with the SLSO’s prix fixe season opener that included Antonín Dvořák (best known), Jacques Ibert (less well-known) and Nathalie Joachim (perhaps the least known, especially outside of the symphony world).

Preparing for the opening performance, I ranked the pieces in that order. Yet, with the passage of some time, that order has been upended – at least in terms of what has had the most staying power. And that’s thanks to that sense of ailleurs, especially Joachim’s
“Fanm d’Ayiti” (“Women of Haiti”) Suite, which was sandwiched between the Ibert and Dvořák pieces.

I wasn’t sure what to expect from Joachim, a Brooklyn-born self-identified Haitian- American who is a Grammy-nominated composer, vocalist and flutist whose works range from classical to pop and indie-rock, and whose affiliations include Oregon Symphony
(where she is the Artistic Partner) and the flute duo, Flutronix (which she co-founded). She’s also a newly appointed faculty member at Princeton University.

The full-length “Fanm d’Ayiti” (2019), which earned the Grammy nomination, consists of 11 pieces for flute, voice (in “kreyól” or creole), string quartet and some electronics. Grammy.com noted that “Fanm d’Ayiti” “…constitutes an ethnographic research
undertaking.” It is based on Joachim’s conversations with family members and others in the Haitian community, as well as additional field research.

“I found such a kinship in their stories as artists, and specifically female artists, really trying to make it in a field where women’s voices are ever-present but really under- represented,” Joachim was quoted by Grammy.com.

On paper, Joachim’s project seemed a risky choice for the SLSO because of its ethnographic, almost academic, approach. “Yes,” I thought, “but is it any good?” My skepticism was almost immediately allayed within the first minutes of the three selections: “Suite pou Dantam,” “Madan Bellegrade” and “Fanm d’Ayiti.”

What remains of this performance is a warm sense of being transported to the Haitian country, of “being there.” Joachim’s voice was smooth and sweet, as was her flute playing, and the orchestra’s performance was intermingled with recorded voices of her maternal grandmother and of an all-girls choir from her family’s hometown.

Overall, it was a visceral experience, not dryly academic. It’s no wonder, then, that the performance earned a mid-concert standing ovation. Because “Fanm d’Ayiti” is the least well-known of the evening’s music makes it deserving of the lion’s share of coverage. It was an important choice, and based on its success, it helps strengthen the relationship – the trust – that should exist between music director and those who support the SLSO. It’s as if Denève and Finley were saying, “Trust us, you’ll like this.”

SLSO at Powell Hall

They weren’t wrong with “Fanm d’Ayiti.” The success of “Fanm d’Ayiti” was elevated by the works that surrounded it, forming a
musical travelogue that transported the audience to the Czech Republic, nee Bohemia, and ports of call in the Mediterranean. The combination integrated thoughtfully well, especially as it relates to the notion of ailleurs.

The evening began with Ibert’s 1922 suite “Escales” (“Ports of Call”). “Escales” is a story in three movements that begins at sea and explores the soundscapes of three ports of call, “Rome—Palermo,” “Tunis—Nefta” and “Valencia.” Denève directed Ibert’s colorful suite with a vigorous, cinematic soundtrack sensibility. Ibert’s score made fine use of the skills of Jelena Dirks, principal oboist.

The evening concluded with Dvořák’s Symphony No. 8, Op. 88. The names of symphony’s four movements (Allegro con brio, Adagio, Allegretto grazioso and Allegro ma non troppo) offer some indication of why this was a fine way to end the evening with
an energetic, cheerful, exuberant and poetic performance. Denève and D (let’s call them the Two D’s) drew upon the SLSO’s strong woodwinds during the numerous solo passages.

In her Playbill introduction, SLSO President and CEO, Marie-Hélène Bernard, wrote, “We believe that music is a universal language and in creating an environment where music is accessible to all. This is made possible through a more welcoming concert experience and for new and returning audience; broader programming that makes the orchestra a vital part of everyone’s life…”

Every journey begins with a first step, and the opening performance of this new season was indeed a terrific first step toward that ideal of ailleurs. There is no substitute for experiencing a live orchestral performance – especially one as diverse and satisfying as
this one. It’s amazing to view the musicians assembled on Powell Hall’s stage and to consider all that practice, practice, practice that led them to this point. And for the next several months, it’s up to us to listen, listen, listen.

SLSO Conductor Stephane Deneve