As if to serve as a counterpoint to Union Avenue Opera’s (UAO) festival-opening but decidedly heavy “Turn Of the Screw,” the company offers up a light summer treat with Donizetti’s “Don Pasquale” – as welcome as a heaping scoop of granita during the current heat wave.
It’s perfect time for a classic comic opera (libretto by Giovanni Ruffini, after Angelo Anelli) whose silly plot plays distant second fiddle to the vocal performances provided by the well-cast singers in this production.
With only four main characters, this production of “Don Pasquale” benefits from the modest stage at Union Avenue Christian Church, UAO’s home for its festival. The tight scale allows ample opportunity for the singers to strut their stuff – including the excellent ensemble. It’s a good thing the emphasis is on the performance of the singers because the set is flimsy and plain, the lighting is serviceable and unremarkable, and the costumes are seemed in need of a good tailor.
These shortcomings are more than compensated for by the performances of Andy Papas as Don Pasquale, Peter Kendall Clark as Dr. Malatesta, Namarea Randolph-Yosea as Ernesto and Christine Lyons as Norina. In fact, this would have been just as satisfying an experience if these four had performed on an empty stage.
Christina Lyons in Don Pasquale, Photo by Dan Donovan.
This production puts it money where its mouths are. Sung in Italian with English subtitles, the subtitles are often not necessary thanks to the emotive – sometimes comedic and rollicking, other times romantically heartfelt – performances of the cast members.
Bass baritone Papas as the opera’s namesake is the sort of portly presence we expect from a Don Pasquale – much like we expect from a Falstaff. Papas gives his Pasquale a depth that ranges from likeable, to lightly tyrannical, to even pitiable. Throughout, Papas is confidently in charge of the material and provides a masterful balance of antics, pathos and bluster.
Clark’s puppet-master Dr. Malatesta towers over Papas (and the rest of the cast) physically, while providing a well-modulated performance that makes the most of his big, rich, robust voice.
One of the highlights of this production is his Act III duet with Papas that breaks the fourth wall as the two solicit applause from the audience – something they heartily received, and which didn’t feel out of place or break the flow of the jaunty story.
With a male-to-female ratio of three to one, soprano Christine Lyons, making her UAO debut, more than held her own as the opera’s love interest. Lyons provides a fully realized Norina that relies as much on small gestures like the demure tilt of her head or the brazen lift of her skirt as on her high notes and sprightly coloratura. The show may be named for Don Pasquale, but it many ways, this was Lyons’s show.
As Don Pasquale’s nephew, Ernesto, Randolf-Yosea, also making his UAO debut, sometimes lacks the confidence and power of the other singers, but more than makes up for that during his solo moments. He provides a captivating love lament in Act II that is one of the highlights of this production, as was his deeply affectionate duet with Lyons, “Tornami a dir che m’ami.’
Union Avenue Opera’s production of Don Pasquale on July 26. Photo by Dan Donovan
Beautifully percolating beneath the action on stage is the chamber-size orchestra under the direction of conductor Stephen Hargreaves. The orchestra provides a satisfying and masterful account of the score, though sometimes the singers phrases were lost beneath a swell of music.
UAO’s “Don Pasquale” is a frothy, delightful take on this comic opera classic. Yes, there is some agism and sexism that makes the plot seem dated, but the incredible cast and Donizetti’s entrancing score keep the pace moving so quickly that those are easy to overlook.
The ensemble in Union Avenue Opera’s production of Don Pasquale. Photo by Dan Donovan,
“Don Pasquale” runs at 8 p.m. on July 28 and 29 and August 4 and 5 at the Union Avenue Christian Church, 733 Union Boulevard.For more information, visit www.unionavenueopera.org.
Peter Kendall Clark as Dr. Malatesta. Photo by Dan Donovan.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
.Union Avenue Opera announces three new garden concerts taking place this spring.
This summer, Union Avenue Opera will make its highly anticipated return to its home stage within the historic Union Avenue Christian Church at 733 N. Union Blvd, just north of the intersection of Union and Delmar Boulevards.
Known for its commitment to presenting operas in their original language, Union Avenue Opera will offer a three opera festival season opening with Tchaikovsky’s masterpiece, Eugene Onegin (July 8, 9, 15, 16) which last appeared on the UAO stage in 2003 to great critical acclaim. The season will also see the return of Verdi’s riotous Italian romp Falstaff (July 29, 30, August 5, 6) which the company last produced in 2005. Rounding out the 2022 season will be the UAO debut of Stephen Sondheim and Hugh Wheeler’s charming A Little Night Music (August 19, 20, 26, 27).
“Moving back to our home stage after these harrowing two years away is a joyful outcome to the uncertainty we have faced during this pandemic” said UAO Founder and Artistic Director Scott Schoonover. “Our first two productions are personal and audience favorites from our 28 years of producing opera – Tchaikovsky’s Eugene Onegin and Verdi’s Falstaff. These new, vivacious productions welcome back to our stage many returning artists and several debut singers. Director Octavio Cardenas will make his UAO debut with Eugene Onegin bringing his own special brand of visceral, physical directing to the UAO stage. Jon Truitt returns to direct Falstaff (Jon’s favorite opera) with his proven comedic style, and Maestro Stephen Hargreaves will return to the UAO pit.”
“Our third production is a company and composer debut with Stephen Sondheim’s A Little Night Music. I’ve wanted to bring this show to UAO for many years and am so thrilled it is finally happening!” said Schoonover. “Annamaria Pileggi will return to direct this stellar cast headlined by St. Louis’ own Debby Lennon as Desirée. It is a wonderful story with so much memorable music which finishes up a season that certainly offers something for everyone! I know we say often, but this one is truly a season not to be missed – it is chock-full of amazing voices, actors, orchestra and stage technicians eager to get back to great storytelling on the intimate UAO stage.” Single tickets range from $35 to $55 and are available at unionavenueopera.org or by calling 314-361-2881. Discounts are available for Seniors (65+), Military/Educator, and Young Audiences (under 18). All performances start at 8:00PM and free parking is available in the lots behind the venue and overflow parking is available on the street.
Pytor Ilyich Tchaikovsky’s: EUGENE ONEGIN
July 8, 9, 15, 16 at 8:00PM Presented in Russian with projected English supertitles Conducted by Scott Schoonover Directed by Octavio Cardenas Libretto by Konstantin Shilovsky and Pytor Ilyich Tchaikovsky
A cautionary tale of what was, what was not, and what could have been. Tatyana, a lovesick girl from the countryside, declares her love for Onegin and finds herself spurned by the disenchanted aristocrat. Onegin, indifferent to the feelings of others, disregards Tatyana’s advances to pursue Olga, his friend Lensky’s betrothed. A duel commences and Onegin finds himself victorious albeit deeply tormented. He returns years later to find Tatyana happily married to Prince Gremin. Struck by her beauty, Onegin declares his love for her only to find himself face to face with the folly of his naïveté. Eugene Onegin is a sophisticated and melancholy masterpiece by one of classical music’s most universally beloved composers. Tchaikovsky’s lush melodies are enhanced by the opera’s unique folk tunes, infectious waltzes, and passion-soaked arias bringing to life Alexander Pushkin’s verse novel like never before.
Under the baton of Artistic Director Scott Schoonover, Robert Garner (Nabucco, Nabucco) and William Davenport (Hoffmann, Les contes d’Hoffmann) will return to UAO in their role debuts as Onegin and Lensky respectively. No stranger to the role of Tatyana, Zoya Gramagin will make her UAO debut alongside Andrew W. Potter as Prince Gremin. Melody Wilson (Fenena, Nabucco and Mrs. Miller, Doubt) will return as Olga along with local artists Debbie Stinson as Madama Larina, Victoria Carmichael as Filippyevna, Marc Schapman as Triquet, and Benjamin Worley as Zaretsky. This will be acclaimed stage director Octavio Carendas’ UAO directorial debut. Patrick Huber will provide scenic and lighting design with costume design by Teresa Doggett.
Eugene Onegin – Robert Garner Tatyana – Zoya Gramagin* Lensky – William Davenport Olga – Melody Wilson Filippyevna – Victoria Carmichael Madame Larina – Debbie Stinson Prince Gremin – Andrew W. Potter* Monsieur Triquet – Marc Schapman Zaretsky – Benjamin Worley
Giuseppe Verdi’s: FALSTAFF
July 29, 30, August 5, 6 at 8:00PM Presented in Italian with projected English supertitles Conducted by Stephen Hargreaves Directed by Jon Truitt Libretto by Arrigo Boito
Drink. Cheat. Scheme. Repeat. Just don’t get caught unaware… Old, lecherous, and down on his luck, Sir John Falstaff can’t resist the ladies. The fool hatches a plan to reverse his ill-fortune and sets his sights on not one, but two married women. Sharper than they look, Alice and Meg discover the odious Falstaff’s plan to unceremoniously seduce them and trick them out of their fortunes. The women band together and with the help of Nannetta and Dame Quickly, they concoct a scheme to teach him a lesson he’ll never forget and to put him in his place once and for all. Add in a jealous husband, a pair of young lovers, and a touch of the supernatural and what ensues is a sophisticated comedy filled with failed plans and botched disguises. Verdi’s riotous romp Falstaff bubbles with irrepressible wit and charm in this adaptation of Shakespeare’s The Merry Wives of Windsor.
On the heels of last summer’s company debut, Robert Mellon (Figaro, Il barbiere di Siviglia) will lead the cast of returning artists as Sir John Falstaff. No stranger to the UAO stage Brooklyn Snow (the Heroines, Les contes d’Hoffmann, and Cunegonde, Candide) will be reunited with her Candide co-star, Jesse Darden (Candide) as the two young lovers, Nannetta and Fenton. St. Louis-based husband and wife duo Jacob Lassetter and Karen Kanakis will portray Ford and his wife Alice for the production as Janara Kellerman (Rosina, Il barbiere di Siviglia) returns as Dame Quickly, and Melody Wilson will again be seen on the UAO stage, this time in her role debut as Meg Page. A trio of St. Louis based artists round out the cast with Clark Sturdevant as Bardolfo, Mark Freiman as Pistola, and Anthony Heinemann as Dr. Caius. Stephen Hargreaves conducts while Jon Truitt directs. Lex Van Bloomestein’s set designs and Teresa Doggett’s costume designs will be enhanced by Patrick Huber’s lighting design.
Sir John Falstaff – Robert Mellon Alice Ford – Karen Kanakis Ford – Jacob Lassetter Nanetta – Brooklyn Snow Fenton – Jesse Darden Dame Quickly – Janara Kellerman Meg Page – Melody Wilson Bardolfo – Clark Sturdevant Pistola – Mark Freiman Dr. Caius – Anthony Heinemann
Stephen Sondheim’s: A LITTLE NIGHT MUSIC
August 19, 20, 26, 27 at 8:00PM Presented in English with projected English supertitles Conducted by Scott Schoonover Directed by Annamaria Pileggi Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler Orchestrations by Jonathan Tunick Suggested by a Film by Ingmar Bergman Originally Produced and Directed on Broadway by Harold Prince Lovers reunite, passions reignite, and new romance blossoms in the magic of music on a mid-summer’s night.
A Little Night Music explores the tangled web of affairs centered around the glamorous actress Desirée Armfeldt and the two married men who love her: a lawyer by the name of Frederik Egerman and Count Carl-Magnus Malcom.
Both men—as well as their jealous wives—agree to join Desirée at her family’s estate for a scandalous “Weekend in the Country” under the watchful eyes of the wry family matriarch and harmonizing Greek chorus. With music and lyrics by Stephen Sondheim and book by Hugh Wheeler, it is no wonder A Little Night Music won the Tony Award for Best Musical. From the romance of the night waltzes to the hauntingly beautiful “Send in the Clowns,” Sondheim’s sweeping score is infused with humor and warmth weaving together musical theatre and operetta seamlessly in this tantalizing tale.
Debby Lennon (Mrs. Mullin, Carousel) returns to the UAO stage to lead this stunning cast as Desirée Armfeldt under the direction of Annamaria Pileggi, and Scott Schoonover conducts. Also returning to the UAO stage are Peter Kendall Clark (Older Thompson, Glory Denied) and Brooklyn Snow, who makes her second appearances of the season, as the newly married Frederick and Anne Egerman. Eric J. McConnell makes his UAO stage debut as Count Carl-Magnus Malcolm and Leann Schuering (Josephine, H.M.S. Pinafore) as his wife Charlotte. Local actor Teresa Doggett, best known for her work as UAO’s costume designer for the past fifteen seasons, makes her UAO stage debut as the matriarch Madame Armfeldt alongside Amy Maude Helfer as the restless maid Petra and Arielle Pedersen as the young Fredrika. A bevy of St. Louis talent round out the cast including James Stevens as Henrik Egerman, Jordan Wolk as the butler Frid, and Grace Yukiko Fisher, Gina Malone, Sarah Price, Joel Rogier, and Philip Touchette as the “Liebeslieders”. C. Otis Sweezey will provide scenic design for A Little Night Music along with costume design by Teresa Doggett and lighting design by Patrick Huber.
Desirée Armfeldt – Debby Lennon Frederick Egerman – Peter Kendall Clark Count Carl-Magnus Malcolm – Eric J. McConnell* Charlotte Malcolm – Leann Schuering Madame Armfeldt – Teresa Doggett* Anne Egerman – Brooklyn Snow Henrik Egerman – James Stevens Petra – Amy Maude Helfer* Fredrika – Arielle Pedersen* Mrs. Nordstrom – Gina Malone Mrs. Anderssen – Grace Yukiko Fisher Mrs. Segstrom – Sarah Price* Mr. Erlanson – Philip Touchette Mr. Lindquist – Joel Rogier Frid – Jordan Wolk
A Little Night Music is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com *UAO stage debut
Opera in the Garden In anticipation of the season, UAO will bring classic opera front and center in its 2022 Opera in the Garden – Garden Concert Series Fundraiser this spring. Launched in 2018, as a House Concert Series, UAO moved the concerts outdoor in the fall of 2020 for the safety of its artists and patrons and were some of the first, live, operatic performances held in St. Louis during the pandemic. Each concert will feature two UAO artists from the upcoming season performing an eclectic and entertaining selection of arias, art songs and musical theatre favorites, and will showcase a scholarship winner from UAO’s 2022 CRESCENDO! program along with a guest instrumentalist from UAO’s talented opera orchestra.
Sunday, May 8 at 5:00PM Our opening concert will take place on Mother’s Day and headlined by two singing moms – Gina Malone and Danielle Yilmaz – celebrating the day with us with some wonderful music and fun. Guest artists Raven Brooks, soprano, from Blackburn College and UAO principal flutist, Ann Dolan will join pianist Sandra Geary for this perfect Mother’s Day afternoon. The backdrop for our first concert is the beautiful lawn of the 1959 home of CK Siu and Shannon Hart which sits on what used to be the Krause farm in Ladue.
Sunday, May 22 at 5:00PM Our second concert takes us to the grounds of the former Rand Mansion, now the home of University City mayor, Terry Crow. Artists Sarah Price, Mark Freiman and Nancy Mayo will lead this concert, along with guest soprano, Erica Ancell from Webster University and UAO principal horn player, Nancy Schick, who will team up with Ms. Price and Ms. Mayo for a not-to-be-missed special performance of Schubert’s Auf dem Strom D. 943.
Sunday, June 5 at 5:00PM The 2022 Garden Concert Series concludes with a return to the beautiful flower-filled garden of the University City home of Richard and Mary Ann Shaw. Grace Yukiko Fisher, Philip Touchette and Nancy Mayo will entertain us with opera and musical theatre fun, and guest artists Madalyn Tomkins, soprano, from Webster University, and Carolina Neves, violinist will round out this beautiful afternoon.
Fundraiser tickets are $50 for individuals or $100 for Patron Seating which includes the best reserved seats and a $50 tax-deductible donation to UAO. Tickets are on sale now at www.unionavenueopera.org and must be ordered in advance (no door sales). About Union Avenue Opera
UAO was founded in 1994 to bring affordable, professional, original-language opera t St. Louis, a mission the company continues to pursue to this day. UAO is committed to hiring the most talented artists, directors, designers and technicians both locally and from across the United States. UAO provides promising singers the first steppingstone of their professional career. The company celebrated its 25th Anniversary Season in 2019 and offers vibrant and affordable opera experiences in original languages to audiences who reflect the breadth and diversity of the St. Louis region. UAO is a publicly supported 501(c)(3) nonprofit organization registered in Missouri.
Financial assistance for the 2022 Festival Season has been provided by the Missouri Arts Council, a state agency, and with support from the Regional Arts Commission
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
This July, Union Avenue Opera (UAO) will make its return to presenting live, in-person opera following a summer of cancellations due to the COVID-19 Pandemic. For the 2021Season, UAO will move its performances to The Big Top, in St Louis’ Grand Center district, for three exciting, socially distanced performances of both Offenbach’s Les contes d’Hoffmann and Rossini’s Il barbiere di Siviglia.
“I am beyond thrilled that we have found a way to safely bring opera back to the city of St. Louis this summer. It is an incredible opportunity for us to be creative and offer audiences something different for this one unique season,” said UAO founding Artistic Director and conductor Scott Schoonover.
This summer, audiences will have the opportunity to see two classic, beloved operas in one week – even on the same day, as UAO will offer two matinee performances for the first time in eight years.
“The operas will unfold, acted in front of our wonderful orchestra on The Big Top stage with costumes and lights, to delight socially distanced crowds in the large open-air tent. I can’t wait to see our patrons again and hope that new audience members will come out as well, in support of this effort to put St. Louis artists, orchestra members and technicians back to work after this difficult year,” said Schoonover.
Operated by the Kranzberg Arts Foundation, The Big Top is Missouri ArtSafe Certified and will employ rigorous COVID-19 mitigation policies for the benefit of all guests, staff, and artists in its 1,200-person tent which will have reduced capacity for 2021. The Big Top will also employ a contact-less ticketing and concession experience for opera goers and masks will be required.
“I know those who attend will be moved in a special way by hearing live singing and orchestra again, and by seeing wonderful portrayals of these complex and sometimes hilarious characters in person. It certainly gives us all something which we can look forward to in the upcoming months. Finally, I would like to assure our loyal supporters that UAO fully intends to be back in its home venue next season with a full, 3-opera lineup.”
Single tickets range from $25 to $55 and will be available exclusively through MetroTix beginning June 1, for members of the public. All tickets must be purchased in advance either online at www.metrotix.com or by calling 314-534-1111 or 800-293-5949. UAO will utilize tiered on-sale dates for past subscribers and donors prior to the public on-sale date – more information regarding tiered ticket on-sale dates can be found online at www.unionavenueopera.org.
Brooklyn Snow
Offenbach’s: LES CONTES D’HOFFMANN Three Performances: July 21 and 24 at 7:30PM and July 23 at 2:00PM Presented in French with projected English supertitles Conducted by Scott Schoonover Staging by Mark Freiman
Offenbach’s grand French opera follows the poet Hoffmann as he searches for true love in a magical tale of thwarted love, art, and revenge! Best known for the Barcarolle “Belle nuit, ô nuit d’amour,” “Chanson de Kleinzach,” and the ultimate showcase of coloratura soprano singing, Olympia’s “Doll aria.” Les contes d’Hoffmann is a haunting tale of one man’s desire for the perfect woman. Hounded by his other-worldly nemesis and accompanied by Nicklausse, his ever-faithful friend, Hoffmann seems forever unlucky in love. Darkly playful and set against fantastical backdrops and stirring chorus formations, the opera renders the story of Hoffmann’s descent into madness and intoxication in faithful detail
Under the baton of Artistic Director Scott Schoonover, lyric tenor William Davenport will make his UAO debut in the title role. Soprano Brooklyn Snow, who received high praise for her portrayal of Cunegonde in 2019’s Candide returns to sing the three heroines as Jeremiah Sanders makes his UAO debut as the opera’s four villains. Anthony Webb (Enoch Snow, Carousel) returns to sing the roles of the four servants and Emma Sorenson (Hänsel, Hänsel und Gretel) as Hoffmann’s faithful companion, Nicklausse.
Hoffmann – William Davenport* Lindorf / Coppélius / Dappertutto / Dr. Miracle – Jeremiah Sanders* Andrès / Spalanzani / Pittichinaccio / Frantz – Anthony Webb Olympia / Giulietta / Antonia – Brooklyn Snow Nicklausse – Emma Sorenson Luther / Crespel – Joel Rogier Hermann / Schlemil – Randell McGee Nathanael / Cochenille – Anthony Heinemann Voice of Antonia’s Mother – Liya Khaimova
Rossini’s: IL BARBIERE DI SIVIGLIA Three Performances: July 22 and 23 at 7:30PM and July 24 at 2:00PM Presented in Italian with projected English supertitles Conducted by Stephen Hargreaves Staged by Jon Truitt
Figaro! Figaro! Figaro! Only the clever barber Figaro can help the fair Rosina outwit her guardian, the aging Dr. Bartolo and live out her days in the arms of her true love, Count Almaviva. A grand plan is hatched, full of mischievous escapades and inventive antics sure to delight audiences of all ages. This Rossini Italian classic features one of the most well-known pieces of music in history, Figaro’s “Largo al factotum” along with Rosina’s dazzling “Una voce poco fa.” Full of laughter and beautiful music, see why Il barbiere di Siviglia has been an audience favorite for more than two centuries.
No stranger to his role, Pedro Barbosa will make his UAO debut as Conte d’ Almaviva as Robert Mellon makes his UAO and role debut as the barber Figaro, and Janara Kellerman (Mrs. Herring, Albert Herring) makes her role debut as Rosina. Also returning are Andy Papas (Ko-Ko, H.M.S. Pinafore) as Dr. Bartolo, Erin Haupt (Hebe, H.M.S. Pinafore) as Berta, Isaiah Musik-Ayala (Colline, La bohème) as Basilio, as Stephen Hargreaves (Nabucco) conducts.
Conte d’ Almaviva – Pedro Barbosa* Figaro – Robert Mellon* Rosina – Janara Kellerman Dr. Bartolo – Andy Papas Basilio – Isaiah Musik-Ayala Berta – Erin Haupt Fiorello – Ben Worley
In anticipation of its season, UAO will bring classic opera front and center in its 2021 Opera in the Garden – Garden Concert Series this spring featuring thrilling operatic performances. Launched in 2018, as a House Concert Series, UAO moved the concerts outdoor last fall for the safety of its artists and patrons and were some of the first, live, operatic performances held in St. Louis during the pandemic.
Sunday, May 16 at 6:00PM Our series starts in the Ladue garden of Margaret Gilleo and Charles Guenther with performances by UAO artists Leann Schuering, Anthony Heinemann, and Randell McGee with Nancy Mayo on piano. The concert will feature operatic favorites including “Je veux vivre” Roméo et Juliette, “Kuda, kuda” Eugene Onegin, “Caro nome” Rigoletto, “Cosa sento!” Trio from Le nozze di Figaro, “Refrain, audacious tar” – Duet from H.M.S. Pinafore.
Saturday, June 5 at 7:00PM Join us as we return to the Compton Heights garden of Dr. Kenneth and Marjorie Smith and welcome back Metropolitan Opera soprano Mary Dunleavy for a special Saturday night concert. Ms. Dunleavy will present a selection of arias from opera’s favorite courtesans (such as Violetta, Manon, Madama Butterfly) as well as art songs by American composer Amy Beach with pianist Gail Hintz.
Sunday, June 27 at 6:00PM We conclude our series in the in Webster Groves garden of Jack and Mary LaBarge as we introduce our very own Figaro, Robert Mellon alongside 2021 season artists Erin Haupt and Liya Khaimova with Nancy Mayo on piano. Concert highlights include “Largo al factotum” Il barbiere di Siviglia, “Elle a fui, la tourterelle” Les Contes d’Hoffmann, “Che faro senza Euridice” Orfeo, “Evening Prayer” duet from Hansel and Gretel, and “Soave il vento” trio from Così fan tutte.
Tickets are $50 for individuals or $100 for Patron Seating which includes the best reserved seats and a $50 tax-deductible donation to UAO. Tickets are on sale now at www.unionavenueopera.org and must be ordered in advance (no door sales)
About Union Avenue Opera – UAO was founded in 1994 to bring affordable, professional, originallanguage opera to St. Louis, a mission the company continues to pursue to this day. UAO is committed to hiring the most talented artists, directors, designers and technicians both locally and from across the United States. UAO provides promising singers the first steppingstone of their professional career. The company celebrated its 25th Anniversary Season in 2019 and offers vibrant and affordable opera experiences in original languages to audiences who reflect the breadth and diversity of the St. Louis region. UAO is a publicly supported 501(c)(3) nonprofit organization registered in Missouri. In 2018 UAO became an OPERA American Professional Company Member. OPERA America is the national membership organization for artists, administrators and audiences, dedicated to support the creation, presentation and enjoyment of opera.
Financial assistance has been provided by the Missouri Arts Council, a state agency, and with support from the Regional Arts Commission, and funded in part by the Arts and Education Council.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus
Managing Editor
For the St. Louis premiere of Guiseppe Verdi’s Biblical epic “Nabucco,” Union Avenue Opera dreamed big.
Not since tackling Wagner’s Ring Cycle have they taken on such a massive show. The staging this four-act 1841 Italian opera is a towering achievement, both vocally and in mechanics.
They succeed in showcasing not only the top-shelf talent they attracted for this production, but also one of the best choruses featured on their cozy stage.
Conductor Stephen Hargreaves and Assistant Chorus Master Jon Garrett deep-dive into this glorious, grand signature Verdi sound – confidently creating big, bold orchestral and chorus statements. The 21-piece string-heavy orchestra is outstanding.
While the romantic and political complexities of this Old Testament story do not exactly comprise the finest libretto, the vocal prowess is stunning. This show’s cast has the vibrant voices to match the character requirements.
Librettist Temistocle Solero used the Books of Jeremiah and Daniel for the turbulent story, set in 587 B.C. The King of Babylon is Nabucco (Robert Garner), known as Nebuccadnezzer in English. He has seized control of Jerusalem in his war with the Israelites. The other major storyline is that his daughter Fenena (Melody Wilson) and her evil half-sister Abigaille (Marsha Thompson) are both in love with Ismaele (Jesse Donner), the nephew of the King of Jerusalem.
While war rages between Babylon and Jerusalem, Abigaille pledges to save Ismaele’s people if he chooses her. But he denies her, so she turns ruthless and plans to take down the kingdom, claim Nabucco’s throne and kill all the imprisoned Israelites.
First-time director Mark Freiman heightens the soap opera aspect of these treacherous elements, as the principals expressively sing about their emotional anguish and lament over their choices.
The accomplished Robert Garner is an imposing Nabucco, and when he needs to regain his sanity and strength in Act III, excels in his “Dio di Giuda” aria.
However, the two women are such dynamic forces and reach exhilarating heights as the warring half-sisters. In an impressive debut, soprano Marsha Thompson commands the stage as Abigaille, breathtaking in the demanding role. Her arias are something special, especially her dramatic coloratura “Anch’io dischiuso un giorno.”
The rising young star Melody Wilson – what an inspiring name! – demonstrates why she is one to watch, as she has one of the richest mezzo-sopranos I’ve heard. She stood out in her St. Louis debut in “Doubt” two summers ago, as part of “Regina” at Opera Theatre of St. Louis this season, and now, in this dramatic role as Fenena. What a range! Her prayer painting a picture of the heavens, “O dischius’è il firmament,” is exceptional.
Also standing out is bass Zachary James as Hebrew high priest Zaccaria, both in physical presence and in vocal prowess. He is particularly impressive performing “D’Egitto là su i lidi” that revives his people’s hopes in Act 1, and the prayer “Tu sul labbro” in Act 2.
Jesse Donner is solid as Ismaele, as is Clark Sturdevant as Abdallo, Jacob Lassetter as High Priest of Baal and Karen Kanakis as Anna.
Bravo, fervent ensemble! They do indeed stir the soul in the famous “Va, pensiero, sull’ali dorate” chorus. One of the most famous opera pieces of all-time is robustly delivered by Douglas Allebach, Madeline Black, Aleksandar Dragojevic, David Fournie, Jon Garrett, Rebecca Hetlelid, Michael Hawkins, Emily Heyl, Jeffrey Heyl, Lori Hoffman, Hannah Kauffmann, Amy Mazzeo, Jayde Mitchell, Joel Rogier, Tina Sayers and Caetlyn Van Bure in their masterful Italian vocal unison.
The cheers in Act 3 were lengthy and well-deserved, for it was quite a thrilling moment.
The technical aspects of this show are more demanding than usual at the Union Avenue Christian Church. With an idol that must fall and lightning that has to strike, the lighting design by Patrick Huber, who also did the set design, helps make those special effects happen. Theatre Marine Productions was the technical director.
Special mention must go to set designer Huber for creating the vertically tall set so that terrains, palace hallways, and Hanging Gardens of Babylon could be imagined. That was quite a feat, and that the ensemble didn’t seem as crowded on stage.
With the lyrical virtuosity and passionate spirit achieved here, Union Avenue Opera reaches new heights.
Verdi’s “Nabucco” is sung in Italian and presented by Union Avenue Opera on July 27-28 and Aug. 3-4 at 8 p.m. at the Union Avenue Christian Church, 733 Union Boulevard. For more information, visit www.unionavenueopera.org or call 314-361-2881.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
