Monday, August 19, 2013

Review of Union Avenue Opera's "Die Walküre"

Alexandra LoBianco as Brünnhilde and Timothy Bruno as Wotan
Photo © Ron Lindsey, 2013
Union Avenue Opera is nothing if not fearless, often taking on works that strain the company’s space at the Union Avenue Christian Church to the limit.  Through next Saturday Union Avenue is presenting the second installment of its most ambitious project yet—Wagner's mammoth operatic cycle “Der Ring des Nibelungen.”  And it's pretty darned impressive.

“Das Rheingold,” which Union Avenue did last August, sets up the characters and the story that play out over the course of the cycle. Wagner regarded it as a mere prologue, though, and “Die Walküre” is where the rubber hits the road, dramatically speaking.  It's a tale of incest, murder, and ironic tragedy as the most powerful creature in the world—Wotan, father of the Gods—finds himself undone by his own machinations and powerless against the curse of the magical ring he stole from the dwarf Alberich back in “Das Rheingold”.

As the opera opens Siegmund, one of a pair of twins sired by Wotan with a mortal and separated at birth from his twin sister, stumbles into the home of Hunding, after eluding a vengeful mob. Hunding isn’t home—he is, in fact, part of the mob—but his wife is. Their attraction is immediate and it’s not in the least dampened when they realize that Hunding’s wife is Siegmund’s long-lost sister Sieglinde. Hunding arrives, recognizes Siegmund, and challenges him to a fight to the death in the morning. Sieglinde has other plans; she drugs Hunding and flees with Siegmund, but not before the latter plucks a magical sword from the trunk of a tree in Hunding’s house.

Alexandra LoBianco as Brünnhilde
Photo © Ron Lindsey, 2013
Back in Valhalla, Fricka is outraged that Wotan is condoning not only adultery but incest as well. She browbeats him into upholding the sanctity of marriage by letting Hunding kill Siegmund, even though Wotan had hoped Siegmund would be the hero who would save Valhalla from the descendants of Alberich. When the Valkyrie Brünnhilde (who, like all the Valkyries, is a daughter of Wotan and the earth goddess Erda) violates Wotan’s orders and tries to save Siegmund, Wotan is forced to punish her by turning her mortal, placing her into a magical sleep, and surrounding her with magical flames that only a true hero can penetrate. His farewell, in the final moments of the opera, is one of the most moving sequences in opera.

Sieglinde, meanwhile, has escaped. She’s pregnant with Siegmund’s child, Siegfried. But that’s another opera.  For a more detailed plot summary of the entire cycle, I refer you to Wikipedia.

The Union Avenue production uses a reduced version of Wagner's original created by English composer Jonathan Dove in 1990 that cuts nearly an hour out of the original’s run time of nearly four hours and takes its three acts down to two. That’s not the sacrilege you might think; Wagner the librettist does not always serve Wagner the composer well, and there’s much in the text that is redundant and discursive. That said, Dove’s edits in the first act delete too much of Siegmund’s back story, in my view, and compress the development of his and Sieglinde’s affection so much that it seems rather rushed. Wotan’s massive blocks of exposition in Wagner’s Act II and III, on the other hand, feel like they could use more editing. Dove also cuts four of Brünnhilde’s seven Valkyrie sisters, which drastically shortens the famous “Ride of the Valkyries” sequence that opens Wagner’s Act III—a pity, as it’s rather stirring stuff.

Melissa Sumner as Helmwige, Cecelia Stearman as Waltraute,
Alexandra LoBianco as Brünnhilde, Lindsey Anderson as Rossweisse,
and Amber Smoke as Sieglinde
Photo © Ron Lindsey, 2013
Still, this reduced “Walküre” still packs a considerable punch, thanks largely to some heavy-duty Girl Power in the cast.  Amber Smoke (Sieglinde), Elise Quagliata (Fricka), and Alexandra LoBianco (Brünnhilde) are all outstanding, with powerful voices and well-defined characters. Ms. Quagliata is the same powerful presence she was in “Rheingold” while Ms. Smoke perfectly captures Sieglinde’s passion and despair. Ms. LoBianco’s really big moments won’t come until the next two operas are mounted in 2014 and 2015, of course, but based on what I saw and heard here I expect very good things from her in “Siegfried” and “Götterdämmerung”. Melissa Summer, Cecelia Stearman (Erda in last season’s “Rheingold”), and Lindsey Anderson are a formidable trio of Valkyries as well.

On the male side, Nathan Whitson is an appropriately thuggish Hunding (although there’s not much to the part in this reduction), but James Taylor is a bit bland as Siegmund. He’s very interesting vocally, though, in that he’s a baritone who now sings as a tenor. His voice has, as a result, a depth that one doesn’t normally associate with tenors and only very rarely did he seem uncomfortable in his top notes.

Amber Smoke as Sieglinde and
James Taylor as Siegmund

Photo © Ron Lindsey, 2013
Timothy Bruno brings the kind of vocal power to Wotan that I missed last year when Kevin Misslich sang the role in “Rheingold.” Unfortunately, he mugs too much and is too physically "busy" (when will actors and directors understand the power of stillness?), undercutting the character's gravitas.  Still, Wotan's famous "farewell" scene with Brünnhilde was appropriately moving.

Dove’s reduced orchestration is for 18 pieces—one per part. Conductor Scott Schoonover has beefed it up a bit with extra strings, but even so, Wagner’s music inevitably loses some of its visceral impact with a band this size. Intonation issues in the brasses, especially toward the end of the second act, didn’t help. The ensemble as a whole played well, though, and Mr. Schoonover’s tempo choices felt more right here than they did in “Rheingold” last year.

Patrick Huber’s unit set is the same one used for “Rheingold.” It’s dominated by a huge screen on which images and video (designed by Michael Perkins, whose innovative work has graced many a local stage) take the place of the elaborate scenery envisioned by Wagner. Those work better here than they did in “Rheingold” (although video playback is still a bit jerky), and are very effective in creating the right moods and sense of place. Unfortunately the screen, the catwalk above it, and the stairs to either side take up so much room that most of the action is played out in a fairly shallow area downstage. Director Karen Coe Miller does the best she can with this space, but it’s hard to create decent stage pictures under those circumstances. It’s also hard for Mr. Huber to light that space, apparently, given the number of times singers’ faces were in shadow.

Teresa Doggett and her crew have done well by the costumes. As in “Rheingold”, Wotan and Fricka are decked out as late 19th century European royalty while the mortals are all in peasant outfits. The Valkyries look appropriately martial, with costumes that have the look but not the bulk of stage armor, so they don’t impede movement or singing. English supertitles by Elise LaBarge and Philip Touchette are, as usual, clear and easily visible throughout the house.

There has not, to the best of my recollection, been a performance of Wagner’s “Ring” in St. Louis in my lifetime and given that our major opera company, Opera Theatre, seems allergic to the composer, there may not be another one for many years, if ever. That means that this may be your only chance to see a locally produced “Die Walküre.” If you have any interest in the “Ring” at all, you should grab it. This may not be a perfect production, but it’s a very good one and well worth seeing.

Union Avenue’s “Die Walküre” has two more performances this Friday and Saturday at 8 PM at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. For more information: unionavenueopera.org. Note that there is a parking lot but it tends to fill up quickly, so you’ll want to get there not later than 7:30 if you can.

This review originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.

Sunday, August 18, 2013

The Critics on UAO's "Die Walküre"

Union Avenue Opera's production of Wagner's Die Walküre continues its run this weekend. Here's a sample of what KDHX's Chuck Lavazzi, Mark Bretz of Ladue News, Gerry Kowarsky of Two on the Aisle and Sarah Bryan Miller of the St. Louis Post-Dispatch have to say about the production:

Chuck Lavazzi:
"[T]his reduced 'Walküre' still packs a considerable punch, thanks largely to some heavy-duty Girl Power in the cast...Ms. Quagliata is the same powerful presence she was in “Rheingold” while Ms. Smoke perfectly captures Sieglinde’s passion and despair...Ms. LoBianco’s really big moments won’t come until ['Siegfried' and 'Götterdämmerung'] but based on what I saw and heard here I expect very good things from her...Melissa Summer, Cecelia Stearman, and Lindsey Anderson are a formidable trio of Valkyries as well...Nathan Whitson is an appropriately thuggish Hunding...Timothy Bruno brings the kind of vocal power to Wotan that I missed last year...Wotan's famous 'farewell' scene with Brünnhilde was appropriately moving...Teresa Doggett and her crew have done well by the costumes."
Gerry Kowarsky:
"Vocal honors in this production must go to Alexandra LoBianco and Elise Quagliata...from her joyous battle cries to her passionate defense of Siegmund to the defiance of her father, LoBianco's Brünnhilde is the complete package...Quagliata finds the humanity in Fricka's indignation and brings remarkable drama to narrative passages that could seem dry otherwise...Nathan Whitson's powerful voice makes him an imposing Hunding...There are only three valkyries instead of eight, but three valkyries is enough when they are Melissa Sumner as Helmwige, Cecelia Stearman as Waltraute and Lindsey Anderson as Rossweisse."
"I hope St. Louis operagoers come out for this production even if they aren't familiar with Wagner's opera. Union Avenue deserves to be supported not only for its daring but also for its achievement."
Mark Bretz:
"Scott Schoonover conducts a spirited reading of Wagner’s lush composition...to complement stage director Karen Coe Miller’s uniformly polished singers in this rendition...Elise Quagliata’s mezzo-soprano soars as the angered Fricka, while Alexandra LoBianco’s clear soprano resonates in the role of the tortured Brunnhilde...James Taylor’s resplendent tenor captures the angst and turmoil of Siegmund...Amber Smoke brings a fitting melancholy to the unhappy Sieglinde...Timothy Bruno has both the look and the power of the tormented god...Melissa Sumner, Cecelia Stearman and Lindsey Anderson round out the convincing cast...[Patrick] Huber complements the settings with some fine lighting and Teresa Doggett’s costumes bring a sumptuous, mythical look to the proceedings."
"Die Walküre looked and sounded very much like a popular favorite on opening night...[it] is a rare chance, indeed, to see this titanic operatic work performed at all, even in Dove’s and Vick's abbreviated version."
Sarah Bryan Miller:
"'Walküre' continues stage director Karen Coe Miller’s smart, imaginative vision...[The opera] is a big sing, and it demands careful casting...Scott Schoonover found voices up to the task...Alexandra LoBianco’s Brünnhilde, the titular Valkyrie, is a major talent, both vocally and as an actress. She’s a real dramatic soprano who uses her voice and body well, and she still sounded fresh at the evening’s end...Mezzo-soprano Elise Quagliata is a superb singing actress as well...Nathan Whitson’s Hunding...was impressive in every way, with a big dark voice that didn’t quit...As Wotan, bass Timothy Bruno offered an outstanding voice, big and opulent, and a somewhat callow characterization, especially in the early scenes...[Amber] Smoke was most impressive in her last moments onstage, when her beautiful high range was finally revealed...[James] Taylor...has a tenor vocal coloring that made him a good choice for the role."
"Any St. Louisan with any interest in opera should take in this production."
Die Walküre continues its run this weekend: August 23 & 24 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in German with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Friday, August 16, 2013

"Die Walküre" Opens Tonight at Union Avenue Opera

Alexandra LoBianco & Timothy Bruno
Photo © Ron Lindsey, 2013 | All Rights Reserved

Timothy Bruno
Photo © Ron Lindsey, 2013
All Rights Reserved
Union Avenue Opera's four-year journey through Richard Wagner's Ring Cycle continues on the heels of 2012's successful mounting of Das Rheingold. The second installment, Die Walküre, showcases some of Wagner's most renowned music, including his famous "Ride of the Valkyries." UAO presents Die Walküre in a condensed and reduced version by composer Jonathan Dove. This will be the third time the Ring Cycle has been performed in St. Louis. Patricia Rice of the St. Louis Beacon reports that the last two were brought here in 1889 and 1930 by the touring German Opera Company.

Amber Smoke & James Taylor
Photo © Ron Lindsey, 2013 | All Rights Reserved
Wotan, ruler of the gods, wishes to protect his children, but is forced to forsake them when his twin offspring, Siegmund and Sieglinde, find themselves entangled in forbidden love. In an attempt to protect Siegmund, Brünnhilde, Wotan's Valkyrie daughter, disobey's her father's command and is duly punished: Wotan strips her of her immortality and puts her to sleep surrounded by a wall of flames that only the greatest hero can conquer.

Elise Quagliata
Photo © Ron Lindsey, 2013
All Rights Reserved
THE CAST

Three UAO veterans return for Die Walküre: Soprano Alexandra LoBianco, Leonora in 2009's Il Trovatore and the title role in 2011's Turandot, sings the role of Brünnhilde. Mezzo-Soprano Elise Quagliata returns to sing Fricka, the role she portrayed last season in Das Rheingold. Mezzo-Soprano Cecelia Stearman, who sang in Das Rheingold as earth goddess Erda, portrays the valkyrie Waltraute.

Six artists make their UAO debut. Bass Timothy Bruno sings the role of Wotan. Tenor James Taylor and Mezzo-Soprano Amber Smoke portray Siegmund and Sieglinde, respectively. Bass Nathan Whitson appears as Hunding, Sieglinde's husband. Soprano Melissa Sumner and Mezzo-Soprano Lindsey Anderson round out the cast as valkryies Helmwige and Rossweisse, respectively.

Alexandra LoBianco
Photo © Ron Lindsey, 2013
All Rights Reserved
THE CREW

UAO Artistic Director and Conductor Scott Schoonover leads the orchestra. Stage Director Karen Coe Miller returns after staging Das Rheingold last season. Allyson Ditchey serves as Stage Manager. The Design team includes Set & Lighting Designer Patrick Huber, Projection Designer Michael B. Perkins, Costume Designer Teresa Doggett and Production Manager Sean Savoie. Pianist Nancy Mayo serves as rehearsal pianist.

FRIDAY NIGHT LECTURES

Audience members who missed Scott Stearman's August 8th lecture have another opportunity to learn more about Die Walküre. Glen Bauer, Ph.D., Associate Chair of the Webster University Music Department, will give a lecture one hour before each Friday performance (August 16/23) in the Fellowship Gallery of Union Avenue Christian Church. Admittance to this lecture is free and open to the general public.

Nathan Whitson
Photo © Ron Lindsey, 2013
All Rights Reserved
OPENING NIGHT RECEPTION

Want a chance to drink and be merry with cast and crew of Die Walküre on Opening Night? UAO hosts an Opening Night Reception on August 16 after the performance at Tavern of Fine Arts. Click here for more information.

DIE WALKÜRE IN THE MEDIA

Steve Potter chats with Karen Coe Miller, James Taylor and Alexandra LoBianco on a recent episode of Cityscape on 90.7 KWMU.

Patricia Rice of the St. Louis Beacon interviews the cast and crew of Die Walküre.

Sarah Bryan Miller speaks with director Coe Miller, conductor Schoonover and lead soprano LoBianco on the Jonathan Dove reduction and the opera's challenges for the St. Louis Post-Dispatch.

OnStl contributor Chuck Lavazzi previews the production.

________________________

Die Walküre opens August 16 and runs August 17, 23, 24 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in German with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Monday, August 12, 2013

Need a 'Ring Cycle' Crash Course?

Worried about attending UAO's Die Walküre if you've never seen its predecessor Das Rheingold? Fear not! Classical music humorist Anna Russell will catch you up in her witty, famous and irreverent (but always loving) "analysis" of Wagner's Ring Cycle.


(The above embedded video is a playlist of three videos.)

Die Walküre opens August 16 and runs August 17, 23 and 24 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in German with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Friday, August 9, 2013

Kill the Wabbit! Kill the Wabbit!

Union Avenue Opera's Die Walküre opens Friday, August 16th. Get yourself in the mood with "What's Opera, Doc?"--the famous Looney Tunes cartoon inspired by Wagner's Ring Cycle. Elmer Fudd and Bugs Bunny star in this classic opera spoof!


Die Walküre opens August 16 and runs August 17, 23 and 24 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in German with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Thursday, August 8, 2013

Free Wagner Lecture Tonight at UAO

Alexandra LoBianco (Brünnhilde) & Bass Timothy Bruno (Wotan)
Photo © Ron Lindsey, 2013
All Rights Reserved
Join Union Avenue Opera and Dr. Scott Stearman tonight for a free interactive presentation leading up to the St. Louis premiere of Richard Wagner’s Die Walküre, reduced and adapted by Jonathan Dove. Die Walküre is the second installment of Wagner’s epic Ring Cycle which the company started last summer with its production of Das Rheingold.

Dr. Scott Stearman
Stearman, senior pastor of Kirkwood Baptist Church and adjunct faculty member of Webster University and Missouri Baptist University, returns to UAO after his popular lectures last season to lead us on an exploration of themes in the Ring Cycle and Die Walküre. This lecture begins tonight at 7 p.m. on August 8 in the Fellowship Gallery at Union Avenue Opera, 733 N. Union Blvd., and is FREE and open to the public. Attendees will be treated to a guest performance by select cast members of Die Walküre.

Power, Polytheism, Polyamory, & Impotence in Wagner’s Valkyrie.

Can you truly love more than one person? Does love oppose power? Why do leaders fall victim to seductive crass power instead of seeking mutual agreement? Does father really know best? In this talk, Stearman will address these questions as he leads us on an exploration of themes in the Ring cycle and Die Walküre. This second installment in the cycle deals with questions most of us face regularly: questions of love and marriage, sex and responsibility, power and politics, and parents and honor. Die Walküre is a rich, multi-layered work that touches on aspects central to our communal and personal lives. Mr. Stearman’s talk will highlight a few of these in anticipation of the enlightening and stirring performances of Wagner’s Valkyrian masterpiece. There will be a Q&A session following the lecture.

Die Walküre opens August 16 and runs August 17, 23 and 24 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in German with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.