A dark, driven "Rigoletto" at Union Avenue Opera

Jordan Shanahan and Lacy Sauter
Photo: John Lamb

Union Avenue Opera is following up on its highly praised "Don Giovanni" with an impressive production of Verdi's 1851 tragedy, "Rigoletto." From the ominous brass fanfares that open the prelude to Rigoletto's final despairing howl of "La maledizione" ("the curse"), Tim Ocel's knowing direction drives this "Rigoletto" to its tragic conclusion with the relentless energy of a runaway train.

Implacably dark and menacing, this tale of men behaving incredibly badly is dominated by low voices—basses, baritones, contraltos, and mezzos. The prevalence of those darker and richer sounds is a characteristically smart theatrical decision by Verdi; it lends a sense of inescapable weight to the story of a revenge plot gone horribly wrong.

Jordan Shanahan and James Callon
Photo: John Lamb

That only works, of course, if you have strong singers for those roles. Happily Union Avenue has them in abundance here, with pride of place going to baritone Jordan Shanahan in the title role. If you've seen UAO's "Rheingold," "Siegfried," or "Dead Man Walking," you already now that Mr. Shanahan boasts both a big, wide-ranging voice (with solid bottom notes that sound more like the work of a bass-baritone) and an approach to acting that allows him to completely inhabit his characters. His horror movie makeup is so obviously artificial that it's a bit distracting, but the fierce commitment of his performance makes that a minor issue.

As the feckless (if not downright sociopathic) Duke who callously seduces, assaults, and then abandons Rigoletto's daughter Gilda, tenor James Callon is just as smugly repellent as he should be. He had a couple of rough notes in the second and third acts on opening night, but otherwise sang with admirable clarity garnering the expected applause with popular arias like "La donna è mobile".

James Callon and Mark Freiman
(rear)
Photo: John Lamb

Soprano Lacy Sauter, who was such a heartbreaking Blanche in "Streetcar Named Desire" last season, returns to UAO as Gilda, whose absurdly self-sacrificing nature leads to the opera's tragic conclusion. The very implausibility of the character is, in my view, a real obstacle for any actress, but Ms. Sauter manages to pull it off with a convincing characterization and a voice that easily navigates the coloratura passages in the famous "Caro nome" aria in Act I.

Bass-baritone Patrick Blackwell is the doomed Count Monterone, whose dying curse falls heavily on Rigoletto and bass Mark Freiman is the ironically principled assassin Sparafucile. They're both compelling actors, with big, powerful voices that fill the UAO space. There's fine singing as well by Mezzo Kristee Haney, darkly seductive as Sparafucile's sister and partner in crime Maddalena.

This is, in short, a very strong cast, right down to the smallest walk-ons. That includes Debby Lennon as Gilda's nurse Giovanna, Andy Papas as the put-upon Count Ceprano, Anthony Heinemann the sneering courtier Borsa, and Robert Garner as Marullo, whose momentary attack of conscience, while not explicitly called out in the libretto, nevertheless makes good dramatic sense.

Patrick Blackwell
Photo: John Lamb

Union Avenue's chorus sings with impressive power and clarity. Under Scott Schoonover's usual expert direction the orchestra sounds impressive despite its small size and the vocal/instrumental balance is quite good.

Tim Ocel has demonstrated on more than one occasion that he knows how to handle the unique demands of the operatic stage—most recently in UAO's stunning "La Traviata" last season. He has done it again with this "Rigoletto," maintaining a sense of tragic inevitability while still allowing the big musical moments to breathe.

Kristee Haney and Mark Freiman
Photo: John Lamb

Kyra Bishop's deliberately shabby set with its peeling plaster and exposed lathe and Teresa Doggett's intentionally drab costumes (only Rigoletto has any real color) are presumably intended to underline the moral decay that pervades Francesco Maria Piave's libretto. If so, they do the job admirably. Paige Seber's lighting, however, is so dim that faces are sometimes lost. I'm not sure that the darkness of "Rigoletto" needs to be that visible.

Union Avenue Opera's admirable "Rigoletto" runs through August 9th at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. The opera is sing in Italian with projected English text. Performances are Friday and Saturday at 8, although given that parking on the lot is at a premium, you'll want to get there by 7:30 if possible. For more information, visit the company's web site.

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

Review of 'Aida" in concert with The St. Louis Symphony Orchestra and Chorus

"Aida" at Powell Hall
stlsymphony.org / Eddie Silva

In the hands of a lesser composer, "Aida" might have been a classic potboiler—cheap yard goods written on commission and quickly forgotten. But Verdi was a thoroughgoing man of the theatre with a keen sense of what worked on stage. Moreover, by the time he wrote "Aida" in 1870 he was a mature artist with a string of hits to his credit. The result is a work, in the words of British opera scholar Julian Budden, "in which the various elements—grandeur, exotic pictorialism, and intimate poetry—are held in perfect equilibrium and from which not a single note can be cut."

If you want to see for yourself just how right Mr. Budden was, hie yourself down to Powell Hall this weekend to see and hear the remarkable concert version of "Aida" being presented by the St. Louis Symphony Orchestra and Chorus under the impeccable direction of David Robertson. Distinguished by virtuoso performances from the orchestra and Amy Kaiser's splendid chorus and an international cast of strong singers—most of whom are also respectable actors—this is an "Aida" that demonstrates that great opera is also great musical theatre.

"Aida," as Mr. Budden says, has it all: romance, treachery, tragedy, and a stunning Act II finale complete with offstage brass, ballet music, and what Shakespeare's Othello (in his famous "farewell to arms" speech) called the "[p]ride, pomp, and circumstance of glorious war." The final scene—in which the doomed lovers Aida and Radamès slowly expire in a sealed tomb while Amneris bitterly regrets her part in their destruction and the offstage chorus sings a hymn to "immenso Ftha"—is a brilliantly conceived coup de theatre, calculated to bring a lump to the most stoic of throats.

Antonello Polombi
liricopera.com

Well, it did to mine, anyway.

The cast for this production is headed by soprano Lucrecia García and tenor Antonello Palombi as the doomed lovers Aida and Radamès. Mr. Palombi was clearly the most intensely focused actor in this cast, completely in character as soon as he walked on stage. You could see his concentration in little things, like the way he stayed "in the moment" for a beat or two after he cut off that high A at the end of "Celeste Aida," or the way he reacted to what other characters were doing even when he wasn't in focus.

He also displayed that rich, powerful voice that has gotten him rave reviews elsewhere in the past. Reviewing his Manrico in Seattle back in 2010, for example, the Opera Warhorses blog praised the "strength and beauty" of his voice, dubbing him "a true tenore di forza" (the "dramatic tenor" Verdi said was required for his leading roles). I'd have to agree. Even in the overly reverberant acoustic fog of Powell Hall's upper reaches, he came through loud and clear.

Lucrecia Garcia
imgartists.com

Ms. Garcia's Aida was more dramatically restrained but still entirely compelling. Her "Ritorna vincitor" was right on the dramatic money and her death scene with Mr. Palombi, as noted, was truly moving. She, too, has the kind of precision and gravity-defying vocal power needed to fill a big hall. Reviewing her Odabella in the Teater an der Wien's production of Verdi's Attila back in 2013 for bachtrack.com, Chanda VanderHart accurately described her as having "a color and metal to her tone reminiscent of a young Leontyne Price"—a telling comparison, given that Ms. Price (who retired from the stage in 1985) was one of the great Aidas of her time.

Russian mezzo Ekaterina Semenchuk also turned in an exciting performance as Amneris, whose insane jealousy destroys the lives of everyone—hers included. Like Mr. Palombi, she is always in character and always credible. She has a powerhouse of a voice, with an appropriately rich and dark bottom and solid top notes.

Basses Alexander Vinogradov and Soloman Howard bring impressive gravitas to the roles of the High Priest Ramfis and the Pharaoh, respectively. Soprano Sarah Price makes a strong impression as the High Priestess and tenor Dennis Wilhoit, while not quite in the same vocal league as the rest of the cast, is nevertheless and excellent Messenger.

As Aida's father Amonsasro, King of Ethiopia, baritone Gordon Hawkins is vocally impressive, with an opulent voice that projects well, but (at least of Thursday night) seemed not to be acting the part at all. Even in the Act III duet "Rivedrai le foreste imbalsamente," where he's excoriating Aida and reminding her of the horrors inflicted on Ethiopia by the Egyptians, his only emotional setting appeared to be "stolid."

Amy Kaiser
stlsymphony.org

Amy Kaiser's chorus displayed that mix of power, finesse, and precise diction that I have come to expect of them over the years. Their singing in the big triumphal scene that concludes Verdi's Act II was thrilling, of course, but their offstage work in the final moments of the last act was equally impressive.

The musicians of the SLSO performed heroically here. With intermission, "Aida" runs just over three hours, so it requires a lot of stamina as well as skill. It got both on Thursday night, along with some fine work by individual players to whom Verdi has given some notable solos. That included (among others) Principal Harp Allegra Lilly at various points in the first act; Principal Flute Mark Sparks and fellow flautists Jennifer Nichtman and Ann Choomack in the dance of the priestesses from I,2; and Tzuying Huang on bass clarinet during Amneris' aria at the top of Act IV. The offstage brass during Act II were also very effective.

Mr. Robertson pulls all this together in a wonderfully nuanced interpretation, with generally quite good balances between the orchestra and vocalists. If the latter were at times overwhelmed, it was more a matter of Powell Hall's acoustics than anything else. His tempi for some of the ballet sequences would probably have been too brisk for live dancers, but in a concert setting like this one they worked just fine and were exciting to hear.

S. Katy Tucker's video projections on the back and sides of the stage were a major asset when creating virtual scenery like the stunning Temple of Vulcan in I,2 (complete with remarkably realistic flaming torches) or the exterior of the royal palace in II, 2. They also provided nicely synchronized animation to accompany those ballet sequences.

They were, however, more of a detriment when they pulled focus from the singers—which they did far too often. When Radamès is singing about wanting to build Aida a throne next to the sun ("un trono vicino al sol"), we really don't need to see animated sunbeams any more than we need to see blooming flowers when, in II,2, the women of the chorus sing of crowning Radamès' brow with lotus and laurel. And we certainly don't need an animated eye looking back and forth between singers. Less gilding of the visual lily would have been more effective.

The St. Louis Symphony's celestial "Aida" brought the regular concert season to a splendid close. For ticket information on other SLSO events: stlsymphony.org.

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

Preview of "Aida" in concert at the St. Louis Symphony, May 7 and 9, 2015

Soprano Lucrecia Garcia
imgartists.com

The on-line version of the Oxford Dictionary defines a "potboiler" as a "book, painting, or recording produced merely to make the writer or artist a living by catering to popular taste." Verdi's 1871 opera "Aida," a concert version of which closes the St. Louis Symphony season this weekend, probably meets that definition to some extent since it started out as a purely commercial endeavor. But Verdi quickly became enthusiastic about the project, and "Aida" transcended its origins.

Verdi conducting "Aida" in Paris, 1881
en.wikipedia.org

Commissioned by Isma'il Pasha, Khedive of Egypt from 1863 to 1879, "Aida" had its premiere on Christmas Eve 1871 at the Khedive's new 850-seat grand opera house in Cairo. As befitted the occasion, it was a massive, eye-popping spectacle—a "grand opera" in the tradition of Meyerbeer with elaborate (and historically accurate) sets and costumes by French Egyptologist Auguste Ferdinand Mariette who had written the story that was the basis for Antonio Ghislanzoni's libretto. Verdi was reportedly annoyed that the Cairo audience was strictly limited to critics and dignitaries, though, and is said to have regarded the opera's first non-Egyptian performance—in Milan at La Scala in 1872—as the work's "real" premiere.

"Aida" is more than just spectacle, of course. The story, as Julian Budden writes in the 1989 edition of Stanley Sadie's "History of Opera," "is unusually simple, presenting the time-honored conflict of love versus duty in time of war...set forth in a score in which the various elements—grandeur, exotic pictorialism, and intimate poetry—are held in perfect equilibrium and from which not a single note can be cut."

Not surprisingly, then, popular and critical acclaim followed hard upon the Milan opening. As Paul Schiavo writes in his SLSO program notes, "subsequent productions...quickly placed Aida in the forefront of the operatic repertory. It has never relinquished its position there, and seems unlikely ever to do so."

Much of this is due to the fact that Verdi was a thoroughgoing man of the theatre with a keen sense of what would and would not work in performance. "At all stages of the formation of the libretto," wrote Gordon Stewart in his notes for the classic 1962 recording of "Aida" with Leontyne Price, "Verdi altered, suggested, removed. He was always a bully where librettists were concerned, but he had never indulged himself as much as he did in 'Aida'. Not only was the general shape of the opera, the interplay of the human relationships, his concern, but the details of the words—the rhythms of the verse and even whole lines—owe something to him."

Album cover of the 1962 "Aida"

You can see that in the detailed 92-page production book (disposizione scenica) for "Aida" which, as Roger Savage and Will Crutchfield observe (in Sadie, op. cit.) "is virtually a moment-by-moment dramatic analysis" that is "essentially the work of Verdi himself." The book includes "the most detailed directions for the exact composition of processions and scenes of pageantry...with stage movement and interpretive directions running right through the solo arias (even including the number of steps to be taken)." You can see a sample page at the web site of Verdi's publisher, Ricordi. Verdi never went as far as Wagner, with his concept of the Gesamtkunstwerk (roughly, "total work of art") in which the composer was responsible for every aspect of the work, but he certainly came close.

You don't get all that in a concert performance, of course, but the SLSO isn't going to ask you to rely entirely on your mind's eye. According to the SLSO web site, the concerts will be "enhanced by innovative lighting projection by designer S. Katy Tucker...a renowned artist known for her design work at Carnegie Hall, the San Francisco Opera, Sydney Symphony and more." In a promotional video, SLSO music director David Robertson says that as a result "Powell Hall will be transformed into this incredible sort of temple of music and evocation of the magic landscape that Verdi created."

Given that none of our local opera companies have the stage facilities for something as grandiose as "Aida," this is probably the closest we're likely to get to a full production in St. Louis without hopping into Dr. Who's TARDIS and traveling back to 1917, when the opera was presented at the Municipal Theatre (now The Muny) in Forest Park.

The Essentials: David Robertson conducts the St. Louis Symphony Orchestra and Chorus, soprano Lucrecia Garcia, and an international roster of soloists in a complete concert performance of Verdi's "Aida" Thursday and Saturday at 8 p.m., May 7 and 9. The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center and the Saturday performance will be broadcast on St. Louis Public Radio. For more information: stlsymphony.org.

The Critics on UAO's "La Traviata"

Union Avenue Opera's production of La Traviata concludes its run this weekend. Here's a sample of what KDHX's Chuck Lavazzi, Malcolm Gay of Riverfront Times, Mark Bretz of Ladue News, Chris Gibson of BroadwayWorld, Gerry Kowarsky of Two on the Aisle and John Huxhold of the St. Louis Post-Dispatch have to say about the production:

Chuck Lavazzi:

"Zulimar López-Hernández has a spectacular voice...[B]etter yet she acts the role with total conviction...The standing ovation for her during the curtain call was both enthusiastic and well deserved... [Riccardo Iannello's] Act II aria drew shouts of 'bravo' on opening night... Robert Garner is compelling and sings a beautiful 'Di Provenza il mar' in Act II... [The chorus's] performance of the Act I drinking song 'Libiamo ne' lieti calici' illustrates why this is a popular operatic excerpt, and they make that big Act II finale wonderfully powerful... Tim Ocel directs with a light hand, mostly content to let the opera tell its story without a lot of gimmicks... 

Put it all together and you have a very strong start to Union Avenue's season. Opera lovers should put this on their 'don't miss' list, but opera newbies should give it serious thought as well." 

Malcolm Gay:

"[A]rtistic director Scott Schoonover is an operatic alchemist, transforming the restraints of a limited budget into theatrical gold... Particularly outstanding was the contrast between Iannello's intense ardor and López-Hernández's brash coquettishness in 'Un di felice, eterea,' which was soon matched by her defiant vocal agility that played so beautifully against his grounded tenacity in 'Sempre libera'... Garner has a deep, rich voice that wraps around you like a lambskin glove in duets like 'Un di, quando le veneri'... Directed by Tim Ocel, the production makes effective use of the set, opening each act with a portentous image of Alfredo at Violetta's grave... Mark Freiman and Robert Reed sing well in the supporting roles of Baron Douphol and Doctor Grenvile. Similarly, the chorus is populated with strong voices, and its members excel in the matador and gypsy dances of Act Two...

Joined by Iannello and Garner, they deliver the opera's potent final songs with an overwhelming emotional force...It's that sort of grand operatic moment — often felt at UAO — that's usually reserved for the big stage, and with a Violetta like this, there's little doubt López-Hernández will be there soon enough. "

Mark Bretz:

"[López-Hernández and Iannello] display beautiful, rich, resonant voices that amply convey the beauty and majesty of Verdi’s music... They are ably supported by Robert Garner...[whose] deep, powerful baritone delivers some of La Traviata’s most compelling arias in singular fashion... Scott Schoonover’s conducting of the melodious score is robust and exhilarating throughout, receiving expert response from the UAO orchestra. Tim Ocel’s stage direction shrewdly utilizes side entrances to the compact stage as well as eliciting direct, focused performances by his cast...

Schoonover and Union Avenue Opera have contributed substantially to the area’s cultural landscape in the past two decades. This sumptuous interpretation of La Traviata indicates that UAO is as polished and accomplished as ever."

Chris Gibson:

"Zulimar López-Hernández does outstanding work as Violetta, and her soprano voice is more than up to the demands of the score... [T]he blending of her voice with [Riccardo Iannello's] tenor is simply marvelous. Both are able to convey their emotions and desires vocally as well as through their acting performances... Robert Garner makes an impression as well as Giorgio...he doesn't come across as a villain, but more as a concerned father who may be more misguided in his actions than anything else... 

Union Avenue Opera has put together a memorable and moving production of this timeless work that demands your time and attention."

Gerry Kowarsky:

"López-Hernández portrayed Violetta's inner struggles with remarkable power and clarity... Riccardo Iannello was a sweet young man as Alfredo and he had a sweet voice to match... Robert Garner convincingly evinced Giorgio Germont's concern for both his children and eventually for Violetta, too... The ensemble had striking presence... Teresa Doggett's costumes and Maureen Berry's lighting were solid contributions to one of Union Avenue's strongest productions ever."

John Huxhold:

"Friday night’s opener of Verdi’s 'La Traviata,' demonstrates again that this company is something to celebrate... [Zulimar López-Hernández] looked spectacular in sparkling white and lurid red gowns, and she has a voice to match...her acting was completely convincing... [Riccardo Iannello] has a glorious voice with a clarity and technique that make even the difficult parts sound easy... Robert Garner as Alfredo’s father Giorgio was a strong dramatic presence...his diction was precise and intelligible as it emerged from a resonant and commanding vocal quality... All of the minor roles were excellent — not a weak voice in the bunch — and the chorus of about 25 sounded much larger than its numbers would suggest... Tim Ocel’s stage direction was fluid without any awkward moments, even in long orchestra interludes or when positioning the principals in the final death scene... Conductor Scott Schoonover led the orchestra with precision and with careful attention to all the emotional contours in the score... 

If you can’t make it to New York’s Met or Chicago’s Lyric, check out Union Avenue Opera. You will discover that there are significant operatic pleasures to be had right here at home."

La Traviata concludes its run this weekend: July 18 and 19 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in Italian with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Union Avenue Opera's "La Traviata" Opens Tomorrow

Riccardo Iannello & Zulimar López-Hernández
Photo © Ron Lindsey, 2014 | All Rights Reserved

Union Avenue Opera commences its 20th Anniversary Season this Friday with Giuseppe Verdi's La Traviata, presented by Raymond James and running July 11, 12, 18 & 19. Puccini's story of love, loss and longing returns to the Union Avenue Opera stage after its last production in 2002.

Zulimar López-Hernández
Photo © Ron Lindsey, 2014
All Rights Reserved

Set to Verdi's classic score and Francesco Maria Piave's libretto based upon the play and novel La dame aux Camélias by Alexandre Dumas, fils, La Traviata tells the story of a worldly courtesan, Violetta, who decides to leave her life of glamour and frivolity behind for the love of one man, Alfredo. Returning to Union Avenue Opera after twelve years, La Traviata depicts the ultimate operatic life, one filled with grand parties, grander sacrifices, and some of Verdi's most memorable music, including the toast song "Libiamo" and Violetta's virtuosic "Sempre libera." Both long time opera lovers and first-timers will be captivated by this irresistible classic.

THE CAST

Three artists make their UAO debut. Soprano Zulimar López-Hernández sings the role of Violetta, Tenor Riccardo Iannello sings the role of Alfredo and Baritone Phillip Bullock sings the role of Marquis d'Obigny.

Riccardo Iannello
Photo © Ron Lindsey, 2014
All Rights Reserved

Several UAO veterans return for the production. Four of them appeared in last season's Madama Butterfly: Baritone Robert Garner (Germont), Mezzo-Soprano Debra Hillabrand (Flora), Tenor Anthony Heinemann (Gastone) and Soprano Debby Lennon (Annina). Also appearing are Baritone Robert Reed (Dottore Grenvil), Bass Mark Freiman (Baron Douphol) and Tenors Jon Garrett and Philip Touchette as Giuseppe and a Messenger, respectively.

THE CREW

UAO Artistic Director and Conductor Scott Schoonover leads the orchestra. Stage Director Tim Ocel returns after staging UAO's critically-acclaimed Dead Man Walking in 2011. MK Jacobi serves as Stage Manager with Claire Stark as Assistant Stage Manager. The design team includes Set Designer Patrick Huber, Lighting Designer Maureen Berry, Costume Designer Teresa Doggett and Production Manager Sean Savoie. Pianist Vera Parkin serves as repetiteur.

FRIDAY NIGHT LECTURE SERIES

Glen Bauer, Ph.D., Associate Chair of the Webster University Music Department, will give a lecture one hour before each Friday performance (July 11 & 18) in the Fellowship Gallery of Union Avenue Christian Church. Lectures are free and open to the general public; no ticket to the performance required. 

Debra Hillabrand & Phillip Bullock
Photo © Ron Lindsey, 2014 | All Rights Reserved

OPENING NIGHT RECEPTION

Want a chance to eat, drink and be merry with cast and crew of La Traviata on Opening Night? UAO hosts an Opening Night Reception on July 11th after the performance at Tavern of Fine Arts. Click here for more information.

Anthony Heinemann
Photo © Ron Lindsey, 2014
All Rights Reserved

"LA TRAVIATA" IN THE MEDIA

Steve Potter chats with Zulimar López-Hernández, Riccardo Iannello and Scott Schoonover on a recent episode of Cityscape on St. Louis Public Radio.

STL TV interviews Scott Schoonover on the upcoming season.

Sarah Bryan Miller of the St. Louis Post-Dispatch reports on UAO's 20 year milestone, interviews longtime supporter and chorister Douglas Allebach and discusses the opera with stage director Tim Ocel.

Gerry Kowarsky and Bob Wilcox of Two on the Aisle interview Tim Ocel and Zulimar López-Hernández.

Deborah Sharn and Scott Miller of Break a Leg on KDHX interview Scott Schoonover about Traviata and the 20th Season.

Chris King of The St. Louis American interviews Zulimar López-Hernández.

____________________

La Traviata opens July 11 and runs July 12, 18 & 19 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in Italian with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

UAO Profile: Zulimar López-Hernández

Zulimar López-Hernández 

Union Avenue Opera welcomes Soprano Zulimar López-Hernández to its stage for La Traviata, in which she sings the role of the courtesan Violetta Valery. Zulimar comes to us from Puerto Rico to make her UAO debut.

Zulimar's vocal studies began in Puerto Rico and continued in the U.S. at Philadelphia's prestigious Academy of Vocal Arts. Over the past seasons, she has performed as a Young Artist with Glimmerglass Opera, followed by engagements in principal roles with Syracuse Opera, Des Moines Metro Opera, Opera Memphis, Dayton Opera and Opera Santa Barbara. This year, she will sing Micaëla in Carmen for Knoxville Opera and makes an important debut at London's Royal Albert Hall as Musetta in La Bohème.

Below is a video of Zulimar singing "Deh vieni non tardar" from Le Nozze di Figaro. You may learn more about her at www.zulimarlopez.com

La Traviata opens July 11th and runs July 12, 18 & 19 at Union Avenue Opera, 733 N. Union Blvd. Tickets can be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

UAO Profile: Robert Garner

Robert Garner

Union Avenue Opera welcomes back Baritone Robert Garner for La Traviata, in which he sings the role of Giorgio Germont, Alfredo's father. Robert returns to St. Louis from New York City after singing Sharpless in last season's Madama Butterfly. In past UAO seasons, he has sung Harlekin in Ariadne auf Naxos, Ford in Falstaff, the Count in Le Nozze di Figaro and Melchior in Amahl and the Night Visitors.

Mr. Garner's career has taken him all over the country in a variety of opera companies including Opera Colorado, Mississippi Opera, Fargo-Moorhead Opera, Dayton Opera and Anchorage Opera. For several seasons, Robert has been a long-standing member of the Metropolitan Opera associate chorus (both in New York and on tour in Japan), performing in Aida, Don Carlo, Billy Budd and Götterdämmerung among many other operas.

Below is a video of Robert singing Germont's Act Two aria "Di Provenza il mar" from La Traviata.

La Traviata opens July 11th and runs July 12, 18 & 19 at Union Avenue Opera, 733 N. Union Blvd. Tickets can be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Union Avenue Opera: 20th Anniversary Season

Union Avenue Opera celebrates 20 years of bringing compelling, vibrant performances of opera to the St. Louis community from the sanctuary of Union Avenue Christian Church. UAO's 20th Anniversary Festival Season is full of excitement: the sets will be grander, the costumes more opulent, and our largest chorus to date will grace the stage as the company returns to a three opera summer to mark this milestone year. This season is not to be missed! Join us for the romance and tragedy of Giuseppe Verdi's La Traviata presented by Raymond James, the passionate family drama of Andre Previn's A Streetcar Named Desire and the heroic adventure of Siegfried, the third part of Richard Wagner's Ring Cycle. On November 8th, Union Avenue Opera will celebrate 20 years and toast its friends, patrons, supporters and cheerleaders with a 20th Anniversary Concert featuring international opera singers Lise Lindstrom and Jordan Shanahan.

THE REPERTOIRE

La Traviata, one of the most beloved tragedies in opera, tells the story of a worldly courtesan, Violetta, who decides to leave her life of glamour and frivolity behind for the love of one man, Alfredo. Returning to Union Avenue Opera after twelve years, La Traviata depicts the ultimate operatic life, one filled with grand parties, grander sacrifices, and some of Verdi's most memorable music, including the drinking song "Libiamo" and Violetta's virtuosic "Sempre libera." Both long time opera lovers and first-timers will be captivated by this irresistible classic. La Traviata will be performed in Italian with projected English supertitles on July 11, 12, 18 & 19 at 8:00pm.

Desire is taking on a new rhythm as Tennessee Williams' play sizzles onto the stage in the St. Louis Premiere of André Previn's A Streetcar Named Desire. Set against the backdrop of steamy New Orleans, this scintillating Streetcar adds a new level of drama and excitement to Williams' enduring portrait of sex, class and secrets. Southern belle Blanche DuBois moves to her sister's cramped apartment, creating all the wrong kinds of sparks with her brutish brother-in-law Stanley. When dark truths about her past begin to emerge, Blanche's world comes apart at the seams in a spiral of violence and madness. A Streetcar Named Desire will be performed in English with projected English supertitles on August 1, 2, 8 & 9 at 8:00pm.

Wagner's epic Ring Cycle continues with the penultimate opera, Siegfried. Swords are re-forged, dragons slain, a sleeping maiden awakened, treasures reclaimed, and justice dispensed as the power of the gods continues to dwindle. The fearless hero Siegfried, grandson of Wotan, is destined for greatness as he faces a multitude of challenges, including winning the love of Brünnhilde. Siegfried is a wonderful fairytale with the requisite happy ending ... for the moment at least. Siegfried is reduced and adapted by English composer Jonathan Dove. His masterful cuts condense the opera in length to under three hours and will be enhanced by video projections befitting the magnificent grandeur of the Ring Cycle. Siegfried will be performed in German with projected English supertitles on August 22, 23, 29 & 30 at 8:00pm.

20th ANNIVERSARY CONCERT

Mark your calendar to join us on November 8th, when UAO alumni Lise Lindstrom and Jordan Shanahan return to our stage in a 20th Anniversary Concert. Since her debut as Turandot with UAO in 2004, Lindstrom has performed the role in over 30 productions world-wide and has sung leading roles in most of the world's great opera houses including: Wiener Staatsoper, Teatro alla Scala, The Metropolitan Opera, De Nederlandse Opera, Royal Opera House, Deutsche Oper Berlin, San Francisco Opera and many more. She will be joined onstage by Baritone Jordan Shanahan, an emerging international singer whose roles at Union Avenue Opera include Joseph DeRocher in Dead Man Walking and Alberich in 2012's Das Rheingold and this season's Siegfried. Soloists and a chorus will be backed by UAO's orchestra, whom has graciously donated its time and services to perform on this momentous occasion.

BEFORE THE FOOTLIGHTS

Union Avenue Opera welcomes back artists from seasons past:

La Traviata: Robert Garner (Germont), Debra Hillabrand (Flora), Mark Freiman (Barone Douphol), Robert Reed (Dottore Grenvil), Anthony Heinemann (Gastone), Jon Garrett (Giuseppe) and Philip Touchette (Messenger). A Streetcar Named Desire: Jimmy Stevens (Young Collector). Siegfried: Marc Schapman (Mime), David Dillard (The Wanderer), Jordan Shanahan (Alberich), Nathan Whitson (Fafner), Alexandra LoBianco (Brünnhilde), Cecelia Stearman (Erda) and Kate Reimann (Forest Bird).

Several artists make their UAO stage debut:

• Soprano Zulimar Lopez-Hernandez (Violetta)
• Tenor Riccardo Iannello (Alfredo)
• Baritone Phillip Bullock (Marquis D'Obigny).
• Soprano Lacy Sauter (Blanche DuBois)
• Baritone Bernardo Bermudez (Stanley Kowalski)
• Soprano Katherine Giaquinto (Stella Kowalski)
• Tenor Anthony Webb (Harold "Mitch" Mitchell)
• Mezzo-soprano Johanna Nordhorn (Eunice Hubbell)
• Tenor Robert Norman (Steve Hubbell)
• Mezzo-soprano Natanja Tomich (Flower Woman)
• Tenor Clay Hilley (Siegfried)

Twenty artists--local professional singers and members of UAO's Crescendo young artist program-- comprise the chorus of La Traviata.

IN THE PIT AND BEHIND THE SCENES

UAO Artistic Director and Conductor Scott Schoonover is set to conduct La Traviata and Siegfried this season. Guest Conductor Kostis Protopapas, who last conducted 2010's La fille du Régiment, returns to conduct A Streetcar Named Desire. Stage director Tim Ocel, who last staged Union Avenue Opera's critically-acclaimed Dead Man Walking in 2011, returns to stage La Traviata. Accomplished actor, theatre teacher and stage director Christopher Limber makes his UAO debut staging A Streetcar Named Desire. Stage director Karen Coe Miller, who helmed last season's Die Walküre, returns to stage Siegfried. MK Jacobi (Traviata), Claire Stark (Streetcar) and Allyson Ditchey (Siegfried) serve as Stage Managers. Sean Savoie serves as UAO Production Manager. The company welcomes back several designers to collaborate on the 2014 season including Patrick Huber (set, Traviata; set and lighting, Siegfried), Teresa Doggett (costumes for entire season) and Michael Perkins (projections, Siegfried).

Designers making their UAO debut: Maureen Berry (lighting, Traviata), Kyra Bishop (set, Streetcar) and Sean Savoie (lighting, Streetcar).

TICKETS & INFORMATION

La Traviata runs July 11, 12, 18 & 19 at 8:00pm. A Streetcar Named Desire runs August 1, 2, 8 & 9 at 8:00pm. Siegfried runs August 22, 23, 29 & 30 at 8:00pm. Our 20th Anniversary Concert takes place on November 8th. All performances take place in the sanctuary of Union Avenue Christian Church at 733 Union Boulevard, St. Louis, MO 63108. Single tickets and Season tickets (at discounted prices) are available by calling the UAO Box Office at 314-361-2881 or visiting unionavenueopera.org

Review of Union Avenue Opera's "Un Ballo in Maschera"

Emanuel-Cristian Caraman as Riccardo and Courtney Mills as Amelia

Un Ballo in Maschera (A Masked Ball) is classic Verdi, with star-crossed lovers, vendettas, political intrigue, a tragedy of bad timing in which nobody lives happily ever after, and even a sorceress who makes sadly accurate predictions of doom. The Union Avenue Opera production was beautifully sung, with a cast of impressive voices headed by the ringing dramatic soprano of Courtney Mills as Amelia. Acting, unfortunately, was mostly hammy. Still, you don't see Un Ballo done that often, and the ensembles knocked my knee breeches off.

Based on the play Gustav III by Eugene Scribe, Un Ballo takes the historically factual 1792 assassination of King Gustav III of Sweden at a masked ball and grafts on a tragic romantic subplot, omniscient seer, and other stapes of 19th century tragedy. Antonio Somma’s original libretto retained the play’s historic setting but at the last minute right-wing censors, unnerved by a recent assassination attempt on Napoleon III by a trio of Italians, demanded that the action be removed to Colonial Boston.

If you think the clash between that political and cultural milieu and the tropes typical of Romantic Italian opera might lead to moments of unintentional absurdity, you’d be dead on, which is probably why many recent productions have moved everything back to Sweden. Union Avenue sticks with Boston but Teresa Doggett’s costumes clearly made this an alternate-universe Boston, with a look somewhere between Colonial and contemporary. For me, that made the required suspension of disbelief somewhat easier.

Even more to the point, though, the uniformly strong vocal performances of Union Avenue’s singers rendered incredulity issues raised by the setting and some aspects of the casting less problematic than they might have been. These were some terrific voices.

Aside from the aforementioned Ms. Mills, beautiful sounds routinely issued from the head and chest of tenor Emanuel-Cristian Caraman as the doomed Governor Riccardo; baritone Andrew Cummings as his secretary Renato, who turns assassin when he discovers his wife Amelia an in apparently late-night clinch with Riccardo; and soprano Rachel Holzhausen, in the mostly comic coloratura “pants” role of the page Oscar. Contralto Denise Knowlton sounded just as impressive as the sorceress Ulrica, as did basses Todd von Felker and David Dillard as conspirators Sam and Tom. All of Verdi’s conspirators, in fact, are low voices—a nice contrast with the more tenor-heavy sound of Riccardo’s partisans. The members of the chorus, as is usually the case at Union Avenue, combined admirable power with clarity.

On the acting side of the ledger, unfortunately, we had mostly debits. In his famous “advice to the players” monolog, Hamlet laments a number of bad acting practices, including performers who “saw the air too much” with their hands and “tear a passion to tatters” with exaggeration. There was a fair amount of that here—so much, in fact, that I’m inclined to blame director Mark James Meier more than the performers. Ms. Mills provided a most believable characterization, to my eyes, as did Ms. Holzhausen, even if her charmingly choreographed and irresistible Oscar seemed to have been dropped in from an operetta or contemporary musical. For the most part, though, I found that I had to set my theatre critic hat aside and simply let the fine singing carry the evening.

Under Scott Schoonover’s expert direction, the orchestra produced sounds with an appropriately Verdian punch, thanks in part to solid work by the brasses. When they combined with the full vocal ensemble in numbers like the Act I finale, the effect was spectacular.

Un Ballo in Maschera ran June 30 through July 6 at the Union Avenue Christian Church, 733 Union at Enright. The Union Avenue season closes August 17 through 25 with their most ambitious effort yet—Jonathan Dove’s adaptation for small opera companies of Wagner’s titanic “Das Rheingold”. For more information, you may visit unionavenueopera.org, check out their Facebook page, follow them on Twitter @UAOpera, or call 314-361-2881.

Chuck Lavazzi is the senior performing arts critic for 88.1 KDHX, where this review originally appeared