A "Messiah" mystery: standing for the "Hallelujah" chorus

Apparently not everyone stands for the "Hallelujah"
(Josh Reynolds for The Boston Globe)

In a recent post I looked at the way Handel’s Messiah got moved from Easter to Christmas. This time I’d like to take a look at an even more puzzling question: Why does everyone stand during the “Hallelujah” chorus that concludes Part 2?

The usual explanation is that King George the II stood when he first heard it at the London premiere in March of 1743 and everybody else followed suit because, hey, he was the king. It’s a great story with only one little flaw: there’s no evidence that George II ever attended a performance of Messiah at all. The story appears to come, not from a contemporary account, but (according to Matthew Guerrieri in a 2009 article for the Boston Globe, whence cometh the picture above) from a secondhand description in a letter written by James Beattie 37 years later (a classic example of how urban legends originate). The story is, in short, almost certainly apocryphal.

The tradition appears to go back a long way, though. When George Harris attended a Messiah performance in 1750 he observed that “[a]t some of the chorus’s the company stood up,” suggesting that the custom extended beyond just the “Hallelujah.” Six years later, another account mentions the audience standing for “grand choruses.” In his video series on Messiah Andrew Megill, Music Director of Masterwork Chorus, describes a letter written by a woman who attended a Messiah in Handel’s time complaining of audience members who weren’t standing during the appropriate choruses—suggesting that the practice was already fairly well established.

The bottom line, though, is that nobody really seems to know where the custom originated or, for that matter, why so many of us are still doing it. Like the Christmas performance tradition, it seems to be a meme that just won’t die. For anyone attending Messiah for the first time, it must seem just another example of the sometimes baffling and contradictory rules of etiquette that go with classical music concerts.

We could probably do without some of those, by the way; but that’s another post.

How Handel's Messiah became a Christmas tradition

The Christmas season in upon us. For those of us keeping track of the entertainment scene, that means an inevitable encounter with at least one performance of all of the following: a stage adaptation of Dickens’s A Christmas Carol (probably with music), Tchaikovsky’s The Nutcracker, and Handel’s Messiah. In fact, we’ve already see all three here in St. Louis, including a nice Baroque-sized performance of the Handel by the St. Louis Symphony Orchestra and Chorus (see my review at 88.1 KDHX for details).

The Dickens and Tchaikovsky make perfect sense since they’re both explicitly Christmas stories. But how did Messiah get in there? It was first performed on April 13th, 1742 in Dublin, repeated that same June, and then moved to London, where it was first presented on March 23, 1743. I can’t find any evidence that the work was in any way associated with Christmas during Handel’s life. In fact, as Christopher H. Gibbs points out in his program notes for a 2007 NPR broadcast of Messiah from Philadelphia , “Handel performed it some three dozen times—every time, it should be noted, around Easter, not Christmas.” As Jonathan Kandell notes in an article for the September 2009 edition of Smithsonian, however, “[b]y the early 19th century, performances of Messiah had become an even stronger Yuletide tradition in the United States than in Britain.”

An important piece of the puzzle is supplied is supplied by Luke Howard in his program notes for a 2009 Messiah performance by UMS Choral Union:

The tradition of performing Messiah at Christmas began later in the 18th century. Although the work was occasionally performed during Advent in Dublin, the oratorio was usually regarded in England as an entertainment for the penitential season of Lent, when performances of opera were banned. Messiah’s extended musical focus on Christ’s redeeming sacrifice also makes it particularly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel’s lifetime. But in 1791, the Cæcilian Society of London began its annual Christmas performances, and in 1818 the Handel and Haydn Society of Boston gave the work’s first complete performance in the US on Christmas Day—establishing a tradition that continues to the present.

It apparently took a while for the Christmas tradition to become well established, though. As Marie Gangemil of the Oratorio Society of New York writes in her program notes for their upcoming Messiah, the first December performance by that organization didn’t take place until 1874.

But are these events sufficient to explain why the tradition became so widespread? Might there also be a supply and demand issue here? As Laurence Cummings (director of the London Handel Orchestra) observed in the Smithsonian article cited above: “There is so much fine Easter music—Bach's St. Matthew Passion, most especially—and so little great sacral music written for Christmas. But the whole first part of Messiah is about the birth of Christ."

So there you have it. Boston and New York picked up the idea from London, and the rest of the USA, seeing a chance to fill a product gap, picked it up from them. It’s a reminder that memes were spreading long before the Internet, just a lot more slowly.

Review of Winter Opera's "The Mikado"

Katisha (Lindsey Anderson) fails to blow Nanki-Poo's (Isaiah Bell)
cover in the Act I finale of The Mikado

I have a friend who says he loves directing Shakespeare because it’s so easy to do. Just don’t get in the playwright’s way and you can’t lose. I think the same could be said of the better Gilbert and Sullivan operettas as well. Don’t mess with G&S and you’re golden.

Winter Opera’s Mikado (presented November 9 and 11 at the Skip Viragh Center on the Chaminade campus) does, unfortunately, mess with G&S from time to time. But the tinkering is infrequent enough and light enough to let the jolly good fun of Gilbert’s wit and Sullivan’s delightful score shine through. This wasn’t a great Mikado, but it was a very fine one. If you’re a dedicated Savoyard (like yours truly) I hope you didn’t miss it.

Let’s talk about the good stuff first. The cast was consistently strong, and some performances were downright outstanding. Mezzo Lindsey Anderson, for example, may be too pretty for Katisha (“a most unattractive old thing / With a caricature of a face”) but behind that stylized makeup you wouldn’t have known it, and she sang and acted the role beautifully. Granted, Katisha doesn’t do much, but it takes a good actress to make her (frankly) unnecessary Act II aria interesting. Ms. Anderson certainly did that. Soprano Kathleen Jasinskas was a comic charmer as Katisha’s nemesis, Yum-Yum, beloved of “wandering minstrel” and royal heir Nanki-Poo, sung with equal charm by tenor Isaiah Bell.

Baritone Lane Johnson had the Principal Comedian role of Ko-Ko, the “cheap tailor” raised to the exulted post of Lord High Executioner despite the fact that he literally wouldn't hurt a fly. He’s gotten rave reviews for previous performances of the part elsewhere, and it’s not hard to see why: a solid voice and impeccable comic timing. Bass-baritone Edward Hanlon was an engaging Pish-Tush, making this minor character more interesting than is sometimes the case. Director John Stephens (who also sang the role of the Mikado with great relish) gave him a little romantic subplot with Pitti-Sing (local mezzo Erin Haupt in another charmer of a performance). It wasn’t strictly Gilbertian, but it worked.

Baritone Gary Moss was presumably down at the bottom of his tessitura for in the bass role of the snobbish Poo-Bah, the Lord High Everything Else whose family pride is “something inconceivable”, but you’d not have known it from his singing. His performance involved a bit too much mugging and physical business for my taste—the big joke about Poo-Bah, after all, is his stolid pomposity—but it certainly went down well with the audience. It was also in sync with Mr. Stephens’s direction, which tended to bit too loaded with shtick at times, so I expect my real gripe was with him rather than Mr. Moss.

Then there’s the matter of the updated lyrics. It has been customary for many years now to replace Gilbert’s dated (and occasionally racist) topical jokes with contemporary equivalents, especially in Ko-Ko’s "As some day it may happen" and the Mikado’s "A more humane Mikado". Most of the revisions worked pretty well, with the Mikado’s song getting some especially clever revisions that left the bulk of the lyrics intact. There were a few too many political and sports jokes for me, but that’s just a matter of individual taste. They all went over well with the audience.

I also thought it was a shame that "See how the fates their gifts allot" got cut from Act II, but if you must cut something, that’s probably the best bet.

The chorus was smallish (eight men and eight women) but it sounded big, and elocution was good enough to make the projected English text unnecessary. The orchestra sounded impressive as well under conductor Michael Mishra, although his tempi were sometimes plodding. With smaller opera companies, the band sometimes suffers from anemic violins and sloppy winds, but there was none of that here. The fact that the Viragh Center has an actual orchestra pit also eliminated some of the balance problems you sometimes encounter in performance spaces that weren’t designed with musical theatre in mind.

In fact, the Viragh Center (on the Chaminade campus in Frontenac) might just be one of the best opera spaces in town. The stage is large and deep, sight lines are good, and the seating is comfortable. The move there has raised Winter Opera’s costs, but if they can manage to make this work they will be serious players on the local musical theatre scene.

The production looked as good as it sounded, with bright cartoonish sets from Scott Loebl, colorful Japanese costumes by JC Krajicek, and effective lighting by Sean Savoie.

So, while my rapture over this Mikado was somewhat modified, there’s no denying it was an entertaining piece of work and very welcome in a town that doesn’t see many Gilbert and Sullivan productions since Opera Theatre dropped their annual G&S show at the Edison Theatre many years ago. Winter Opera’s season continues with Douglas Moore’s The Ballad of Baby Doe (a work I haven’t seen in decades) in February and Puccini’s Tosca in March. There’s also a Holidays on the Hill program in December at Dominic’s Restaurant on (naturally) The Hill. For more information: winteroperastl.org.

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

Winter Opera Saint Louis Presents Gilbert & Sullivan's "The Mikado"

Winter Opera Saint Louis commences its sixth season this weekend with W.S. Gilbert & Arthur Sullivan’s operetta The Mikado. Far too much illegal flirting has gone on in the Japanese town of Titipu. Thus, the Mikado (emperor of all) decrees that heads must roll. Nanki-Poo (wandering minstrel and errant son of the Mikado) longs to marry lovely Yum-Yum—but he’s promised to the older (and unpleasant) Katisha! At the same time, Yum-Yum is betrothed to Ko-Ko, the Lord High Executioner! Beheadings, boiling in oil…punishments galore are devised to make “criminals” pay. But fear not—this is a comedy, and you’ll be smiling the moment the curtain rises. Audiences will hear several memorable, melodies including “Three Little Maids From School,” “A Wand’ring Minstrel I,” “The Sun Whose Rays,” and the “Tit-Willow” Song.

Kathleen Jasinskas & Isaiah Bell

Artistic Director Gina Galati and Music Director Steven Jarvi have assembled a cast, crew and orchestra of talents new and familiar to St. Louis audiences. Several principal artists make their Winter Opera Saint Louis debut: Tenor Isaiah Bell, who has sung for Opéra de Montréal and Calgary Opera sings the role of Nanki-Poo. Artist with Tri-Cities Opera and Shreveport Opera, Soprano Kathleen Jasinskas portrays Yum-Yum. Mezzo-Soprano Lindsey Anderson, an artist with Seattle Opera and Opera North, sings Katisha. Baritone Gary Moss, a veteran of the Gilbert & Sullivan repertoire, sings Pooh-Bah. Bass-Baritone Edward Hanlon, artist with the Glimmerglass Festival and Lyric Opera of Chicago, sings the role of Pish-Tush. Soprano Emily Truckenbrod, artist with Wichita Grand Opera, sings the role of Peep-Bo. Returning artists include Baritone Lane Johnson (Ko-Ko) and Mezzo-Soprano Erin Haupt (Pitti-Sing). Mr. Johnson was last seen as Johann in Winter Opera’s Werther. Ms. Haupt sings her first principal role with Winter Opera.

  

(Clockwise from top left: Isaiah Bell, Kathleen Jasinskas, Lane Johnson and Lindsey Anderson)

John Stephens

After staging and performing in Winter Opera’s 2010 production of Werther, Baritone John Stephens returns to Winter Opera Saint Louis to once again perform double-duty as Stage Director and portray the title role. Conductor Michael Mishra, director of the Southern Illinois University Orchestra, leads in the pit. Nancy Mayo, adjunct professor of piano and accompanying at Webster University and resident collaborative pianist with Winter Opera Saint Louis, serves as rehearsal pianist. Jennifer Krajicek, who costumed last season’s La Bohème, returns as Costume Designer. Scott Loebl returns to Winter Opera as Set Designer. Having most recently designed for Winter Opera’s Ariadne auf Naxos, Sean Savoie returns as Lighting Designer. Theresa Loebl serves as Production Manager.

The Mikado will be performed on Friday, November 9th (8pm) and Sunday, November 11th (3pm) at the Skip Viragh Center for the Arts at Chaminade located at 425 S. Lindbergh Blvd. Production sung in English with projected English supertitles. Tickets may be purchased by calling Winter Opera Saint Louis at 314-865-0038 or online at http://winteroperastl.tix.com/

For further information on the company, its future performances and special events, visit winteroperastl.org.

Union Avenue Opera Presents "Opera Gala 2012" on Saturday

Union Avenue Opera invites you to Opera Gala 2012, an evening of unforgettable arias performed by alumni artists and accompanied by the Union Avenue Opera orchestra this Saturday, November 3rd at 8:00pm. Members of the American Federation of Musicians along with several UAO singing artists have once again graciously donated their services to the company for the performance.

Concertgoers will hear arias and duets from a variety of operas including Handel's Giulio Cesare, Mozart's Cosi fan tutte, Verdi's La Traviata, Gilbert & Sullivan's The Pirates of Penzance, Bellini's Norma, Gounod's Faust, Donizetti's L'Elisir d'Amore and many more...

Maestro Scott Schoonover has assembled a lineup of singers from seasons past and present:

Joy Boland

(Freia, Das Rheingold ’12)

Jon Garrett

(Howard Boucher, Dead Man Walking ’11)

Debra Hillabrand

(Mrs. Patrick de Rocher, Dead Man Walking ’11)

Ann Hoyt Wazelle

(Susanna, Le Nozze di Figaro ’06)

Marlissa Hudson

(Bess, Porgy and Bess ’07)

Courtney Mills

(Amelia, Un ballo in maschera ’12)

Andy Papas

(Major General, The Pirates of Penzance ’10)

Marc Schapman

(Loge, Das Rheingold ’12)

Clark Sturdevant

(Froh, Das Rheingold ’12)

A reception follows at Tavern of Fine Arts. Tickets sold separately for $50 each ($25 tax-deductible).

Tickets for the Gala [Patron: $250* | Reserved Center/Balcony: $50 | General Admission: $35] can be purchased by clicking here or calling the Union Avenue Opera Box Office at 314-361-2881.

*Includes $175 tax-deductible donation and ticket to Gala Reception

Winter Opera Saint Louis Presents "1920s Masquerade Ball" Tomorrow Night

Winter Opera Saint Louis invites you to join fellow opera lovers in a 1920s Masquerade Ball tomorrow night, October 26th, 2012 at 6:30pm! Dine on the stage of the beautiful Skip Viragh Center for the Performing Arts (425 S. Lindbergh Blvd., St. Louis, MO 63131) and experience opera up close and personal with a behind-the-scenes look at Winter Opera’s new home. Catered by Dominic’s on the Hill and featuring the talents of Winter Opera’s top artists, join us for an evening of wine, dancing and song!

For the entertainment of the evening, Artistic Director Gina Galati is pleased to present artists from Winter Opera’s upcoming production of Gilbert & Sullivan’s The Mikado including Soprano Kathleen Jasinskas, Tenor Isaiah Bell, Mezzo-Soprano Lindsey Anderson, Baritone John Stephens and many more.

Wine & appetizers will be served at 6:30pm with dinner to follow at 7:30pm. Flapper attire is encouraged, black tie is optional. Cost is $125 per person and includes Italian wines & prosecco throughout the evening, dinner and entertainment. Proceeds to benefit Winter Opera’s Sixth Season. 

Tickets to the 1920s Masquerade Ball as well as Winter Opera’s upcoming season including Gilbert & Sullivan’s The Mikado on November 9th (8pm) and 11th (3pm), Douglas Moore’s The Ballad of Baby Doe on February 8th (8pm) and 10th (3pm) and Puccini’s Tosca on March 8th (8pm) and 10th (3pm) are available by calling the Winter Opera Saint Louis Box Office at 314-865-0038 or by visiting http://www.winteroperastl.org/ See you at the Masquerade Ball!

Video Preview of "Das Rheingold"

Union Avenue Opera's production of Das Rheingold continues its run this weekend, August 24 & 25. Check out this video preview of the production:


Be sure to click here and read what the critics have to say about the production!

Das Rheingold continues its run this weekend: August 24 & 25 at Union Avenue Opera, 733 N. Union Blvd. All 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.

Review of Union Avenue Opera's "Das Rheingold"

Jordan Shanahan as Alberich and Kevin Misslich as Wotan

How much can you downsize Wagner without putting him out of business?

The late musical satirist Anna Russell once famously cut the entire “Ring” cycle down to twenty hilarious minutes and some change while still telling the bare bones of the story. British composer Jonathan Dove had more serious intentions when he created a reduced version of the first opera in the series, “Das Rheingold”, for smaller opera companies without the facilities or budgets for the original. It lops around 45 minutes off the usual two and one-half hour running time and deletes one character (Mime, forger of the Tarnhelm) without noticeably sacrificing the story or the drama—still a pretty neat trick.

Unfortunately, the Union Avenue production’s use of Michael B. Perkins and Mark Wilson’s admittedly ingenious projected video sometimes falls short of offering the kind of theatrical impact Wagner had in mind (the dragon is especially disappointing), and the music loses some power in this unavoidably reduced orchestration.

Still, there are some great performances and enough fine singing to make it worthwhile.

Besides, to a certain extent the lack of theatrical flash sharpens the focus on the plot, the characters, and their implicit commentary on matters of morality and power. Wagner’s libretti for the “Ring” operas starkly illustrate the cost of abusing power and personal trust—highly ironic, given the way Wagner the man did both.

That said, it’s hard to get the kind of visceral thrills Wagner clearly intended from a 22-piece orchestra or from sets and effects that are only computer projections on the large screen that dominates the industrial-look bare bones set. That’s especially true when—as was sometimes the case on opening night—the tempi are so slow that they drain dramatic tension (the final entry into Valhalla really suffered rom this), the brasses have audible intonation issues, and the projections have a jerky quality that suggests the computer providing them might be underpowered.

Most of the time the band sounded fine, though, and the projected settings for the Rhine, Valhalla, and Niebelheim did create the right atmosphere. The production works far more often than it doesn’t, and given the near impossibility of what Union Avenue is trying to do here, I can’t help but admire it.

It helps that there are some standout performances, the most obvious being baritone Jordan Shanahan as Alberich, the dwarf whose renunciation of love allows him to create the Ring from the stolen Rheinmaidens’ gold. He’s a complex character, unscrupulous and a bully, but also wronged by the gods and less deluded than they about the cost of the Ring’s power. Mr. Shanahan’s Alberich is powerfully sung and dramatically convincing.

Todd von Felker and Nikolas Wenzel are solid as the giants Fasolt and Fafner, and tenor Marc Schapman radiates detached amusement as the wily fire god Loge. Kevin Misslich is a good physical type for Wotan but, at least on opening night, he didn’t always seem fully engaged with the character and his voice was sometimes drowned out by the orchestra.

The women in this cast are mostly very strong singers and actors. Elise Quagliata, who was so stunning in “Dead Man Walking” last season, turns in another fine performance as Fricka. Both she and Cecelia Stearman, in the cameo role of Erda, the Earth Goddess, are commanding figures that demand and get attention with their vocal power and concentration. Elizabeth Beers Kataria, Megan Hart, and Katja Heuzeroth harmonize beautifully as the Rheinmaidens.

My complaints about some tempo choices aside, Scott Schoonover does well by the score and the sound overall is as beefy as you can probably get in that small pit. He even managed to squeeze in a couple of the tuned anvils (or a reasonable facsimile thereof) that Wagner calls for in the Niebelheim sequence.

Teresa Dogget’s costumes mostly work very well, with Wotan’s family all in white outfits reminiscent of late 19th century European royalty, Erda in earth tones, and Alberich and the Nibelung supernumeraries looking like peasants from the same period. The exaggerated shoulders and Frankenstein boots of the giants give them an appropriately massive look while not visibly impeding their movement. Loge’s red-accented costume and punkish white wig, however, just looked goofy to me.

Patrick Huber’s lighting, while unavoidably rudimentary, nevertheless does the job and Elise LaBarge’s English supertitles are, as usual, clear and easily visible throughout the house. Stage director Karen Coe Miller does a heroic job of pulling everything together and making it all work as theatre despite the overall difficulty of the project.

Add it all up and you have an ambitious and highly flawed mini-“Rheingold” that retains the essential musical and theatrical values of the original but does so in a rather diminished form. If you have never seen any of the “Ring” operas, this would be a great opportunity to start making their acquaintance. It will be interesting to see what Union Avenue does with Mr. Dove’s downsized versions of the other three operas in the cycle, which it will mount on an annual basis through 2015.

Meanwhile, “Das Rheingold” concludes with performances Friday and Saturday, August 24 and 25 at 8 PM at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. For more information: unionavenueopera.org.

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

The Critics on UAO's "Das Rheingold"

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

Mark Bretz:

"Director Karen Coe Miller’s spirited telling of Das Rheingold, along with the noble contributions of artistic director and conductor Scott Schoonover and a reduced orchestra, make for an auspicious beginning on UAO’s ambitious four-year quest...Projection designer Michael Perkins, with the aid of projection consultant Mark Wilson, fills the screen with lavish landscapes as well as a surreal appearance for the castle that reaches into the sky...[Jordan] Shanahan's anguish as the continually frustrated dwarf is palpable in his portrayal, while [Elise] Quagliata puts considerable depth into her depiction of the queen angered by Wotan's poor decisions...Marc Schapman's Loge is suitably deceptive and cunning, and Joy Boland is fine in the minor role of the hapless Freia...Cecelia Stearman is striking in her brief scene as Earth goddess Erda." 

"Union Avenue Opera's engaging Das Rheingold offers a tantalizing hint as to what UAO's four-part presentation can achieve."

Gerry Kowarsky:

"The most impressive aspect of the production is the combination of Patrick Huber's set design and Michael Perkins' video design...I liked the way the costumes distinguished between the three races in the opera: gods, giants and dwarves...The production is well cast...Jordan Shanahan's Alberich is outstanding...Karen Coe Miller's direction for the most part tells the story effectively...I can hardly wait for next year's Die Walküre." 

Chuck Lavazzi:

"[Jordan] Shanahan's Alberich is powerfully sung and dramatically convincing...Tenor Marc Schapman radiates detached amusement as the wily fire god Loge...Elise Quagliata turns in another fine performance as Fricka. Both she and Cecelia Stearman, in the cameo role of Erda, the Earth Goddess, are commanding figures that demand and get attention with their vocal power and concentration...Elizabeth Beers Kataria, Megan Hart, and Katja Heuzeroth harmonize beautifully as the Rheinmaidens...Scott Schoonover does well by the score and the sound overall is as beefy as you can probably get in that small pit...Teresa Doggett’s costumes mostly work very well...Stage director Karen Coe Miller does a heroic job of pulling everything together and making it all work as theatre despite the overall difficulty of the project." 

"If you have never seen any of the “Ring” operas, this would be a great opportunity to start making their acquaintance."

Chris Gibson:

[A]ny Wagner has the ability to be stirring and surprisingly cinematic in execution, and this presentation is no exception...[Tenor Marc Schapman] brings a playful presence to the proceedings...Cecelia Stearman makes a bright appearance as Erda, an Earth Goddess, who talks some sense into Wotan once he's received the ring, but finds its power invigorating...Scott Schoonover conducts this piece with considerable aplomb, capturing the bombast inherent in Wagner, but also the delicacy as well..." 

"If you've never seen Wagner, then by all means, you must take in a performance of the Union Avenue Opera's Das Rheingold."

Sarah Bryan Miller:

"The pared-down version of “Das Rheingold” at Union Avenue Opera is definitely Wagner Lite. For some people, it might just be Wagner Without Fear."

"[D]irector Karen Coe Miller and her production team of scenic designer Patrick Huber and video designer Michael B. Perkins came up with the best possible solution for the sets...That enabled them to put on an impressive introductory show...Teresa Doggett’s costumes suited the production; those for the giants were a lot of fun...Clark Sturdevant’s sweet-voiced Froh and John Maynard’s sturdy Donner were standouts...Marc Schapman’s Loge, the capricious demigod of fire, had the right degree of snark...Baritone Jordan Shanahan, uglified, was terrific as Alberich, the dwarf who renounces love, steals the Rheingold and sets the whole cycle in motion...Todd von Felker and Nikolas Wenzel, as the shambling giants Fasolt and Fafner, sang richly and were nicely differentiated...Schoonover had the flow of the score in hand." 

"You can never have too much Wagner. On to “Die Walküre”!"

Be sure to revisit this post for a review from Gerry Kowarsky and Bob Wilcox of HEC-TV's Two on the Aisle.

Das Rheingold continues its run this weekend: August 24 & 25 at Union Avenue Opera, 733 N. Union Blvd. All 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.

Eine kleine Wagnerhumor

Unsure about attending Union Avenue Opera's Das Rheingold? Overwhelmed by all the drama, characters and leitmotifs to keep track of? Let classical music humorist Anna Russell explain it all succinctly and hilariously with her famous "analysis" of Wagner's Ring Cycle.

(The above embedded video is a playlist showing all three parts in succession.)

Das Rheingold opens August 17 and runs August 18, 24, 25 at Union Avenue Opera, 733 N. Union Blvd. All 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.

"Das Rheingold" Opens Friday at Union Avenue Opera

Baritone Jordan Shanahan as Alberich
Photo © Ron Lindsey, 2012, All rights reserved.

Union Avenue Opera begins a four-year odyssey in presenting Richard Wagner's Das Rheingold, the first of the composer's epic Ring Cycle. Condensed and reduced by English composer Jonathan Dove, this adaptation retains the essence of Wagner while making it accessible to UAO’s intimate setting.

A saga of epic proportion replete with giants, gods, goddesses and a dragon, Das Rheingold opens in the waters of the river Rhine, where three Rhine-maidens guard the river’s magical gold. Enraged by their scorn, conniving dwarf Alberich steals enough of this precious metal to forge a ring that gives its bearer unimaginable power. Meanwhile Wotan and Loge, two powerful gods, conspire to steal the gold as ransom for the goddess Freia who has been kidnapped by the giants. The ensuing struggle for possession of the ring drives this dramatic opera.

Composer
Jonathan Dove

Composer Jonathan Dove originally wrote this condensed and reduced version for Opera Birmingham with the intent that all four operas could be performed in the span of two nights and sung in an English translation. When deciding how UAO would present all four operas, Artistic Director Scott Schoonover chose to present one opera per season through 2015 and, in accordance with the company's mission statement, have the libretto sung in the original German.

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.

THE CAST

Union Avenue Opera presents several familiar artists: Bass-Baritone Kevin Misslich (title role in 2005's Falstaff) sings the role of the god Wotan. Mezzo-Soprano Elise Quagliata (Sister Helen Prejean in last season's Dead Man Walking) sings the role of the goddess Fricka, Wotan's wife. Tenor Marc Schapman (Acis in April's Acis and Galatea) sings the role of fire god Loge. Soprano Joy Boland (Emilia in 2008's Otello) sings the role of the goddess Freia. Tenor Clark Sturdevant (Father Grenville in Dead Man Walking) sings the role of Froh. Mezzo-soprano Cecelia Stearman (Mrs. Boucher in Dead Man Walking) sings the role of earth goddess Erda. Bass-Baritone Todd von Felker (Samuel in July's Un Ballo in Maschera) sings the role of the giant Fasolt. Baritone Jordan Shanahan (Joseph de Rocher in Dead Man Walking) sings the role of the dwarf Alberich.

Megan Hart, Elizabeth Beers-Kataria,
Katja Heuzeroth & Jordan Shanahan

Photo © Patrick Huber, 2012,
All rights reserved.

Five artists make their UAO debut. As the three Rhinemaidens: Sopranos Elizabeth Beers-Kataria (Woglinde), Megan Hart (Wellgunde) and Mezzo-Soprano Katja Heuzeroth (Floßhilde). Bass-Baritone Nikolas Wenzel sings the role of the giant Fafner. Baritone John Maynard sings the role of the god Donner.

THE CREW

UAO Artistic Director Scott Schoonover conducts. Stage Director Karen Coe Miller makes her Union Avenue Opera debut. Allyson Ditchey serves as Stage Manager. The Design team includes Set Designer Patrick Huber, Projection Designer Michael B. Perkins, Costume Designer Teresa Doggett. Pianist Nancy Mayo serves as production répetiteur.

OPENING NIGHT RECEPTION

Want a chance to hobnob with cast and crew of Das Rheingold on Opening Night? UAO hosts an Opening Night Reception on August 17 after the performance at Tavern of Fine Arts. Click here for more information!

WAGNER LECTURE SERIES

UAO's FREE Educational Series continues Thursday night, August 16 at 7:00pm at Union Avenue Opera, with Scott Stearman's lecture On God, Gods, and Ecstatically Singing for Sex: Wagner’s Love of Love in the Ring Cycle. Glen Bauer, Ph.D., Associate Chair of the Webster University Music Department will also give lectures one hour before each Friday performance (August 17/24) at Union Avenue Opera. All lectures are FREE and open to ticket holders and the general public.

Das Rheingold opens August 17 and runs August 18, 24, 25 at Union Avenue Opera, 733 N. Union Blvd. All 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.

Your "Das Rheingold" Media Hub

St. Louis media is buzzing over Union Avenue Opera's production of Wagner's Das Rheingold. Don't want to miss anything? Want to learn more? Look no further than this blog post for links to news stories and multimedia.

PRINT MEDIA

• Patricia Rice of the St. Louis Beacon interviews the artists of Das Rheingold and provides history on Wagner's Ring as well as its performance history in St. Louis.
• Sarah Bryan Miller interviews Scott Schoonover and Rheingold stage director Karen Coe Miller for the St. Louis Post-Dispatch.

RADIO & AUDIO

• Jim Althoff of Cityscape interviews Karen Coe Miller and Wagner lecturer Scott Stearman.
• Scott Schoonover guests on KDHX's Break A Leg with hosts Deborah Sharn and Scott Miller to discuss the production and the Jonathan Dove reduction of the score.
• Those who missed Scott Stearman's August 9th lecture--Sublime, Beauty from a Sinister Soul?--can hear it now via YouTube.

Want a chance to hobnob with cast and crew of Das Rheingold on Opening Night? UAO hosts an Opening Night Reception on August 17 after the performance at Tavern of Fine Arts. Click here for more information!

UAO's FREE Educational Series continues Thursday night, August 16 at 7:00pm at Union Avenue Opera, with Scott Stearman's lecture On God, Gods, and Ecstatically Singing for Sex: Wagner’s Love of Love in the Ring Cycle. Glen Bauer, Ph.D., Associate Chair of the Webster University Music Department will also give lectures one hour before each Friday performance (August 17/24) at Union Avenue Opera. All lectures are FREE and open to ticket holders and the general public.

Das Rheingold opens August 17 and runs August 18, 24, 25 at Union Avenue Opera, 733 N. Union Blvd. All 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.

UAO Kicks Off Free Wagner Lecture Series Tonight

Union Avenue Opera kicks off its Wagner Lecture Series this evening, beginning with the first of two free educational series presented by Scott Stearman, Senior Pastor of Kirkwood Baptist Church. 

Thursday, August 9 at 7:00 p.m.: Sublime, Beauty from a Sinister Soul? Wagner’s music, his Anti-Semitism, and his relationship to Nietzsche

In this interactive presentation, Scott Stearman will begin by discussing why, 199 years after Wagner’s birth, Wagner is still one of the most venerated composers of all time and one of the most despised. He has been rightly honored for transforming the operatic and classical music world. Wagner has been blamed for contributing to what happened in Germany in the 1930s and 1940s. His reputation suffered because of his relationship with a much younger Friedrich Nietzsche – Nietzsche ultimately rejected Wagner on philosophical principles. Their relationship gives us insight into what Wagner came to believe and what ultimately he was attempting to do with his unparalleled compositions.

Attendees will be given a first look at the set and treated to a guest performance* by the cast of Das Rheingold (*August 9 only).

Scott Stearman

About Scott Stearman
Scott Stearman has been Senior Pastor of Kirkwood Baptist Church since 2003. He has served churches in Oklahoma, Athens, Greece, and Paris, France (1995-2003). He is an adjunct faculty member at Webster University in religion and Missouri Baptist University in humanities. Stearman earned a Bachelor of Arts from Oklahoma Baptist University with majors in religion and history, a Masters of Divinity in biblical languages from Southwestern Baptist Theological Seminary, and a doctor of Philosophy in ancient philosophy from the University of Oklahoma. His interest in Wagner dates back to his “Tristan transformation” in his late 20s. in recent years he has been privileged to see the Ring cycle at Lyric Opera and Metropolitan Opera in addition to making the pilgrimage to Bayreuth, Germany twice.

Stearman will be presenting a second lecture On God, Gods, and Ecstatically Singing for Sex: Wagner’s Love of Love in the Ring Cycle on August 16 at 7:00 p.m. Stay tuned to Operatic Saint Louis for more information.

Das Rheingold opens August 17 and runs August 18, 24, 25 at Union Avenue Opera, 733 N. Union Blvd. All 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.

UAO Offers "Das Rheingold" Lecture Series & Opening Night Reception

Union Avenue Opera's production of Richard Wagner's Das Rheingold opens a week from this Friday. The company has planned a variety of educational lecture series surrounding this production as well as an Opening Night Reception that you will not want to miss.

Opening Night Reception 

Mingle with your fellow opera lovers and the cast of Das Rheingold following the opening night performance on August 17, 2012 at Tavern of Fine Arts, 313 Belt Ave (.65 miles from UAO).

Tickets are $25* each and include dessert buffet and two drink tickets. Visit the UAO website at unionavenueopera.org or call the box office at 314-361-2881 for more information. Reservation Required.

*Tickets to Das Rheingold not included in price of reception ticket. Das Rheingold tickets sold separately.

Want to learn more about Wagner and the Ring?

Free Educational Series

August 9 at 7:00 P.M.
Sublime, Beauty from a Sinister Soul? Wagner's music, his Anti-Semitism, and his relationship to Nietzsche

August 16 at 7:00 P.M.
On God, Gods, and Ecstatically Singing for Sex: Wagner's Love of Love in the Ring Cycle

Presented by Scott Stearman, Senior Pastor of Kirkwood Baptist Church, both lectures are FREE and open to the public. Attendees will be given a first look at the set and treated to a guest performance* by members of the cast of Das Rheingold (*August 9 only). Lectures take place in the Fellowship Gallery of Union Avenue Opera, 733 N. Union Blvd.

Free Friday Night Lectures

Friday, August 17 at 7:00 P.M.
Friday, August 24 at 7:00 P.M.

Join operagoers in the Fellowship Gallery for a pre-performance lecture led by Glen Bauer, Ph.D., Associate Chair, Department of Music at Webster university prior to the Friday night performances. All lectures are FREE and open to both ticket holders and the public.

Have General Admission tickets? Stop by the Box Office prior to the lecture to receive a placard to reserve your space in the theater before attending the lecture.

Want to play trivia and win fabulous prizes?

Connect to Union Avenue Opera on Facebook and Twitter to play Wagnerian trivia in the "Countdown to Wagner" leading up to Opening Night!

Das Rheingold opens August 17 and runs August 18, 24, 25 at Union Avenue Opera, 733 N. Union Blvd. All 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.

Union Avenue Opera's "Das Rheingold"

Bass-Baritone Kevin Misslich (Wotan)
Baritone Jordan Shanahan (Alberich)
Photo © Ron Lindsey, 2012, All rights reserved.

Union Avenue Opera has begun its four-year odyssey of presenting Richard Wagner's Der Ring des Nibelungen in a production adapted and reduced by British composer Jonathan Dove. The first opera of the Ring Cycle, Das Rheingold, opens in less than two weeks.

A saga of monumental proportion replete with giants, gods, goddesses and a dragon, Das Rheingold opens in the waters of the river Rhine, where three Rhinemaidens guard the river’s magical gold. Enraged by their scorn, conniving dwarf Alberich steals enough of this precious metal to forge a ring that gives its bearer unimaginable power. Meanwhile, Wotan and Loge, two powerful gods, conspire to steal the gold as ransom for the goddess Freia who has been kidnapped by the giants. The ensuing struggle for possession of the ring sets in motion a course of events that will alter the order of the universe and set the stage for the subsequent three operas (Die Walküre, 2013; Siegfried, 2014; Götterdämmerung, 2015).

Set Under Construction
Photo © Patrick Huber, 2012, All rights reserved.

Cast and crew arrived in St. Louis last week to begin rehearsals. Expect to see and hear some familiar artists including Soprano Joy Boland as Freia, Bass-Baritone Todd von Felker as the giant Fasolt, Mezzo-soprano Elise Quagliata as Fricka, Bass-Baritone Kevin Misslich as Wotan, Baritone Jordan Shanahan as the dwarf Alberich as well as several artists making their UAO debut. 

Set Under Construction
Photo © Patrick Huber, 2012, All rights reserved.

Making her UAO debut, stage director Karen Coe Miller promises a multi-media production of Das Rheingold utilizing several projections and lighting effects to evoke the opera's fantasy world. Set crews have been hard at work building Patrick Huber's multi-leveled set design.

Stay tuned to Operatic Saint Louis for so much more on UAO's Das Rheingold, including several educational opportunities and a reception to mingle with cast, crew and fellow operagoers. Also, don't forget to connect to Union Avenue Opera on Facebook and Twitter to play trivia for fun and prizes in the "Countdown to Wagner" leading up to Opening Night!

Das Rheingold opens August 17 and runs August 18, 24 and 25 at Union Avenue Opera, 733 N. Union Blvd. All performance 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.

Union Avenue Opera Kicks Off "30 Days of Wagner Countdown" Today

Union Avenue Opera, in anticipation of its premiere production of Richard Wagner's Das Rheingold (opening August 17), has today kicked off its 30 Days of Wagner Countdown.

In the 30 days leading up to opening night, UAO will be bringing you facts, trivia and chances to win great prizes. Be sure to connect to Union Avenue Opera on Facebook and Twitter so you won't miss a thing!

Check out Operatic Saint Louis in the coming weeks for news and exclusive content on Union Avenue Opera's Das Rheingold, running August 17, 18, 24 & 25. Tickets are available through http://www.unionavenueopera.org/ or by calling 314-361-2881 Monday-Friday.

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

The Critics on "Un ballo in Maschera"

Union Avenue Opera's production of Verdi's Un ballo in Maschera continues its run tonight. Here's a sample of what Mark Bretz of Ladue News and Sarah Bryan Miller of the St. Louis Post-Dispatch have to say about the production:

Mark Bretz:

"Union Avenue Opera’s artistic director Scott Schoonover elicits a handsome rendering of Verdi’s intricate and intriguing score from his Union Avenue orchestra. The orchestra’s rich and resonant sound supports fine singing by the show’s primary performers, most notably Andrew Cummings, whose powerful baritone as Renato provides this production with its most glorious moments...Courtney Mills has a lush and luxurious voice that strongly shapes Amelia’s character...Rachael Holzhausen adds a delightful spark to the proceedings as the sprightly page Oscar, bringing vibrancy and exhilaration to her too few scenes...Denise Knowlton is convincing in both her singing and acting as the mysterious conjurer Ulrica."

Sarah Bryan Miller:

"[Courtney Mills' voice] is a voice to be reckoned with, shot through with silver along with plenty of steel, and big enough to effortlessly fill the auditorium on a pianissimo...Mezzo-soprano Denise Knowlton, as the witch Ulrica, is another one with great potential. A strong actor with a big, warm voice, she commanded the stage in her scenes...Baritone Andrew Cummings, tall and sexy, was one of the most appealing characters on stage...As the page, Oscar, soprano Rachael Holzhausen was cute, perky and hit all her high notes...Among the supporting roles, bass Todd von Felker as Tom stood out as a sardonic, observant conspirator. Tom W. Sitzler, a sailor who comes to Ulrica for advice, made the most of his small role."

Un ballo in Maschera continues its run this weekend: July 6 & 7. Venue: Union Avenue Christian Church at 733 N. Union Blvd. All performances begin at 8pm. Production sung in Italian with Projected English Supertitles. Tickets start at $32 and are available online at www.unionavenueopera.org or by calling the box office Monday through Friday between 10:00 a.m. and 3:00 p.m. at 314-361-2881. Student Rush tickets are available for $15 at the door with a valid student ID (cash only).

Union Avenue Opera's "Un ballo in Maschera" Opens Friday Night

Soprano Courtney Mills

Union Avenue Opera continues its 18th Festival Season this Friday evening with the mystery and intrigue of Giuseppe Verdi’s magnificent Un ballo in maschera. Riccardo and Amelia share a forbidden love, but the beguiling Amelia is married to Riccardo’s closest friend and confidante Renato. Amelia enlists the aid of sorceress Ulrica in an effort to extinguish her illicit love for Riccardo, but discovers her secret is already out. The culmination takes place at a lavish masked ball as this love triangle turns deadly.

The cast of Un ballo in maschera will be led by three artists making their UAO stage debuts: Tenor Emanuel-Cristian Caraman as the conflicted Riccardo; Soprano and Springfield, Illinois native Courtney Mills as Amelia, the object of his secret passion; and Baritone Andrew Cummings as her suspicious husband Renato.

In the pants role of the pageboy Oscar, Soprano Rachael Holtzhausen also makes her debut. Last seen in the role of Ruth in 2010's The Pirates of Penzance, Mezzo-soprano Denise Knowlton returns as the sorceress Ulrica. Other familiar voices include Todd von Felker (Ping, Turandot) as Samuel and David Dillard (Polyphemus, Acis and Galatea) as Tom, alongside Jon Garrett as Chief Magistrate, Tom Sitzler as Silvano, and Anthony Heinemann as Amelia's servant. The cast is accompanied by a chorus of sixteen local artists including seven making their UAO stage debuts.

Patrick Huber's Set Design Under Construction

Stage Director Mark James Meier returns to stage Ballo after a second critically-acclaimed production of Turandot last season. Artistic Director and Principal Conductor Scott Schoonover conducts the orchestra. Webster University graduate Steven Hitsman serves as Production Stage Manager. The design team includes Set Designer Patrick Huber and Costume Designer Teresa Doggett (take a sneak peek at her designs by clicking here). Pianist Henry Palkes serves as Production Répetiteur.

Don't miss UAO's Friday Night Lecture Series at 7:00 p.m. in the Fellowship Hall presented by Glenn Bauer, Ph.D., Associate Chair, Department of Music at Webster University prior to the Friday night performances (June 29, July 6). Lectures are FREE and open to the public.

Emanuel Cristian-Caraman & Courtney Mills

Ballo in the Media:

Sarah Bryan Miller previews the production in the Post-Dispatch; Patricia Rice interviews Courtney Mills in The Beacon; Hear Scott Schoonover, Courtney Mills and Andrew Cummings interviewed on Cityscape; Nancy Kranzberg interviews Scott Schoonover on KDHX Arts Interview

Also, check out UAO on Twitter and Facebook!

Un ballo in Maschera opens this Friday, June 29 and will continue June 30, July 6 & 7. Venue: Union Avenue Christian Church at 733 N. Union Blvd. All performances start at 8pm. Production sung in Italian with Projected English Supertitles. Tickets start at $32 and are available online at www.unionavenueopera.org or by calling the box office Monday through Friday between 10:00 a.m. and 3:00 p.m. at 314-361-2881. Student Rush tickets are available for $15 at the door with a valid student ID (cash only).

A Look at UAO "Un ballo in Maschera" Costumes

Teresa Doggett

Costume Designer Teresa Doggett marks her seventh season working with Union Avenue Opera. Her design debut with the company was a production of Bellini's Norma during the 2006 season. Since then, she has costumed several productions at UAO including Die Zauberflöte, Carmen, Die lustige Witwe and Turandot to name just a few. Doggett, also a working actress in the St. Louis community, brings keen character insights into the creative process of building and collecting a suitable wardrobe for any given production.

Operatic Saint Louis' Phil Touchette recently visited Union Avenue Opera's costume shop on the third floor of Union Avenue Christian Church to discuss her costume designs for the upcoming Un ballo in Maschera.

When approached by stage director Mark James Meier about a design concept for Ballo (traditionally set in 1790s colonial Boston), Doggett says that Mark didn't have a particular concept other than declaring "I don't want to do it 'Baroque.'" The task, then, was to find a "look" which could place the characters into a time and space where this dark opera could make sense. During pre-production meetings, Set Designer Patrick Huber suggested blending elements of graphic novels and steam punk (a Victorian-era aesthetic concerning the influence of new industrial machinery on everyday life) into the overall concept. The costumes provide a dark edge that puts the characters in different worlds: the past, the present and the sci-fi future. Below are a few samples of designs for the five principal characters of the opera: Amelia, Riccardo, Renato, Oscar and Ulrica.

Amelia's Act I & Act II Costume

Amelia's costume for Acts I & II consists of an overcoat/bodice piece comprised of faux leather and a dark maribou collar. "It's dark and meant to be very dramatic," says Doggett. "This is not the sort of thing you would typically see in an Amelia costume. Again, we want to go for the drama, the intensity. The collar, actually, is wonderful for framing a singer's face. Courtney Mills, our Amelia, is the only true blonde in the show, so it really sets off her face wonderfully from the first time we see her onstage."

Riccardo's Act I Costumes

Riccardo's Act I costume is a black leather coat, followed by a fisherman's coat later in the act. "The coat's vest underneath is very baroque in style and has a certain cut, so we are making a reference to the original setting of the opera," says Doggett.

His end of Act I coat, when in disguise at a fishing village, has a non-specific time reference. "It's got quite a Victorian look but it still says that it's somewhere, yet not the baroque period."

Doggett notes the great amount of faux leather in her costume plot, and expresses sympathy for the tenor, Emanuel-Cristian Camaran: "Poor Emanuel is going to be wearing this coat, which is almost 25 pounds! Yet, this will create a very tailored look for him."

Renato's Act I & Act II Costumes

Renato, sung by Baritone Andrew Cummings, will also be clad in leather for the production, specifically a jacket in Act I, then wool for Act II.

"There is another leather coat here, but I've given a slightly different cut on him. The coat is rather closed up, especially from the first time we see him onstage." says Doggett.

In her process, Doggett saw Renato wearing dark red colors. "There was just something about his character that said to me 'red.' I don't know quite what it is, but I think it works really well for him. He's the only character in Act I, Scene I who is in a warm color. Everybody else is in grays and blues--darker colors that are much more cool than his coloring."

Doggett was definitely pleased with what she found for his Act II ensemble. "I found a fantastic wool coat for him with all of these studs on it which makes a strong statement about his character. He's very strong, determined and jealous." She remarks that this coat, combined with the baritone's height (over 6'5") will make for a very dramatic image onstage.

Oscar's Act I & Act II Costumes

For the "pants role" of the page boy Oscar, Doggett found two distinct looks for Soprano Rachael Holzhausen.

"For most of the show, I wanted Oscar in black and white, mainly because he is probably the most charming and sincere character--he only wants to do good...I thought that Oscar would see everything in black and white. There is either 'Yes' or 'No' and 'Good' or 'Bad.'"

It is only in the Act II fishing village scene that Oscar is wearing something other than black and white: a brown travel coat. Doggett also mentions a reference in the Antonio Somma libretto in which Oscar is called 'the domino' which will come into prominence for the Act III costume.

Ulrica's Costume

The sorceress Ulrica, sung by Mezzo-soprano Denise Knowlton, will have the most earthen, yet futuristic look of the production. Doggett sees the Ulrica of this production as more of a shaman and linked to the earth than everyone else in the piece, connecting the old with the present.

Some elements of science fiction pervade Ulrica's look. "She's going to have some mini-discs woven into her wig and fastened onto some of the jewelry to reference a futuristic world."

Doggett adds, with a chuckle, "There's also going to be some chicken bones. There's going to be a mixed reference which brings her into the old and modern worlds."

Ulrica's costume embodies the most color as well as texture. Doggett incorporates lots of faux leather, nubby velvet fabrics, tye-dye and distressed fabric. "There's a sense of tactile-ness about her, where everyone else has a tailored look."

_______________________________

Designs ©Teresa Doggett. Design photos ©Phil Touchette.

Un ballo in Maschera opens this Friday, June 29 and will continue June 30, July 6 & 7. All performances start at 8pm. Production sung in Italian with Projected English Supertitles. Tickets start at $32 and are available online at www.unionavenueopera.org or by calling the box office Monday through Friday between 10:00 a.m. and 3:00 p.m. at 314-361-2881. Student Rush tickets are available for $15 at the door with a valid student ID (cash only).

STL Public Radio's "Cityscape" to Feature UAO "Ballo" Cast and Conductor

St. Louis Public Radio's broadcast of Cityscape for tomorrow--Friday, June 22nd--features the director and conductor team of Union Avenue Opera's upcoming production of Verdi's Un ballo in Maschera. Host Steve Potter welcomes onto the program UAO Artistic Director and Conductor Scott Schoonover and cast members Soprano Courtney Mills (singing the role of Amelia) and Baritone Andrew Cummings (singing the role of Renato) to discuss the production opening next weekend as well as the company's upcoming production of the first installment of Wagner's Ring Cycle: Das Rheingold. 

Cityscape airs on KWMU 90.7 FM at 11:00 a.m. to Noon on Friday, June 22nd and will be repeated at 10:00 p.m. that evening. You may also listen to archived audio of the program on the St. Louis Public Radio website.

Tickets for Un ballo in Maschera and Das Rheingold start at $32 and are available online at http://www.unionavenueopera.org/ or by calling the box office Monday through Friday between 10:00 a.m. and 3:00 p.m. at 314-361-2881. Student Rush tickets are available for $15 at the door with a valid student ID (cash only).

Union Avenue Opera Continues 18th Season with Verdi's "Un Ballo in Maschera"

Union Avenue Opera continues its 18th Festival Season with Giuseppe Verdi's tragic Un ballo in maschera (The Masked Ball) June, 29, 30 and July 6, 7 at 8:00 p.m. in its original Italian.

Accompanied by a thrilling score, Verdi's vivid characters grapple with life and love, betrayal and death. Witness the mystery and intrigue that stems from Riccardo and Amelia's forbidden love; the beguiling Amelia is married to Riccardo's closest friend and confidant Renato. Amelia enlists the aid of sorceress Ulrica in an effort to extinguish her illicit love for Riccardo, but discovers her secret is already out. The culmination takes place at a lavish masked ball as this love triangle turns deadly.

The cast of Ballo, stage director Mark James Meier and conductor Scott Schoonover have been hard at work staging for the past week. Take a look at a few rehearsal shots from Act III:

Soprano Rachel Holtzhausen (Oscar) & Baritone Andrew Cummings (Renato) 

Tenor Emanuel-Cristian Camaran (Riccardo) & Soprano Courtney Mills (Amelia) 

A flurry of dancing by the UAO Ensemble

Tickets start at $32 and are available online at www.unionavenueopera.org or by calling the box office Monday through Friday between 10:00 a.m. and 3:00 p.m. at 314-361-2881. Student Rush tickets are available for $15 at the door with a valid student ID (cash only).

Keep visiting Operatic Saint Louis for more exciting news and stories on Un ballo in Maschera!