The St. Louis Premiere of "A Streetcar Named Desire" Opens Tomorrow

Lacy Sauter
Photo © Ron Lindsey, 2014 | All Rights Reserved

Union Avenue Opera continues its 20th Anniversary Season this Friday with the St. Louis Premiere of André Previn's A Streetcar Named Desire running August 1, 2, 8 and 9. This production marks UAO's second foray into contemporary American opera after its critically-acclaimed 2011 production of Dead Man Walking.

Desire is taking on a new rhythm as Tennessee Williams' play sizzles onto the stage. 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.

Bernardo Bermudez
Katherine Giaquinto

Photo © Ron Lindsey, 2014
All Rights Reserved

THE CAST

Several artists make their UAO debut: Soprano Lacy Sauter as Blanche DuBois, Soprano Katherine Giaquinto as Stella Kowalski, Baritone Bernardo Bermudez as Stanley Kowalski, Tenor Anthony Webb as Harold "Mitch" Mitchell, Mezzo-Soprano Johanna Nordhorn as Eunice Hubbell, Tenor Robert Norman as Steve Hubbell and Mezzo-Soprano Natanja Tomich as the Flower Woman.

Also appearing in the production are UAO's Crescendo participant Tenor Jimmy Stevens (singing his first role at UAO) as the Young Collector, Tenor Anthony Heinemann (last seen as Gastone in La Traviata) as the Doctor, Soprano Megan Higgins (last seen in the Traviata ensemble) as the Nurse and actor Josh Saboorizadeh as Pablo Gonzales.

Photo © Ron Lindsey, 2014
All Rights Reserved

THE CREW

Guest Conductor Kostis Protopapas, who last conducted UAO's 2010 production of La Fille du Régiment, leads the orchestra. Stage Director Christopher Limber makes his UAO debut. MK Jacobi serves as Stage Manager with Claire Stark as Assistant Stage Manager. The design team includes Set Designer Kyra Bishop (UAO debut), Lighting Designer Sean Savoie (UAO debut), Costume Designer Teresa Doggett and Production Manager Sean Savoie. Pianist Nancy Mayo 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 (August 1st and 8th at 7:00pm) in the Fellowship Gallery of Union Avenue Christian Church. Lectures are free and open to the general public; no ticket to the performance required. 

OPENING NIGHT RECEPTION

Want a chance to eat, drink and schmooze with cast and crew of A Streetcar Named Desire on Opening Night? UAO hosts an Opening Night Reception on Friday, August 1st after the performance at Tavern of Fine Arts. Click here for more information.

Photo © Ron Lindsey, 2014
All Rights Reserved

"STREETCAR" IN THE MEDIA

Steve Potter chats with Lacy Sauter, Katherine Giaquinto and Christopher Limber on a recent episode of Cityscape on St. Louis Public Radio.

Sarah Bryan Miller of the St. Louis Post-Dispatch covers the production, while Judith Newmark of the Post-Dispatch has written a feature on UAO Costume Designer and Actress Teresa Doggett.

Operatic Saint Louis interviews cast members Lacy Sauter, Katherine Giaquinto, Bernardo Bermudez and Anthony Webb as well as stage director Christopher Limber.

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

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A Streetcar Named Desire opens tomorrow, August 1st, and runs August 2, 8 and 9 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in English with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Interview with Soprano Lacy Sauter

Lacy Sauter

Soprano Lacy Sauter makes her Union Avenue Opera debut in the St. Louis Premiere of André Previn's A Streetcar Named Desire singing the role of Blanche DuBois. Ms. Sauter has sung for Glimmerglass Opera, Florida Grand Opera, Utah Festival Opera, Indiana University's Jacobs School of Music and, most recently, Santa Fe Opera. Phil Touchette of Operatic Saint Louis recently interviewed Ms. Sauter on preparing the role of Blanche and her experience in this production.

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Throughout the piece, there is a sharp personality clash between Blanche and Stanley. What do you believe is the source of their animosity towards one another? Why does their relationship escalate into a tragic conclusion?

Blanche and Stanley’s characters represent the conflict between fantasy and reality. Throughout the opera, Blanche is desperately trying to keep up appearances while Stanley is eager to tear them down and reveal the truth. Blanche tries to be coy and flirt with Stanley because this is the only way she knows how to interact with men anymore, but her ploys are lost on Stanley and this is essentially a blow to her very delicate ego. Their relationship escalates to a tragic conclusion because ultimately reality must prevail. The rape scene unveils both Stanley’s true animalistic nature and how Blanche’s fate tragically depends on the men around her. 

Blanche makes an effort to claim herself as highly civilized for her knowledge of art, music and poetry--the latter of which she once taught. Do you believe the character truly knows a great deal, or is she a mere dilettante trying to seem civilized?

Yes, I do believe that Blanche is actually quite knowledgeable about literature, particularly poetry. She was described as being a very sensitive child and I imagine that poetry and literature were her escape from reality when she was younger. I think she definitely has a deeper appreciation for poetry and that is part of what drew her to her troubled young husband.

In the aria “I Want Magic,” Blanche muses on trying to “give magic” to people. As you prepared the role, how did you interpret this desire to “give magic”?

Blanche’s desire to “give magic” is essentially her way of inviting others to join her in her fantasy world. She desperately wants to escape from reality so she has imagined and reinvented herself in a new “light” and this is how she wishes others to view her. “I do misrepresent things. I don’t tell the truth. But I tell what ought to be the truth. If that’s a sin then let me be damned for it.” She feels justified in her deceptions because she honestly believes that she is giving people what they really want. 

Why do you think Blanche has a preoccupation with light, especially bright “ugly” light? Does this point to any deeper personal issues?

Blanche’s self-esteem has come to depend on her ability to get attention from men. She has gone through a lot of traumatic events and suffered from alcoholism and this has perhaps aged her more quickly. She talks about her lost husband and that when she found love it was like a bright light had been turned on in the world and since his death everything has been dimly lit. Light for Blanche represents both her innocence and her sense of reality, both of which she has lost. She covers the light bulb with a paper lantern to soften the harsh light, just as she creates an illusion of who she is to cover up the harsh reality that has been her life.

Does the brief courtship between Mitch and Blanche seem based on mutual attraction? Are her motivations with Mitch entirely virtuous?

Blanche sees Mitch as her last chance at salvation and happiness. He is not her ideal match, but he is a good man and he could give her some security in life. He is a gentleman and they share a connection for they have both lost someone they loved. Especially in this production, the relationship between Blanche and Mitch is treated as a real possibility for both of them to be happy. Their moments together add a bit of lightness and romance to what is otherwise a very dark story.

In your time away from rehearsal, have you had opportunities to explore St. Louis?

I have enjoyed my time in St. Louis. On a previous trip, I actually had the chance to go up into the Gateway Arch which was very fun. I am really enjoying all of the restaurants and cute shops on Euclid and exploring Forest Park. I am looking forward to the week off in between shows to do some more exploring!

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You can learn more about Lacy by visiting her website LacySauter.com and following her on Twitter @LacySoprano.

A Streetcar Named Desire opens Friday, August 1st and continues its run Aug 2, 8 and 9 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in English with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Interview with Tenor Anthony Webb

Tenor Anthony Webb makes his Union Avenue Opera debut in A Streetcar Named Desire singing the role of Harold "Mitch" Mitchell. He last performed in St. Louis as a Gerdine Young Artist with Opera Theatre Saint Louis, where he sang the role of Pirelli in Sweeney Todd. His recent repertoire includes the roles of Sam in Susannah, Count Almaviva in Il Barbiere di Siviglia and Wagner/Nereus in Mefistofele. Phil Touchette of Operatic Saint Louis recently interviewed Mr. Webb on preparing the role of Mitch and his experience in this production.

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Why do you think Mitch is drawn to Blanche? Could it be that her airs and pretense excite him as something different than most of his female contemporaries in New Orleans or is there something deeper? 

I think it's much deeper. Mitch talks a lot about his mother and I feel that his every action is motivated by his relationship with her. She wants him to settle down and find a nice girl to spend the rest of his life with. Blanche, being new to the scene, is another means to that end. She is beautiful and confident in ways he's never experienced, and she's certainly not like any other girl he has even dated. I think this excites him very much.

Do you believe that the brief courtship between Mitch and Blanche is based in mutual attraction? Are Mitch's motives entirely virtuous?

Mitch is extremely attracted to Blanche and there is no hidden agenda in his actions. He wants, almost desperately, to love her and for her to know of his love. He is extremely uncomfortable in his dealings with her because she is unlike any girl he has ever been with and I think he works so hard to make her "the one" that it heightens his nervousness.

Towards the end of the piece, Mitch develops anger towards Blanche when previously he'd been at least enamored of her. Why does this happen? Do you believe his anger is fully justified or is he manipulated by Stanley to feel that way?

Blanche has lied to him. She lied about her past, about nearly everything, and Mitch is devastated. It starts off as anger--sheer anger at being deceived--but then that need to take care of her (like he does his mother) takes over. He then tries to become something he is not because he believes that is what Blanche wants. Again, Mitch will do anything he thinks he must in order to win her over, but then he goes too far and gets too rough. He is absolutely justified in this anger because of her lies, and this is crippling to Mitch. Stanley surely doesn't help the situation. I don't think Stanley manipulates Mitch knowingly, but his words are certainly a dagger in Mitch's heart.

Have you found that this character compares in any way--musically or dramatically--to roles you have previously sung?

No, Mitch is unlike anything I've ever done before and it's amazing. I am loving playing Mitch!

Which musical passages in Andre Previn's score define your character and his motivations? What parts of the score stand out or especially intrigue you?

I think Mitch's arioso "I'm not a boy" in Act Two is certainly his defining moment. It's his moment to finally open up to Blanche and profess--in a roundabout sort of way--his love for her but she doesn't hear it that way. His mini-sonnet about love just conjures up all the memories of her first love and it's in this scene that I think Previn really brings the best music of the score.

You are no stranger to St. Louis, having previously sung for Opera Theatre. Do you have any favorite places to see and things to do in your free time while you're in town? How has the experience at Union Avenue Opera been so far?

I love St. Louis! I really enjoyed my time here in 2012 working on Sweeney Todd at Opera Theatre Saint Louis and I'm falling in love with this city all over again being here for Streetcar. I love Forest Park--all of the free things to do there are amazing. I've been staying near the Central West End which is another area I really enjoy. I'm a big "foodie" so all of the things that Euclid Avenue has to offer are so wonderful, and even better because it's all within walking distance. My experience at Union Avenue Opera so far has been nothing short of wonderful. The cast, the staff, everyone is just amazing. This is a truly special company and I'm so honored to be here!

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You can learn more about Anthony at his website AnthonyWebbTenor.com and by following him on Twitter @TenorWebb.

A Streetcar Named Desire opens Friday, August 1st and continues its run Aug 2, 8 and 9 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in English with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Interview with Baritone Bernardo Bermudez

Bernardo Bermudez

Baritone Bernardo Bermudez makes his Union Avenue Opera debut in A Streetcar Named Desire singing the role of Stanley Kowalski. Born and raised in Venezuela, Bernardo currently lives in Los Angeles and has built an operatic career singing a variety of roles including Figaro in Il Barbiere di Siviglia, Papageno in The Magic Flute, Count Almaviva in Le Nozze di Figaro and Scarpia in Tosca among several others. Phil Touchette of Operatic Saint Louis recently interviewed Mr. Bermudez on preparing the role of Stanley and his experience in this production.

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What sort of artistic challenges do you encounter in preparing and performing works from the newer American opera repertoire, like Streetcar, compared with that of the Italian, French and German repertoire?

This wonderful piece is actually a lot different than the standard operatic rep, not only dramatically but also technically. Musically at the beginning it was a challenge, because there are sections of the music where the is not much connection to the orchestra, so it takes a little longer to learn the music and build it into my muscle memory. Moreover, Previn composed more rhythmically challenging music for Stanley since he is the antagonist character, in contrast to the protagonist roles which have not necessarily less challenging music but at least more lyrical.

In a production with limited rehearsal time, singers sometimes meet their scene partners for the first time and must develop a backstory and onstage chemistry--an element crucial to the passionate, volatile relationship between Stanley and Stella. How has this process worked between you and Katherine Giaquinto?

In this occasion, it has been very easy. I was lucky enough to have met Ms. Giaquito in Los Angeles prior to arriving in St. Louis, and we got an opportunity to work though some of our musical sections prior to rehearsal, and she is a delightful person to work with. In addition, our director Mr. Limber, our conductor Maestro Protopapas, and the rest of the cast have been very vocal about their relationships and backstories which makes the process so much easier in the long run. Also, all the cast members are such strong actors that is easy to feed off one another, making the piece come alive and stay energized.

Throughout the opera, Stanley and Blanche have an adversarial family dynamic. What is the source of their animosity towards one another? Why does their relationship escalate into such tragedy by the end of the opera?

I feel Stanley and Blanche come from very different places socially, but they both have very strong personalities and resort to their primal instincts. Ultimately it comes down to Blanche challenging to fracture Stanley's way of life and his relationship with Stella and his friend Mitch.

When working through the character's motivations, do you find that Stanley is deliberately cruel or merely straightforward with everyone he meets? Why does he treat Blanche especially brutally?

I feel Stanley is this way all the time. He has a strong personality and is a very likable character. In both the play and opera, he often describes himself as knowing a lot of people like lawyers, jewelers, the supply man at the plant, etc. But Blanche is here to challenge all this by disrupting his way of life and the control he has over the others--for example when Stella starts to challenge Stanley and order him around, and become more independent. This is something that Stanley does not tolerate and ultimately pushes him to his most primal physical and mental state of being.

Composer Andre Previn helps define certain characters with an aria, arioso and, most often, recitative. How does Previn define your character musically? How is Stanley differentiated from the other characters?

As I mentioned before Previn does a wonderful job at describing the different between the two types of characters. Protagonists like Blanche, Stella and Mitch have lyrical music and arias. In contrast, the antagonist character Stanley has no arias and more rhythmic, faster music, except for a small lyrical section he sings during a duet with Stella. It is evident that the music is emotionally motivated. The internal feelings of the characters define the music and tempos of the piece.

This production marks your debut with Union Avenue Opera. Have you been able to explore St. Louis in your time away from rehearsal?

Though the rehearsal process has been intense for this production, I have been fortunate enough to have been able to experience a bit of what St. Louis has to offer. I have gone on several runs through Forest Park and also a driving architectural tour of the different areas of the city. It is remarkable to see all the beautiful brick work that is present here.

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You can learn more about Bernardo by visiting his website BernardoBermudez.com.

A Streetcar Named Desire opens Friday, August 1st and continues its run Aug 2, 8 & 9 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in English with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Interview with Soprano Katherine Giaquinto

Katherine Giaquinto

Soprano Katherine Giaquinto makes her Union Avenue Opera debut in the St. Louis Premiere of André Previn's A Streetcar Named Desire singing the role of Stella Kowalski. Originally from Canada and now residing in Los Angeles, Katherine's background was in television and film acting before discovering and pursuing opera, in which she has sung the roles of Susanna in Le Nozze di Figaro, Fiordiligi in Così fan tutte and Musetta in La Bohème, among many others. Phil Touchette of Operatic Saint Louis recently interviewed Ms. Giaquinto on preparing the role of Stella and her experience in this production.

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In a production with limited rehearsal time, singers meet their scene partners often for the first time and must develop a backstory and onstage chemistry--an element crucial to the passionate, volatile relationship between Stanley and Stella. How has this process worked between you and Bernardo Bermudez?

This was something I was very aware of coming into the production, knowing that the relationship between Stanley and Stella is so central to the story. I knew that Bernardo and I were going to be "getting up in each other's business," so to speak. Usually what happens in a production is that on Day One of staging you have a little conversation with each other and just check in, asking permission to get close, to touch, hug or kiss as the scene requires. I also like to express that I'm okay going with whatever instinct my scene partner would want to follow. I'd much rather discover something amazing in these characters' relationship than play it safe during staging because it might feel a little awkward at first. For Bernardo and I, we had a publicity photo shoot right before we began staging in which we recreated the embrace right after the infamous "STELLLLLAAA!!!" scene, and that helped to break the ice a little. Then we continued to get more comfortable with each other as staging went on. Bernardo is such a kind person that it's very easy to trust him in any scene that's either romantic or even violent between these two characters. 

The sisters Blanche and Stella grew up in southern aristocratic society in which chivalry and manners are paramount. Why, then, do you think Stella married a man given to less than gentlemanly behavior which repulses her sister Blanche?

Though Stella comes from a genteel background, I think she is really quite a bit more grounded and earthy than Blanche. When we meet her in the time frame of the story her behavior shows her to be a lusty woman who is quite happy in this rough and tumble world of New Orleans. I think in Stanley she found the first man who made it okay for her to embrace her sensuality, rather than be ashamed of it as Blanche is. I think she's thrilled by Stanley's strength and exaggerated maleness. She also brings out a tenderness in Stanley that no one else does - something probably only she gets to witness behind the closed curtains of their bedroom - and this gives her a certain feeling of power. We actually see very little of their love story as it was, before everything is soured by Blanche's arrival. But I think Stella and Stanley are really madly in love with each other.

Stella has been portrayed in a variety of ways. Kim Hunter in the Elia Kazan film seems feisty while Elizabeth Futral in the opera's premiere tends towards the submissive--though both were warm towards their respective Blanches. How has it been to balance the devoted wife and protective sister in Stella?

Stella's main struggle is having to choose between the man she loves beyond reason, and her sister. In the end she chooses Stanley, and it's part of Blanche's downfall. I think that's Stella's tragedy. Often I hear people describe Stella as passive, and I recognize it's hard to compare her to the towering literary figures of Stanley and Blanche. But I don't see her as passive at all. I think she's massively conflicted and presented with an impossible task - she can't keep both of these people happy. Also, one way to view the story is that Blanche and Stanley are basically fighting for Stella's soul - her love and loyalty. In that case, she's the pivotal point of this relationship triangle.

As you sing through the score, what musical passages fascinate or intrigue you about your character?

Stella actually has the first aria of the show. It's short and sweet, and the text is taken from the passage in which she describes how hard it is for her when Stanley travels away for business. She says, "I can hardly stand it when he's away for a night. And when he's away for a week I nearly go wild." The music is lyrical and sensuous, and for me it was a big clue into her character. I think we often have a hard time imagining a woman from the 40s as a sexual being, but it's right there in the Williams' text, and Previn has brought it to life in Stella's music. After all, the title is A Streetcar Named Desire, and I think that applies very much to Stella as well.

How does Stella compare musically or dramatically to the roles you have previously sung, if at all?

Stella is new territory for me in some ways because I often play strong, smart, self-possessed women like Fiordiligi, Musetta, or Susanna in Figaro. Stella is much more feminine, in the deepest sense of the word. She is often more receptive than active, and I've had to work to find out how this character would express things like anger or upset in less overt ways than are my natural instincts. Musically, we've all had to work to find the natural inflections of speech within the prescribed rhythms of Previn's music. The opera is basically sung conversation, with a few lyrical moments inserted here and there. The maestro has been so generous with us musically, always encouraging us to find a natural way of expressing the text, rather than be worried about being robotically accurate.

Katherine & Lacy Sauter in the
Central West End

'Streetcar' marks your debut with Union Avenue Opera. How has the UAO experience been so far? Have you been able to explore St. Louis in your time away from rehearsal?

Honestly, I've been having such a fabulous time here. Everyone at UAO has been welcoming, generous, and totally on top of their game. My host family is wonderful and has made me feel right at home. I've been so impressed with the abundance of history, art and culture in St. Louis. I'm staying right by Forest Park and I can't wait for our week off so I can go explore the art museum, the zoo and the science center. It's also a fabulous coincidence to be performing Streetcar in St. Louis, which is so rich with Tennessee Williams history. On our first day here Lacy (Blanche) and I stumbled across a bronze bust of Williams just a few blocks from where we're staying. We took pictures with it!

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You can learn more about Katherine by visiting her website KatherineGiaquinto.com, following her on Twitter @OperaKat and checking out her Facebook page.

A Streetcar Named Desire opens Friday, August 1st and continues its run Aug 2, 8 & 9 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in English with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Interview with "A Streetcar Named Desire" Director Christopher Limber

Christopher Limber

Stage Director Christopher Limber makes his Union Avenue Opera debut with the St. Louis Premiere of A Streetcar Named Desire. In addition to directing, Christopher is an accomplished professional actor, musician, theatre teacher and award-winning playwright. Phil Touchette of Operatic Saint Louis recently interviewed him on the task of staging André Previn and Philip Littell's adaptation of a Tennessee Williams classic.

Though you have many directorial credits in St. Louis, this production will be your first with Union Avenue Opera. What was there about the operatic adaptation of A Streetcar Named Desire that intrigued you to take on this project?

This is a musically large operatic telling of a small American story. This is what opera and what Tennessee do best – add the heightened and recognizable truth of our inner emotional lives to the stage, with the music of poetry. In opera we have as well the dazzling power of great voices and a full orchestra. Poets and composers feed our need to understand and articulate our deepest longings and surprises. Inside my body, heart and mind, I experience life as emotionally powerful and extraordinary as an opera. I think that is why we love it. Opera gives full voice to own inner experience of life. Think of it – it takes a full stage full of singers and an orchestra to embody what we often feel inside our skin almost on a daily basis.

Does your process of preparing an opera differ at all from that of a straight theater piece?

The basics are the same – exploration of character and story and how those are told visually through staging; working with designers to create a world of the piece that embraces and articulates every human component of the piece. But then, there is the glorious addition and complexity of music. Though the cast is small, they demand a powerful musical palate individually and must work extremely well as an ensemble. Union Avenue Opera has cast wonderful singers who also are excellent actors.  I adore working with these remarkable folks. They are all inspired and disciplined – and they do their homework. The conductor, Kostis Protopapas is not only a superior musician, he is also a perceptive and highly creative theatre professional. He know how to tell a story onstage. Our collaboration has been rich and effective.

André Previn's score seems to consist heavily of recitative. Do you think Previn used this musical device in order to give Philip Littell's libretto the same kind of textual rhythm as a spoken play?

I think this opera stretches the traditional operatic form in good ways. The libretto is a distillation of the play and beautifully made. The rendering of Streetcar’s dialogue is not expositional; it is relational and interactive. It is not just necessary for imparting information to set up scenes duets, arias and quartets – it is all about expressing the relationship and events, that is, the wants, desires and emotional responses of the characters, in relationship to each other and in the moment. These characters don’t simply talk about how they feel and what they want. They feel a need and pursue what they want and hope to receive in the moment. It is emotionally active and full. These characters affect and change each other throughout and it must be immediate and compelling. In rehearsal we have wrestled and delighted in the exploration of how music articulates poetic dialogue and what I call “rebounding”: the back and forth of dialogue and the dynamics of heightened emotional response. There are many two-, three-, and four-measure instrumental expressions and transitions between lines of dialogues. Like a Pinter Pause these musical Previn moments articulate the inner life and experience of the characters. These are all thoughtfully designed and placed to drive the piece emotionally forward, but always in relationship to each of the characters, one to the other in within moments of each scene.

Did you find moments in Previn's score that shed new light on any previous conceptions or ideas you had about the story?

The journey of Blanche is experienced by the audience in–I believe–a full and immediate emotional splendor: her initial psychological fragility, her need and determination to win her sister’s love by “saving” her from an animalistic immigrant “Polack” husband who she looks down upon. Then Stanley, feeling his home kingdom challenged, assaults her, first psychologically and then physically, and destroys her sanity. All of this is beautifully articulated in the text – in dramatic action and embellished and portrayed musically. Previn states that the play has the story and emotional expanse of an opera. It is ready to be one. Then, there are Williams’ theatrical images: the Flower Woman, a premonition of death, the wrenching telling of Blanche’s husband’s suicide, the final haunting moments of the opera which offer the beginning of Blanche’s final journey in a wonderfully simple but extended way. These experiences within the opera offer the audience moments of emotional experiences which, I feel, are often in the play’s after-show residual intellectual discoveries by the audience about Blanche. This is what Opera does best: cut straight in performance to the emotional core of character and events. We feel the discovery rather than simply understand it intellectually.

Are there any scenes or moments in the opera that have been especially inspiring or rewarding to work through in the staging process?

There are too many to mention. It has been a constant process of revelation and discovery. This company is highly creative, disciplined and generous — with each other, the conductor and me. The collaborative dynamic of this process has been most rewarding. There are also many rehearsal moments, when I feel Williams, Previn and Littell are sitting right there and joining the conversation. 

Conversely, have there been any scenes that pose difficulties or challenges?

It is a quick process but as Leonard Bernstein notably observed: “To achieve great things, two things are needed: a plan, and not quite enough time.” In the arts you quickly learn to use every element of process to your advantage. This is the difference a professional ensemble knows how to make.

The theatrical space of Union Avenue Opera can pose a challenge to directors and set designers. In working with set designer Kyra Bishop, how did you arrive at a design that offers an authentic feel for New Orleans on the UAO stage?

Kyra is visually imaginative. She has brought the outside world of New Orleans which surrounds the Kowalski Apartment all around and then inside – into the layered effects of the design. The backdrop is an abstract expression of New Orleans – inside on the walls you see years of lives past in the layers of paint and wall-paper brick which are disintegrating together. We see through the curtain that divides the two shabby rooms as we see inside ourselves and others. We have used the small stage to our advantage – to heighten the heat in the air, the body’s passions and the heartfelt battles – between the characters in close proximity to each other.

Besides the well known aria "I Want Magic" sung by Blanche, what other musical moments should audiences listen for?

There are so many, and they flow in and out of Previn’s beautifully orchestrated dialogue recitative seamlessly throughout all three acts. For example: Stella’s recollection “like a Child” in Act One, of Stanley’s homecomings, Mitch’s description of love, “You know it’s the right thing” in Act Two; and Blanche’s tale of her husband’s tragic end. Equally affecting and dramatically potent is Blanche’s imminent fall into lunacy placed in undeniable motion with the Flower Seller, as she succumbs to her fantasy world and then, resigns herself to in her final aria about spending the rest of her days “on the sea.” These are some of many transcendent musical moments which offer new understandings into characters, which for all of us who know and love this play, have considered for years. 

What would you say to the "man on the street" to encourage them to attend this opera?

Streetcar is, above all, emotionally eloquent and supports the large romantic expressionism of Previn’s musical imaginings. The librettist, Philip Littell has crystalized a faithful and emotionally complex operatic telling. Previn has then added a lush and dynamic musical exploration using the power of music to express our deepest feelings of passion, regret, joy and sadness.  

As Shakespeare is to England, Chekhov is to Russia, Tennessee Williams is – to me – the greatest American dramatic storyteller. In 1947, “Streetcar” raised the bar on Broadway and won the Pulitzer Prize. His language brings to American drama a heightened and poetic expression and power to the lives of small recognizable Americans. The story and relationships in Streetcar contain an emotional grandeur and the dynamic of a real tragedy. 

This is a tale of two privileged sisters from a small Southern town, one clinging to past traditions and one exploring a new passionate life with a tough, Polish, working-class vet set in an earthy, shabby New Orleans apartment – these are all iconic American characters. They have become part of our theatrical vocabulary and they express our deepest emotional everyday existence. We are all extraordinary in our small normal lives. Williams knew this and that is why his characters and stories move us so profoundly.

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A Streetcar Named Desire opens this weekend on Friday, August 1st and continues its run Aug 2, 8 and 9 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in English with projected English supertitles. Tickets may be purchased online at www.unionavenueopera.org or by calling 314-361-2881.

Music of "A Streetcar Named Desire"

In anticipation of the St. Louis Premiere of André Previn's A Streetcar Named Desire at Union Avenue Opera, here are two excerpts from the opera's premiere at San Francisco Opera featuring Renée Fleming as Blanche DuBois. Take a moment to watch and listen, then get your tickets at unionavenueopera.org if you haven't already. Don't miss this Streetcar!

"I Want Magic" from Act Three, Scene Two

"I Can Smell the Sea Air" from Act Three, Scene Four

The St. Louis Premiere of A Streetcar Named Desire opens Friday, August 1st and continues its run Aug 2, 8 & 9 at Union Avenue Opera, 733 N. Union Blvd. Performances begin at 8:00pm. Production sung in English with projected English supertitles. Tickets may 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