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.