Great Britten

Anthony Dean Griffey as Peter Grimes in Toronto

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Who: The St. Louis Symphony Orchestra and Chorus conducted by David Robertson
What: Benjamin Britten's Peter Grimes
When: Saturday, November 16, at 8 PM
Where: Powell Symphony Hall

Writing in the Larousse Encyclopedia of Music, Donald Paine notes that Benjamin Britten's "War Requiem," written for the consecration of Coventry Cathedral in 1962, "may stand as representative of his genius and of the theme that recurs throughout his work: the indictment of human folly as it shows itself both in the tragedy and wastage of war and in the corruption of human innocence."

Those themes are present both in the "War Requiem" and in Britten's 1945 tragic opera "Peter Grimes."  Coincidentally, both works are being performed this weekend in the Midwest: the "War Requiem" in a series of concerts in Chicago Thursday through Sunday and "Peter Grimes" in a special concert performance on Saturday night here in St. Louis by the St. Louis Symphony Orchestra and Chorus.

The Chicago performances are part of the Chicago Symphony's regular subscription series.  The Saturday special here is a preview of the "Peter Grimes" the symphony will be presenting in Carnegie Hall in New York on Friday, November 22nd—the 100th anniversary of Britten's birth.  It's one of over 1000 special concert events being presented this year to celebrate the great English composer's centenary; you can see a complete list at the Britten 100 web site.

Benjamin Britten
London Records 1968
publicity photo

Born in East Anglia in 1913, Britten studied composition with Frank Bridge and John Ireland.  He lived in the USA from 1939 to 1942 and then returned to settle in Aldeburgh, Suffolk, where he would remain the rest of his life.  Although he got international attention with his "Variations on a Theme of Frank Bridge" for strings in 1937, it wasn't until the 1940s that his music began to achieve widespread acceptance, with performances of his "Ceremony of Carols" (a worldwide favorite around this time of year), the "Sinfonia da Requiem," and, of course, "Peter Grimes"—a huge hit with audiences and critics alike in 1945.  By the time Britten died in 1976 he was firmly established as one of the most important figures in 20th century music.

Most classical fans are familiar with the "Four Sea Interludes from Peter Grimes."  These little gems are powerfully evocative of the geographical and psychological landscape of the opera.  They're also a nice distillation of what you can expect from the complete performance of the opera on Saturday.

Inspired by a section of the poem "The Borough" by clergyman and poet George Crabbe (1754-1832), the story revolves around the persecution of the title character – a sullen and socially awkward fisherman – by the denizens of a small coastal fishing village.  In the poem he's a clear villain but in Montagu Slater's libretto it's ambiguous how much of Grimes's tragic end is his fault and how much the result of persecution by villagers.  What's not ambiguous is that, even at the relatively young age of 31, Britten was already a master of orchestral color and mood.

"Britten," writes Paul Schiavo in his program notes, "declared that the struggle between the exceptional individual and society was ‘a subject very close to my heart.' That Peter Grimes portrays that struggle through a decidedly flawed character, less hero than anti-hero, makes it a challenging work but not a less compelling one."  It's also possible that Britten intended the work to serve, to some extent, as a condemnation of the homophobia which Britten, as a gay man, saw quite clearly in British society.

The soloists for Saturday's performance include tenor Anthony Dean Griffey as Peter Grimes (a role he has sung often, including at the Metropolitan Opera in New York), soprano Susanna Phillips as schoolmistress Ellen Orford (who suspects—but can't prove—that Grimes might be abusing his young apprentice, John), bass-baritone Alan Held as Captain Balstrode (in whom Ellen confides), and contralto Meredith Arwady as Auntie (who helps stir the mob up against Grimes).  David Robertson conducts the orchestra and chorus.

The chorus plays an important narrative role in "Peter Grimes," so precision in singing and diction will be important.  Fortunately chorus director Amy Kaiser has an awfully good track record in that regard.

"Peter Grimes" is a big undertaking for the symphony, which does a relatively small number of chorus and orchestra pieces every season and rarely anything on quite this scale.  Those chorus and orchestra concerts have, however, generally been season highlights, so I think you'll find it interesting to see and hear the results—and to see what the New York critics have to say on the 22nd.

"Peter Grimes" will be performed on Saturday, November 16, at 8 PM at Powell Hall and will be broadcast on St. Louis Public Radio at 90.7 FM, HD 1, and via streaming at the station's web site.  For more information: stlsymphony.org.

Satan lies awaitin'

Julia Ebner as Marguerite,Timothy J. Bruno as Mephistopheles
and Clay Hilley as Faust © Ron Lindsey, 2013

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Who: Winter Opera St. Louis
What: Gounod's Faust
When: November 8 and 10, 2013
Where: The Viragh Center on the Chaminade campus

Long regarded by many as one of the highlights of the French grand opera tradition, Gounod's "Faust"—a beautifully sung production of which opened Winter Opera’s season—actually started life in 1859 as an opéra comique with spoken dialog instead of recitatives and without large ballet sequences. It was only the addition of the former in 1860 and the latter in 1875 that elevated Faust to the position of eminence it held in opera houses for over a century.

But in dealing with weighty subjects the reach of Gounod and his librettists Jules Barbier and Michel Carré mostly exceed their grasp. The music still retains most of its power but the libretto has aged badly and now looks quaint and even dramatically inert at times.

"Satan", the a 1927 lyric by Leo Robin and Clifford Grey tells us, "lies awaitin' and creatin' clouds of gray."* In "Faust" Mephistopheles fills the lives of Faust, Marguerite, and Marguerite's family with clouds that aren't gray so much as the sort of greenish black we Midwesterners have come to associate with tornado season. By the end of Act 5 (Act 3 in this production), there has been enough death, scandal, and misery loosed upon the stage to fill up at least fifteen minutes of a cable news broadcast.

Julia Ebner as Marguerite,
Timothy J. Bruno as Mephistopheles
and Clay Hilley as Faust© Ron Lindsey, 2013

This could be tremendously powerful stuff, but the libretto—based on Carré's play "Faust et Marguerite," which is very freely adapted from Part 1 of Goethe’s "Faust"—deals with it in such a pedestrian way that Faust, for example, comes off as little more than a shallow fool. Tenor Clay Hilley brought a truly wonderful voice to the role, fortunately, garnering his share of "bravos". His acting was not at quite at the level of his voice—his aged Faust was too exaggerated to be credible and his youthful Faust struck me as a bit bland—but there was no gainsaying the quality of his singing.

Soprano Julia Ebner was a very effective Marguerite, with a fine, supple voice and respectable acting chops. Bass Timothy J. Bruno’s Méphistophélès was also a vocal triumph, but I felt he failed to convey the character’s menace. His mocking Act 3 serenade, "Vous qui faites l'endormie," ideally a compelling display of sheer malevolence, felt under-played to me.

One of the strongest overall performances came from baritone Eric McKeever as Marguerite’s brother Valentin. "O sainte médaille," the Act 1 aria in which he entrusts the care of Marguerite to young Siébel (a "pants" role, nicely done by mezzo Cherry Duke) was a true showstopper and got the first "bravo" of the day.

John Stephens’s direction, while serviceable, was sometimes rather static. Ensemble scenes, in particular, tended to consist of having chorus members line up, face front, and sing with very little movement. Part of the problem, of course, was that Scott Loebl’s unit set consisted of a wall with a scrim stage left, a door unit center, and a set of stairs leading down to floor level stage right. The stone wall look was great, but its size tended to push all the action downstage. I would think those stairs could have been used in some of the chorus scenes to relieve the congestion.

The Act I waltz scene © Ron Lindsey, 2013

He did, on the other hand, come up with a neat solution to the problem posed by the lack of room for dancing in the famous Act 1 (original Act 2) waltz sequence.  She brought on a pair of ballroom dancers (Stephanie Medeiros and Atanas Pavlov) to do a flashy waltz number of their own.  They apparently beamed in from the 20th century, but it was certainly a theatrically effective moment.

JC Krajicek’s costumes (some of them ill fitting) seemed to have been assembled from several different shows, resulting in an opera that was apparently taking place in no fixed time or place. If that was designed to make the story more universal, I’m not sure it really worked. And that gray brocade suite for Faust made him look more silly than seductive.

Michael Mishra led the orchestra brilliantly, and their playing generally sounded quite polished. The instrumental/vocal balance was very good as well. I didn’t see a chorus master listed, but whoever rehearsed the ensemble did a fine job; the chorus sang with a precision and clarity that was wonderful to hear.

Winter Opera has come a long way in just seven seasons. Now that they’re getting some corporate sponsorship and have apparently settled in at the Viragh Center—one of the best musical theatre houses in town, hands down—I expect them to continue to be a critical part of the local opera scene. If they can get the theatrical aspects of their productions up to the same high level as the musical ones, they will truly be a force to be reckoned with.

Winter Opera’s next show is Verdi’s "Falstaff," one of the Italian master’s very best works, with a first-rate libretto by Boito. Performances are Friday and Sunday, February 7 and 9, 2014. There will also be another special "Holidays on the Hill" show December 10, 12, and 17 at Dominic’s Restaurant. Fore more information: winteroperastl.org.

*"Hallelujah," from "Hit the Deck." Music is by Vincent Youmans

St. Louis theatre calendar for the week of November 11, 2013

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's ArtsZipper site.

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The Monroe Actors Stage Company presents the musical The 1940s Radio Hour November 15-24 in the Historic Capitol Theatre in downtown Waterloo, Illinois. For more information, visit www.masctheatre.org or call 618-939-7469.

Southern Illinois University at Edwardsville presents The 39 Steps November 13-17. The performances take place on the campus in Edwardsville, IL. For more information, call 618-650-2774.

Mustard Seed Theatre presents the a capella musical All is Calm: The Christmas Truce of 1914 Thursdays through Saturdays at 8 PM and Sundays at 2 PM, through November 24. “Join us in celebrating the power of peace in this a capella musical based on the true story of soldiers during World War I who for one night, put down their arms and played soccer instead of exchanging bullets.” Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

Slaying Dragons presents Belles by Mark Dunn on Friday at 6:30 PM and Sunday at 2 PM, November 15 and 17. “Belles is the humorous and poignant story of sisters who communicate with each other solely through the use of the telephone.” A portion of the ticket price goes to support Slaying Dragons, “a not-for-profit organization whose mission is to destroy the stigma of mental illness through free theater productions.” Performances take place at Mama Campisi's restaurant, 3132 Edwards on the Hill. For more information, visit www.slayingdragons.org, email meyerhel1962 at charter.net, or call 314-596-1219.

Edison Theatre Ovations! Series presents Beyond Glory, adapted, directed and performed by Stephen Lang from the book by Larry Smith, on Saturday, November 16, at 8 PM. “Award-winning playwright and actor Stephen Lang brings the stories of eight veterans from World War II, Korea and Vietnam, and renders their first-hand accounts of valor for which they received the nation's highest military award, the Medal of Honor.” The performance takes place at Edison Theater on the Washington University campus. For more information, edison.wustl.edu or call 314-935-6543.

The Pub Theater Company presents Bye Bye Liver: The St. Louis Drinking Play, a comedic romp through the joys and pitfalls of The Gateway to the West's favorite pastime. Performances take place on Saturdays at 9 PM at Maggie O'Brien's, 2000 Market Street. For more information, you may call 314-827-4185, email stlouis at byebyeliver.com, or visit byebyeliver.com/stlouis.

The Lemp Mansion Comedy-Mystery Dinner Theater presents Dead Like Me through November 16. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com

(L to R): Barry Mulholland as Sigmund Freud
and Jim Butz as C.S. Lewis.
©Photo: Eric Woolsey

The Repertory Theatre of St. Louis presents Freud's Last Session through November 24. “Just weeks before his death, legendary psychoanalyst Dr. Sigmund Freud invites young writer C.S. Lewis to his home for a meeting. Freud wants to understand how a man once known for his fervent atheism could have become one of Christianity's strongest believers. The debate between these two colossal, charismatic thinkers becomes a dissection of love, sex, science and faith - humorous, insightful and intellectually riveting.” Performances take place in the studio theatre at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org. Read the 88.1 KDHX review!

St. Louis University Theatre presents the musical A Funny Thing Happened on the Way to the Forum November 15-24. Performances take place in Xavier Hall, 3373 West Pine Mall. For more information, call (314) 977-2998 or visit www.slu.edu/theatre.

Peabody Opera House presents the Stephen Schwartz musical Godspell Friday through Sunday, November 15-17. “Enjoy all the good gifts of one of the most enduring shows of all time in a brand new and up-to-date, intimate, one-of-a-kind production. Raise your spirit with the Tony®-nominated score filled with the popular hits 'Day By Day,' 'Light of the World,' and 'Turn Back, O Man.'” For more information, visit peabodyoperahouse.com or call 314-622-5420.

Kirkwood Theatre Guild presents the musical I Love You, You're Perfect, Now Change Thursday through Saturday at 8 PM . Performances take place in the Robert G. Reim Theatre of the Kirkwood Community Center, 111 South Geyer Road. For more information, call 314-821-9956 or visit ktg-onstage.org.

The Hawthorne Players present the comedy Morning's at Seven through November 17. The performances take place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 921-5678 or visit hawthorneplayers.com.

Encore! Theater Group presents David Mamet's Oleanna November 14-23. For more information: visit encoretheatergroup.simdif.com , email encoretheatergroup at gmail.com, or call (314) 329-8998

COCA presents the Théâtre Tout à Trac production of Pinocchio Saturday at 2 and 5 PM and Sunday at 1 and 4 PM, November 16 and 17. “Théâtre Tout à Trac revisits the story of a boy born out of a talking piece of wood who discovers the meaning of growing up through a thousand trials with its English language premiere of Pinocchio. To become a “real” boy, he will have to face the terrible Puppet Theatre Director, suffer the malice of Mr. Fox and the Cat, escape from Toyland and save his father from the belly of a giant fish! Recommended for ages 5 to 12.” COCA is at 524 Trinity in University City. For more information, call (314) 725-6555 or visit www.cocastl.org.

Whit Reichert and Nathan Bush
Photo: John Lamb

St. Louis Actors' Studio continues its seventh season, themed "Sins of the Father," with Nicky Silver's Pterodactyls through November 24. “Dysfunction takes on new meaning with the Duncan Family. We laugh throughout, as we watch the family disintegrate, and finally realize the seeds of this dysfunction lie within us all.” Performances take place at the Gaslight Theatre, 358 North Boyle. For more information, call 314-458-2978 or visit stlas.org.

The Looking Glass Playhouse presents David Lindsay-Abaire's drama Rabbit Hole November 14-24 Performances take place at 301 West St. Louis Street in Lebanon, Ill. For more information, visit www.lookingglassplayhouse.com.

The Fox Theatre presents the musical Rain - a Tribute to the Beatles Friday and Saturday, November 15 and 16. Rain “performs the full range of The Beatles' discography live onstage, including the most complex and challenging songs that The Beatles themselves recorded in the studio but never performed for an audience”. The Fox Theatre is at 517 North Grand in Grand Center. For more information, call 314-534-1678.

Dramatic License Productions presents Tuesdays With Morrie through November 17. “What begins as a weekly meeting with an old professor results in a series of life lessons that Mitch, and the audience, will never forget.” Performances take place at Dramatic License Theatre located at the upper level of Chesterfield Mall (near Sears and across from Houlihan's Restaurant). For more information, call 636-220-7012 or visit dramaticlicenseproductions.org.

The Theatre Guild of Webster Groves presents the thriller Veronica's Room through November 17. Performances take place in the Guild theatre at Newport and Summit in Webster Groves, MO. For more information: theatreguildwg.org or call 314-962-0876.

The Presenters Dolan presents The Webster University Cabaret Student Showcase on Monday, November 11, at 8 PM at The Kranzberg Center, 501 North Grand in Grand Center. Nine students from Webster University will each be doing their own 15-minute cabaret shows under the direction of Neal Richardson and Lara Teeter of the Musical Theatre program at Webster. For more information, call 314-725-4200 stn. 10 or visit licketytix.com.

Would you like to be on the radio? KDHX, 88.1 FM needs theatre reviewers. If you're 18 years or older, knowledgeable in this area, have practical theatre experience (acting, directing, writing, technical design, etc.), have good oral and written communications skills and would like to become one of our volunteer reviewers, send an email describing your experience and interests to chuck at kdhx.org. Please include a sample review of something you've seen recently.

St. Louis classical calendar for the week of November 11, 2013

The Chamber Project STL

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The Chamber Project St. Louis presents Dream, featuring works by Bridge, Bunch, Ravel and Bruch, on Saturday, November 16, at 8 PM at The Chapel Venue, 6238 Alexander Drive.  For more information: www.chamberprojectstl.org

The Chamber Music Society of St. Louis presents Baroque Bells and Bows featuring trumpeters Thomas Drake and Susan Slaughter, harpsichordist Charles Metz, and cellist Bjorn Ranheim, on Monday, November 11, at 7:30 PM.  The program features music by Manfredini, Vivaldi. Bach, Couperin, and Rameau.  The concert takes place at The Sheldon Concert Hall, 3648 Washington.  For more information: chambermusicstl.org.

The Community Music School of Webster University presents the Sixth Annual St. Looey Chamber Blitz Concert Featuring the Altius Quartet on Saturday, November 16th, at 7:30 PM.  The program features Haydn’s Quartet Op. 50, No.1, Shostakovich Quartet No.9, and Schubert's "Death and the Maiden." “Concluding the concert, the Altius Quartet will be joined by members of the Prep program and SIUE Suzuki Strings for the collaboration on the performance of Michael Abels Dances and Delights. Commissioned in 2007 by the Sphinx Organization to celebrate its 10th anniversary as well as its dedication to promoting the works of African and Latino composers, Dances and Delights perfectly captures the emotional and physical energy of youth.”  The performance takes place at The Community Music School of Webster University, 535 Garden Avenue in Webster Groves.  For more information: www.webster.edu/cms

Eliot Unitarian Chapel presents a Friends of Music concert on Sunday, November 17th, at 3 PM.  The concert features music by Tchaikovsky, Max Reger, and Matt Assel.  Eliot Unitarian Chapel is at 100 South Argonne in Kirkwood.  For more information: fomcstl.org

Morton Subotnick

HEARding Cats Collective presents a performance by electronic/minimalist composer Morton Subotnick on Saturday, November 16th, at 8 PM.  “Morton Subotnick is heralded as a pioneer in the minimalist music movement, and a major contributor in laying the foundation for electronic music. He’s touring a small number of dates in celebration of his 80th birthday, and appears in St. Louis because of a longstanding relationship with HEARding Cats’ Artistic Director, Rich O’Donnell.”  The performance takes place at the Kranzberg Center, 501 North Grand in Grand Center.  For more information: www.heardingcatscollective.org

McKendree College presents a St. Louis Symphony Mondays concert featuring member of the SLSO on Monday, November 11, at 7:30 PM.  The concert takes place in the Hettenhausen Center for the Arts on the college campus in Lebanon, IL.  For more information: thehett.com.

New Music Circle presents Olivia Block, Sandra Gibson, and Luis Recoder in concert on Friday, November 15th, at 8 PM.  “Sandra Gibson and Luis Recoder (NYC) will present an original piece of "live cinema" using film projectors and simple mechanical means to create slowly shifting abstract light sculptures in combination with a live soundtrack, created by noted composer, electronic musician, and sound artist Olivia Block (Chicago).”  The event takes place at Contemporary Art Museum St. Louis, 3750 Washington Boulevard.  For more information: www.newmusiccircle.org.

David Robertson leads The St. Louis Symphony Orchestra, Chorus, and vocal soloists in a concert performance of Benjamin Britten’s opera “Peter Grimes” on Saturday, November 16, at 8 PM.  It’s a preview of the performance they’ll be giving of the work at Carnegie Hall on Britten’s 100th birthday on November 22nd.  The performance takes place at Powell Symphony Hall, 718 North Grand.  For more information: stlsymphony.org.

David Robertson

The St. Louis Symphony Orchestra presents Symphony SLAM on Sunday, November 17th, at 3 PM.  Symphony SLAM is “a true fusion between visual art and music” in which music director David Robertson “pairs images of some of the Saint Louis Art Museum’s beloved treasures with music from Britten and Bartók.”  The performance takes place at Powell Symphony Hall, 718 North Grand.  For more information: stlsymphony.org.

The St. Louis Symphony Orchestra presents Symphony in Your Neighborhood – The Jewish Book Festival on Sunday, November 17th, at 7 PM.  “STL Symphony Concertmaster, David Halen, has been a part of the annual St. Louis Jewish Book Festival concert for a decade. Join David and his colleagues from the St. Louis Symphony for a very special evening of music featuring Souvenir De Florence by Pyotr Ilyich Tchaikovsky.”  The concert takes place at the 560 Music Center, 560 Trinity in University City.  For more information: www.stlsymphony.org/symphony_neighborhood/

Second Presbyterian Church presents The Second Church Chorale and Orchestra with conductor Andrew Peters in a 175th Anniversary Concert on Sunday, November 17, at 5 PM.   The performance features Mozart’s Solemn Vespers for soloists, choir, and orchestra, as well as orchestral pieces by Elgar, Mendelssohn, and others.  Second Presbyterian Church is at 4501 Westminster Place.  For more information: www.secondchurch.net.

William Partridge

The Shepley Program of Music and Arts presents an organ recital by William Partridge on Thursday, November 14 (through 12/12) at 12:30 PM at Christ Church Cathedral, 1210 Locust.  Admission is free.  For more information: christchurchconcerts.org.

The Tavern of Fine Arts presents a classical open stage night on Monday, November 11 from 7:30 – 9 PM.  “Come by yourself or bring your quartet. Sight read through a Beethoven quartet or use this as an opportunity to put the finishing touches on that Hindemith Viola Sonata you have been working on. All ages and skill levels are welcome. We have a 6' grand piano and an accompanist.”  The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.   For more information: tavern-of-fine-arts.blogspot.com

The Tavern of Fine Arts presents Erik Olson, baritone and Jon Garrett, piano on Tuesday, November 12 at 7:30 PM.  “Throw a variety of Italian, German and British art songs together with traditional American selections, add a few timeless standards and Broadway show tunes and you have the recipe for an enjoyable evening of music with baritone Erik Olson and pianist Jon Garrett at Tavern of Fine Arts.”  The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.   For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents The 442s in concert on Thursday, November 14 at 7:30 PM.  “What happens when you combine two outstanding members of the world-class St. Louis Symphony with two of the city's finest jazz musicians from the Erin Bode Group? You get The 442's, an exciting new acoustic instrumental quartet named for the modern standard tuning of 442 Hz! Brought together by the innovative and inspired compositions of Adam Maness, who also plays guitar, accordion, melodica and glockenspiel in the group, The 442's features Shawn Weil on violin, Bjorn Ranheim on cello and Sydney Rodway on bass. This unique collaboration, formed in the spring of 2012 by a tight-knit group whose love of good food and fine beer makes rehearsals feel like dinner parties, combines outstanding musicianship, group singing, inventive improvisation, whistle solos and special guest appearances by famed jazz vocalist, Erin Bode. Exploring the boundaries of jazz, classical, folk and rock music, their music can move you to the edge of your seat or comfort you like a lullaby, all within the same set.”  The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.   For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents Patricia Scanlon, soprano with Bill Romer, piano in an evening of songs from the Great American Songbook on Friday, November 15 at 8 PM.  The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.   For more information: tavern-of-fine-arts.blogspot.com.

Jeffrey Noonan

The Tavern of Fine Arts presents music for Baroque flute, ‘cello and theorbo by Michel Blavet, Joseph Boismortier, Antonio Vivaldi, and Robert de Visee on Saturday, November 16 at 8 PM.  Featured performers are Douglas Worthen, Baroque Flute; Stephanie Hunt, Baroque Cello; and Jeffrey Noonan, Theorbo.  The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.   For more information: tavern-of-fine-arts.blogspot.com.

Third Baptist Church presents a classical organ concert on Friday, November 15, at 12:30 PM as part of its free Friday Pipes series.  Third Baptist Church is at 620 N Grand.  For more information: www.third-baptist.org

Far away places with strange-sounding names

Who: The St. Louis Symphony conducted by Nicholas McGegan with violin soloist Stefan Jackiw
What: Music of von Weber, Mozart, Rameau, and Haydn
When: Friday and Saturday, November 8 and 9
Where: Powell Symphony Hall

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Nicholas McGegan, who is conducting the St. Louis Symphony in a program of (mostly) 18th-century classics this weekend, is clearly a man who enjoys his work.  As he bounded out to the podium for this morning's Krispy Kreme Coffee Concert, his face alight with a cherubic smile, his body language was saying: "this is going to be FUN!"  And so it was.

From the lively presto 16th-note figure in the strings that opens the overture to von Weber's 1811 singspiel "Abu Hassan" at the top of the program to the rousing brass and percussion coda of Haydn's "Symphony No. 100" in G major (known as the "military" because of all that hardware) at the end, this was a concert that radiated joy.  Mr. McGegan and the players were having such a good time it was impossible not to enter into the spirit of the thing.

"Intimations of exotic locales and cultures," writes Paul Schiavo in his program notes, "particularly those considered the orient, constitute a distinctive and especially colorful strand in Western music." These concerts, in fact, offer a window onto the pervasive fascination with the cultures of the near east in general and Turkey in particular that pops up often in 17th and 18th century music.

von Weber

The reasons for that fascination are partly political. Austria and Turkey (a.k.a. the Ottoman Empire) were at war on and off from the around 1526 until almost the end of the 18th century, when the 1797 Treaty of Sistova left both nations in sufficient disarray to discourage any more military adventures. In Europe and (especially) Austria, therefore, all things Turkish and Middle Eastern were seen as exotic and not a little dangerous—which naturally made them interesting to composers and other creative types.

The "Abu Hassan" overture, then, was a perfect choice for an opener. The one-act farce for which it was written (Lewis Foreman of the University of Birmingham calls it a "vigorous romp with a Fedeauesque sub-plot") doesn't get performed much these days, but the overture is a tune-filled favorite. Mr. McGegan and the orchestra gave an appropriately lean and lively account of it.

Conducting without a baton throughout the concert, Mr. McGegan artfully shaped phrases and cued musicians with his hands and fingers, molding the music like modeling clay. He's a strong physical presence on the podium, making particularly expressive use of his upper body. He's not the dancer some visceral conductors are, staying more or less in one spot, but he vibrates with energy nevertheless. And, as I say, he just radiates infectious good cheer.

Following the Weber was Mozart's "Violin Concerto No. 5" in A major, K. 219 (from 1775). The first two movements aren't particularly exotic, although the Adagio second movement is longer and does have a more elaborate orchestral introduction than any of Mozart's other violin concertos. It's the third movement Rondeau, however, that has caused some writers to dub it the "Turkish" concerto. In the middle section, Mozart changes the time signature to 2/4 and uses some exotic melodic effects, including having cellos and basses slap their strings with the wood of the bow (Mozart calls it "coll'arco roverscio"). To my ears is sounds more Gypsy than Turkish, but back in the day it yelled "Ottoman".

Soloist Stefan Jackiw—a much-praised young American violinist making his SLSO debut—took a more lyrical approach to the work than I expected, starting with his first entrance in the opening movement. It's marked "adagio" in the score, but here it felt a bit slower and more expressive than I would have expected. His first-movement cadenza, as well, was a fascinating combination of lyricism and virtuoso display. It all added up to an almost Romantic slant to the piece—and one for which he and Mr. McGegan made a most persuasive case.

The audience apparently agreed, offering enthusiastic applause. Mr. Jackiw responded with an encore: a deeply felt "Largo" from the "Sonata for solo violin No. 3" in C major, BWV 1005.

Rameau

After intermission, it was a step back in time to 1735-36 with a suite from Jean-Philippe Rameau's opéra-ballet "Les Indes Galantes" ("The Gallant Indians"). The opéra-ballet was a kind of musical theatre hybrid popular in late 17th and early 18th century France in which dance was prominent. It consisted of a prologue followed by three or four semi-independent acts united by a common theme. For "Les Indes Galantes," the theme is romantic triangles in such exotic locales as Turkey, Peru, Persia, and, in a fourth act added for the 1736 revival, America ("Les Sauvages," "The Savages of America").

The nine selections assembled for this concert offered a nice balance of airs and dances and presented plenty of opportunities for individual players to shine. That included the oboes (Phil Ross and Michelle Duskey) and bassoons (Andy Gott and Felicia Foland) in the "Air pour les Amours," flautists Andrea Kaplan and Ann Choomack in the "Prélude pour l'adoration du Soleil," concertmaster David Halen and Ms. Kaplan in the "Airs pour Zéphire," and principal trumpet Karin Bliznik in the concluding "Chaconne." Maryse Carlin provided the fine harpsichord continuo.

The concert concluded with a wonderfully entertaining performance of Haydn's Symphony No. 100 in G major, dubbed the "military" because the use of brass, timpani, and triangle in both the second movement and finale recalled the noisy percussion of the Janissary bands of the Turkish military. The effect is striking, even to modern ears—especially when performed with the kind of finesse it got Friday morning.

Back in Haydn's day it was apparently electrifying. According to a Morning Chronicle review of the March 31, 1795 premiere in London (where all of Haydn's last twelve symphonies were first performed), "the middle movement was again received with absolute shouts of applause. Encore! encore! encore! resounded from every seat".

The audience at Powell didn't demand encores, but they did give Mr. McGegan and company a standing ovation. They deserved it. There were so many wonderful touches in this performance: the sense of fun in the interplay between the winds and strings in the main theme of the first movement, the power of the dramatic interjections of the percussion in the second, and the wonderful lightness and precision of the 6/8 "Finale." This was "big band" Haydn with the fleet-footed sensibility of "original instrument" ensembles. I loved it, and I wasn't alone.

Next at Powell Hall: David Robertson leads the orchestra, chorus, and soloists in a concert performance of Benjamin Britten's opera "Peter Grimes" on Saturday, November 16, at 8 PM. It's a preview of the performance they'll be giving of the work at Carnegie Hall on Britten's 100th birthday on November 22nd. That'll be followed by "Symphony SLAM" on Sunday the 17th at 3 PM. The SLSO web site describes that as "a true fusion between visual art and music" in which music director David Robertson "pairs images of some of the Saint Louis Art Museum's beloved treasures with music from Britten and Bartók."  For more information: stlsymphony.org

Chuck's Choices for the weekend of November 8, 2013

As always, the choices are purely my personal opinion. Take with a grain (or a shaker) of salt.

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New this week:

Mustard Seed Theatre presents the a capella musical All is Calm: The Christmas Truce of 1914 Thursdays through Saturdays at 8 PM and Sundays at 2 PM, November 8-24. “Join us in celebrating the power of peace in this a capella musical based on the true story of soldiers during World War I who for one night, put down their arms and played soccer instead of exchanging bullets.” Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

My take: The play is based on a remarkable true story of a spontaneous truce between Allied and German forces in No Man's Land during Christmas of 1914. In some areas it lasted only one night while elsewhere it lasted until New Year's Day. While it was in effect, soldiers laid down their arms, shared Christmas carols (as well as food and drink), buried each others' dead, and even played soccer. Playwright Peter Rothstein, artistic director of Theater Latté Da where the play was developed, wanted to tell the story in the words of the real soldiers who experienced it. "I created the drama," he relates, "primarily through found text including letters, official war documents, autobiographies, World War I poetry, grave stone inscriptions and even an old radio broadcast." Reviewing the world premiere production in Minneapolis in 2010 for Minneapolis St. Paul Magazine, Lani Willis called it a "dramatic, real-life musing about the power this season has to make us stop, reflect, and decide to operate in a mode of peace."

Dance St. Louis presents the Shanghai Ballet production The Butterfly Lovers Friday at 8 PM and Saturday at 2 and 8 PM, November 8 and 9. “The elegant, folk-infused ballet, where Western ballet meets Chinese dancing, follows the fairytale story of the blossoming yet ill-fated romance of a young couple. It is often considered the Chinese version of Romeo and Juliet. The four-act production showcases stunning and ornate costumes; elaborate set designs reflecting the changing seasons; and breathtaking choreography that highlights Shanghai Ballet's striking classical technique.” Performances take place at the Touhill Center on the University of Missouri-St. Louis campus. For more information: dancestlouis.org.

My take: Most classical music lovers will know the classic Chinese folk tale as the basis for The Butterfly Lovers' Violin Concerto (the Lian Zhu Violin Concerto in Chinese), a 25-minute work written in 1958 by Chen Gang and He Zhanhao. The Shanghai Ballet's production has music by Xu Jianqiang and story by Luo Huaizhen. If the images and excerpts on YouTube are any indication, this should be a pretty impressive show.

The Hawthorne Playerspresent Paul Osborn's comedy Morning's at Seven November 8-17. The performances take place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 921-5678 or visit hawthorneplayers.com.

My take: I've always had a soft spot for this funny and touching tale of four aging sisters in a small Midwestern town in 1938 and their eccentric families—even more so since I played the role of the sarcastic David in the Stray Dog Theatre production a few years ago. Originally produced on Broadway by Joshua Logan in 1939 (with a cast that included Dorothy Gish and Jean Adair), the play got a new lease on life after a 1980 Broadway revival sparked productions all over the country, including one locally by Act Inc in 1982. This is family friendly fare in the very best sense of the term.

Held Over:

©Photo by Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents drama Fly through November 10. “Based on the experiences of the Tuskegee Airmen, this inspiring story follows four courageous young African-American pilots as they train to fly combat aircraft during World War II. Facing powerful conflict both on and off the battlefield, the men form a lasting brotherhood, paving the way for the desegregation of the military and giving hope to a changing America on the horizon. Soaring and inventive, Fly combines live action, video and the compelling “Tap Griot,” an innovative dancing storyteller who expresses the anger, fear and triumph that the officers cannot.” Performances take place at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

My take: As I wrote in my OnSTL.com blog, the world premiere of Trey Ellis and Ricardo Khan's drama Fly at the Repertory Theatre of St. Louis is the most inspiring, enraging, and sad thing you can see in a theatre this week. Inspiring because this story of the legendary Tuskegee Airman—an all-black fighter pilot unit who escorted an unprecedented 200 of 205 bomber missions without losing an aircraft and earned a raft of medals in the process. Enraging because the white Americans whose lives and freedom they were protecting treated them as subhuman. Sad because we seem to have learned so little in the intervening seven decades." Other critics have been equally effusive. This is definitely a "must see."

Zach Wachter as Mr. Gibbs, Roger Erb as Lush
Photo: John Lamb

The West End Players Guild continues their 103rd season with Pinter's The Hothouse by Fridays and Saturdays at 8 PM and Sundays at 2 PM, November 1-10. There will also be a show on Thursday, November 7, at 8 PM. “Enjoy an evening of Pinter's wicked humor at its darkest. Set in a government-run mental institution on Christmas day, The Hothouse is wild, impudent and blisteringly funny. When one patient dies mysteriously and another turns up pregnant, director Roote seems to be losing control - or is he merely losing his mind?” Performances take place at the Union Avenue Christian Church, 733 North Union at Enright in the Central West End. For more information, call 314-367-0025 or visit www.westendplayers.org.

My take: I'm on the board of West End Players Guild and was the one who first proposed that the group take on this rarely-seen (the last local performance was over 30 years ago; I was in it) Pinter.  Now, as then, I was amazed at how much like a Monty Python sketch (albeit a very dark and odd one) this play is.  I don't know whether Pinter was influenced by the Pythons at all, but it's hard to read this and not visualize specific Python actors in the roles.  Graham Chapman, for example, would have been an ideal Roote, the asylum director.  But what the heck—go and see for yourself.

OnSite Theatre Company presents the world premiere of The Trivia Job by St. Louis native and San Francisco playwright Dan Rubin Fridays and Saturdays at 8 PM, through November 9. “When the women of the St. Francis Knitting Ministry learn that their beloved church is on the brink of financial ruin, they do exactly what anyone else would do: they plan an elaborate bank heist, using a special trivia night fundraiser as their cover. But will the replacement emcee, a young priest from their church, screw up all of their plans? With a complete evening of trivia interwoven into a thrilling comedy set in a site-specific location, The Trivia Job promises to be a night of theater like none you've ever before experienced. Get ready to be accessories to fun!” Performances take place at Metropolitan Community Church of Greater St. Louis, 1919 S Broadway in Soulard. For more information: www.OnSiteTheatre.org.

My take: For many local theatre companies, not having a fixed abode is a problem. For OnSite, it's a mission. Their site-specific productions have taken them to bars, restaurants, a bowling alley, and a laundromat, among other non-traditional locations.  In her review for 88.1 KDHX, Andrea Braun says The Trivia Job "is clever, fun and surprisingly moving. Anna Pileggi had her hands full directing this complex operation, and she pulls it off with apparent ease."

Slightly Askew Theatre Ensemble presents the thriller The Woman in Black Wednesdays through Saturdays at 8 and Fridays and Saturdays at 10 through November 9. Performances take place at The Chapel Venue, 6238 Alexander Drive. For more information: slightlyoff.org.

My take: if your only exposure to this creepy little masterpiece is the recent film version with Daniel Radcliffe, you're in for a bit of a surprise.  Stephen Mallatratt's stage adaptation of the original Susan Hill novel—still running after 25 years in London's West End—is a tour de force for two actors. "The Woman in Black," says the London production's web site, "combines the power and intensity of live theatre with a cinematic quality inspired by the world of film noir. It gives audiences an evening of unremitting drama as they are transported into a terrifying and ghostly world."  Yep.  And as a neat bit of chamber theatre, this should play to SATEs strengths.

Talking Turkey

Nicholas McGegan

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This weekend’s St. Louis Symphony concerts are a mix of the familiar and the exotic—or at least, what was seen as exotic in the 18th century.

The familiar part is the return of Nicholas McGegan to the podium.  Last seen at Powell Hall conducting an exuberant “Baroque fireworks” program last October, Mr. McGegan is a frequent visitor to St. Louis and a widely respected interpreter of music of the 17th and 18th centuries.  The London Independent has dubbed him “one of the finest Baroque conductors of his generation”, while Santa Barbara Scene magazine has called him “the go-to visitor/educator/conductor” for pre-19th century music.  Given that the “newest” piece on the bill this weekend premiered in 1811, Mr. McGegan should be very much in his element.

The exotic aspect of the program is the pervasive fascination with the cultures of the near east in general and Turkey in particular that pops up often in 17th and 18th century music.  The reasons for that are partly political.  Austria and Turkey (a.k.a. The Ottoman Empire) were at war on and off from the around 1526 until almost the end of the 18th century, when the 1797 Treaty of Sistova left both nations in sufficient disarray to discourage any more military adventures.  In Europe and (especially) Austria, therefore, all things Turkish and middle eastern were seen as exotic and not a little dangerous—which naturally made them interesting to composers and other creative types.

This weekend’s concerts open with the lively overture to Abu Hassan by Carl Maria von Weber (1786-1826).  Based loosely on a story from the “Thousand and One Nights” (also the inspiration for Rimsky-Korsakov’s Scheherazade from two weeks ago), Abu Hassan (premiered in 1811) is a one act singspiel rather than an opera, which means there’s a mix of recitatives and spoken dialog.  Mozart’s Magic Flute is probably the most famous example of the genre.  Its silly story (Lewis Foreman of the University of Birmingham calls it a “vigorous romp with a Fedeauesque sub-plot”) has kept it out of the operatic mainstream, but the overture is a tune-filled favorite.

Next is Mozart’s Violin Concerto No. 5 in A major, K. 291, from 1776 or thereabouts.  There’s nothing particularly exotic about the first two movements, although the Adagio second movement is longer and has a more elaborate orchestral introduction than any of Mozart’s other violin concertos.  It’s the third movement Rondeau that has caused some writers to dub it the “Turkish” concerto.  In the middle section, Mozart changes the time signature to 2/4 and uses some exotic melodic effects, including having cellos and basses slap their strings with the wood of the bow (Mozart calls it “coll’arco roverscio”).  It might not sound that “Turkish” to modern ears, but back in the day it yelled “Ottoman”.

Stefan Jackiw

All three movements offer opportunities for the soloist to insert cadenzas.  I don’t know what Stefan Jackiw (a much-praised young American violinist making his SLSO debut) will do with them—will he improvise his own or use existing cadenzas Joachim or one of that crowd?  It will be interesting to see.

After intermission, it’s a step back in time to 1735-36 with a suite from Jean-Philippe Rameau’s (1683-1764) opéra-ballet Les Indes Galantes (The Gallant Indians). The opéra-ballet was a kind of musical theatre hybrid popular in late 17thand early 18th century France in which dance was prominent.  It consisted of a prologue followed by three or four semi-independent acts united by a common theme.  For Les Indes Galantes, the theme is romantic triangles in such exotic locales as Turkey ("Le Turc généreux," or "The Gracious Turk"), Peru ("Les Incas du Pérou," "The Incas of Peru"), Persia ("Les Fleurs," "The Flowers") and, in a fourth act added for the 1736 revival, America ("Les Sauvages," "The Savages of America").

That last act, as Paul Schiavo writes in his program notes, “presents Indians and Europeans joining amicably to smoke a peace pipe and praise the pleasures of love. This happy event is depicted in the “Dance of the Great Peace Pipe,” which leads to the grandest moment in Les Indes galantes. It comes as Indian and French warriors, Amazons and “shepherds and shepherdesses” join in a grand Chaconne, the dance traditionally used to close an opera-ballet in the Baroque era.”  Pretty enlightened for the time.

Finishing off the evening is Haydn’s Symphony No. 100 in G major, dubbed the “military” because the use of brass, timpani, and triangle in both the second movement and finale recalled the noisy percussion of the Janissary bands of the Turkish military.  The effect is striking, even to modern ears.  Back in Haydn’s day it was apparently electrifying. According to a Morning Chronicle review of the March 31, 1795 premiere in the London (where all of Haydn’s last twelve symphonies were first performed), “the middle movement was again received with absolute shouts of applause.  Encore! encore! encore! resounded form every seat”.  Clearly, the composer had yet another hit on his hands.

A lyria organizzata

The second movement might also have been a bit of joke on Haydn’s part, since the main theme of that movement came from a Concerto for Two Lira Organizzata (a raucous Italian hybrid of hurdy-gurdy and harmonium) he had written ten years earlier for the King of Naples.  Re-using the theme in an even nosier context might have appealed to his sense of humor.  This was, after all, the composer of the “Surprise” symphony and the Symphony No. 90, with its false ending designed to sucker the audience into applauding too soon (which it invariably does).

The St. Louis Symphony presents its “Turkish” program Friday at 10:30 AM (a coffee concert with Krispy Kreme doughnuts) and Saturday at 8 PM, November 8 and 9, at Powell Hall.  For more information: stlsymphony.org.

St. Louis classical calendar for the week of November 4, 2013

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The Bach Society of St. Louis presents an "informal program of Bach instrumental works" on Sunday, November 10, at 3 PM at The Church of Saint Michael and Saint George, 6345 Wydown.  "Concertmaster Lenora-Marya Anop is joined by Bach Society Orchestra members Charles Metz, harpsichord; Elizabeth Macdonald, cello; Catherine Edwards, flute; and pianist Sandra Geary.  Limited seating in the old-world ambiance of the Great Hall. Meet and chat with the performers over a glass of wine after the performance."  For more information: www.bachsociety.org

Dance St. Louis presents the Shanghai Ballet production The Butterfly Lovers Friday at 8 PM and Saturday at 2 and 8 PM, November 8 and 9.  "The elegant, folk-infused ballet, where Western ballet meets Chinese dancing, follows the fairytale story of the blossoming yet ill-fated romance of a young couple. It is often considered the Chinese version of Romeo and Juliet. The four-act production showcases stunning and ornate costumes; elaborate set designs reflecting the changing seasons; and breathtaking choreography that highlights Shanghai Ballet’s striking classical technique." Performances take place at the Touhill Center on the University of Missouri-St. Louis campus.  For more information: dancestlouis.org.

The St. Louis Art Museum presents a live HD broadcast of the Metropolitan Opera production of Puccini’s Tosca on Sunday, November 10, at 11:55 AM in The Farrell Auditorium.  The Museum is at One Fine Arts Drive, at the top of Art Hill in Forest Park.  For more information: www.slam.org

St. Louis Cathedral Concerts presents the Choir of St. Thomas, Leipzig in a concert of music by Leipzig composers including, Johann Sebastian Bach, Felix Mendelssohn Bartholdy, Robert Schumann, and Max Reger.  The performance takes place on Friday, November 8, at 8 PM at the cathedral at 4431 Lindell.  Established in 1212 (!) the choir was led by J. S. Bach for 27 years.  "The St. Thomas Boys Choir continues as a major institution in Germany: they maintain their own school just a stone's throw from the St. Thomas church, they regularly perform with the Gewandhaus Orchestra, and they've even been featured on a postage stamp! The choir will tour with the Leipzig Baroque Orchestra, with whom they've recorded the B Minor Mass."  The program features music by Leipzig composers including, Johann Sebastian Bach, Felix Mendelssohn Bartholdy, Robert Schumann, and Max Reger.  For more information: www.cathedralconcerts.org

Nicholas McGegan

The St. Louis Symphony Orchestra presents guest conductor Nicholas McGegan and violinist Stefan Jackiw in a program of music by Carl Maria von Weber, Mozart, Haydn, and Rameau on Friday and Saturday, November 8 and 9, at 8 PM at Powell Symphony Hall, 718 North Grand.  The Saturday concert will be broadcast live on St. Louis Public Radio at 90.7 and HD 1.  For more information: stlsymphony.org.

The St. Louis Symphony Orchestra presents The King: A Tribute to the Music of Elvis, with Resident Conductor Steven Jarvi and vocalists Scott Coulter, Lee Lessack, Johnny Rodgers, and Brian Wilson.  The performance takes place on Sunday, November 10, at 3 PM at Powell Symphony Hall, 718 North Grand.  For more information: stlsymphony.org.

William Partridge

The Shepley Program of Music and Arts presents an organ recital by William Partridge on Thursdays through December 12th at 12:30 PM at Christ Church Cathedral, 1210 Locust.  Admission is free.  For more information: christchurchconcerts.org.

The Shepley Program of Music and Arts presesnts violist Joanna Mendoza (Arianna String Quartet), pianist Nina Ferrigno (Calyx Piano Trio), and flautist Alberto Almarza on Sunday, November 10 at 2 PM at Christ Church Cathedral, 1210 Locust.  "Originally from Chile, Mr. Almarza is based in Pittsburgh where he teaches at Carnegie Mellon University. The program will include music for this rare trio of instruments by Foote, Martinu and Bloch, a stunning solo flute piece, ‘Honami’ by Wil Offermans and a duo based on a poem by Emily Dickinson for viola and piano by Toru Takemitsu." Admission is free.  For more information: christchurchconcerts.org.

The Tavern of Fine Arts presents the 6th Annual Herman T. Blumenthal Memorial Concert on Thursday, November 7, at 7:30 PM.   Guest artists include the Meshorerim Quintet and Linda Blumenthal. "The Annual Dr. Herman T. Blumenthal Memorial Concerts feature a combination of classical and Jewish music and have included piano and vocal music since the first concert in 2008." The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.  For more information: tavern-of-fine-arts.blogspot.com or call 314-772-2171.

The Tavern of Fine Arts presents The Cello Society with Cellobasso and other guest artists in a program of music by Wagenseil, Kousnetov, Morris, Telemann, and "perhaps Vivaldi and Ravel" on Saturday, November 9, at 11:30 AM. "The name Cellibasso sounds Italian and exotic, and it is a good description of a quartet made of up three cellos and a bass. The harmonious sound of blended cellos, with their wide expressive range, is combined with the depth of the double bass for an irresistible combination."  The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.  For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents bassoonist Melissa Mackey and pianist Yuko Kato in a program of music by Willson Osborne, Liszt, Gernot Wolfgang, John Steinmetz, and Damian Montano.  The concert takes place on Saturday, November 9, at 8 PM.  The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.   For more information: tavern-of-fine-arts.blogspot.com.

Third Baptist Church presents a program of classical organ music on Friday, November 8, at 12:30 PM as part of its free Friday Pipes series.  Third Baptist Church is at 620 N Grand.  For more information: www.third-baptist.org.

The Arianna String Quartet

The Touhill Performing Arts Center presents The Arianna String Quartet in a program of music by Brahms on Friday, November 8, at 8 PM at the Touhill Performing Arts Center on the University of Missouri at St. Louis campus.  For more information: touhill.org.

United Hebrew Congregation presents The St. Louis Chamber Chorus in a program of Hebrew Love Songs by Eric Whitacere as well as folksong arrangements by Viktor Ullmann, and music by George Rochberg.  The concert takes place on Sunday, November 10, at 3 PM at United Hebrew Congregation, 13788 Conway Road.  For more information: www.chamberchorus.org.

Winter Opera St. Louis presents Gounod’s Faust Friday at 8 PM and Sunday at 3 PM, November 8 and 10.  Performances take place at The Skip Viragh Center for the Arts at Chaminade College Preparatory School, 425 S. Lindbergh.  The opera is sung in French with projected English supertitles. For more information, visit winteroperastl.org.