Symphony Preview: Vivaldi in excelsis

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

Caricature of Antonio Vivaldi by
Pier Leone Ghezzi in 1723.

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This weekend (December 1 and 2) and next (December 8--10) the St. Louis Symphony Orchestra is giving us a mini Baroque festival with the emphasis on the music of one of the most prolific composers of the period, Antonio Vivaldi (1678--1741). He was a guy whose life and reputation had enough ups and downs to rival some roller-coasters.

It started the day he was born. Atypically for the time, he was baptized immediately after his birth in the family home in Venice. It's not entirely clear why--the earthquake that struck the city that day is one explanation, as is the possibility that he was a sickly newborn and not expected to survive--but in any case the official church baptism would wait for two months.

The young Vivaldi was a frail child, possibly suffering from asthma, but he nevertheless proved to be an adept violinist early in life. He joined the priesthood as a teenager and by the age of 25 was appointed maestro di violino (violin master) at the Pio Ospedale della Pietà (Devout Hospital of Mercy), a girls' orphanage in Venice. He would remain there for the next three decades, cranking out the vast majority of his huge output, including around 500 concertos for various combinations of instruments.

Judging from the difficulty of many of those pieces, girls at the Ospedale were pretty respectable musicians. Here's the French politician and writer Charles de Brosses enthusing about them, cited in an article by Hugo Ticciati at The Guardian: "There is nothing so charming as to see a young and pretty nun in her white robe, with a sprig of pomegranate blossoms over her ear, leading the orchestra and beating time with all the grace and precision imaginable." Jean-Jacques Rousseau, no less, described the music he heard there as "voluptuous and affecting." Vivaldi's skill at the violin was much admired as well.

Even so, Vivaldi's relationship with the board of directors as the Ospedale was apparently rocky. His contract came up for renewal every year and the vote was often close. They actually failed to renew it in 1709, but two years later, seeing the error of their ways, hired him again. This time the vote was unanimous.

Over the years, Vivaldi's fame spread to the major European music capitals, including Paris, Prague, and Vienna. But towards the end of his life his compositions were seen as unfashionable and dated. He wound up dying in poverty in Vienna. Interest in his work faded, and copies of his music were hard to come by. "For nearly 200 years," writes Peter Gutmann at classicalnotes.net, "Vivaldi was a historical footnote, although a somewhat influential one...His only lasting recognition came from the fervent admiration of Bach, who modeled his own concerto style after Vivaldi's and adapted for keyboard nine Vivaldi violin concerti (even though Bach devotees tended to disparage the source)."

The St. Louis Symphony Chorus

That began to change in the early 20th century when his cause was taken up by, among others, the composer Alfredo Casella and the famed conductor Arturo Toscanini. These days, works like the Gloria for chorus and orchestra (which we'll hear this weekend) and The Four Seasons (next weekend) are concert standards.

This weekend's concerts offer a real feast for Vivaldi fans. In addition to the Gloria, there are three concertos, four opera arias (he claimed that he wrote over 90, although only 46 survive), and a number from a cantata written as a commission for the marriage of Louis XV of France. René Spencer Saller offers detailed descriptions of all of them in her program notes , so I won't try to duplicate that here. Instead I'll just note that the soloists for all the concerti are members of the SLSO, which doesn't happen often enough, in my view.

Conducting all this will be the wonderfully energetic Nicholas McGegan, who invariably lights up a concert stage with his enthusiasm. When I saw him bound out to the podium for a program of Baroque favorites back in 2013, I marveled at how his face lit up with a cherubic smile. His body language was saying: "this is going to be FUN!" That kind of spirit is as infectious as the cold I'm currently trying to shake.

"Vivaldi," Igor Stravinsky once declared, "is greatly overrated--a dull fellow who could compose the same form so many times over." I beg to differ. After this weekend, I expect you will as well.

The Essentials: Nicholas McGegan conducts The St. Louis Symphony Orchestra and Chorus in an all-Vivaldi program, featuring Vivaldi's Gloria, Friday and Saturday, December 1 and 2, at 8 pm. The performance takes place at Powell Hall in Grand Center.

Review: Jun Märkl and the St. Louis Symphony Orchestra offer a Spanish-flavored post-Thanksgiving treat

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

Jun Märkl
Photo: Christiana Hohne

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There's a lot to be thankful for at Powell Hall this weekend (November 24 -- 26, 2017) as Jun Märkl conducts the St. Louis Symphony Orchestra in a colorful program that is a feast for the eyes and ears.

[Find out more about the music with my symphony preview post.]

Things got off to a festive start Friday night with a performance of Ravel's 1919 Alborada del gracioso that positively sparkled with grace and wit. Inspired by the mischievous and vulgar clown figure of 16th century Spanish comedy--the gracioso of the title--this lively and brilliantly orchestrated work got crisp and precise direction from Mr. Märkl and brilliant playing from all the musicians. That included Principal Bassoon Andrew Cuneo, who had just the right touch in the seriocomic solo that introduces the elegiac middle section, as well as the trumpets and horns in the rapid-fire triplets in the lively beginning and end.

More brilliant playing followed, this time by violin soloist Karen Gomyo. Decked out in a red floor-length gown, she cut a striking figure as she took the stage for wonderfully sympathetic reading of Ernest Chausson's haunting 1896 miniature, Poème. Inspired by a romantic novella by Turgenev, the Poème rises from a hushed, mysterious introduction to a passionate and technically demanding cadenza before eventually dying away in a flurry of soft trills--equally demanding, if less flashy. Ms. Gomyo handled all the demands with apparent ease, and did so without stinting on the dark romanticism at the heart of the music.

The first half of the concert concluded with a straightforward virtuoso vehicle, the 1883 Carmen Fantasy by the Spanish violinist/composer Pablo de Sarasate. Sarasate's skill was legendary and this mini-concerto assembled out of themes from Bizet's opera bristles with technical challenges, including an elaborately ornamented version of the famous Habanera and the insanely fast finale, based on the Act II Danse bohème. Ms. Gomyo took it all in stride, bringing out all the yearning of the former as well as the flash and fire of the latter. As was the case in the Poème, her focus on the music was intense.

Karen Gomyo

After intermission, the Spanish theme continued with a performance of Manuel de Falla's 1925 revision of a ballet that premiered in 1916, El amor brujo (usually translated as "Love, the Magician"). Originally commissioned by flamenco dancer Pastora Imperio, the ballet is infused with Andalusian folk elements and the percussive spirit of flamenco.

The spooky scenario, about a young woman trying to free herself from the obsessive intentions of her unfaithful husband's ghost, reads like something that would have been more appropriate around Halloween. There is dark, brooding music here--especially in the opening sequence, with its vivid evocation of a nocturnal cavern--but also moments of brilliance, like the famous "Ritual Fire Dance." There are even a few smoldering, passionate songs for the smoky tones of a mezzo soprano--a nod to the cante jondo, a dark and dramatic style of singing associated with the flamenco tradition.

This is immensely compelling stuff, and it got a powerfully theatrical performance from Mr. Märkl, the orchestra, and vocal soloist Catalina Cuervo. Although a soprano and therefore presumably singing at the bottom of her range, Ms. Cuervo nevertheless sounded entirely comfortable with her three highly charged, "take no prisoners" songs, delivered with a fierce intensity that was completely compelling. She also cut a commanding figure on stage with a form-fitting red gown, silver nails, and some very flamenco poses and foot stomping.

Mr. Märkl's interpretation exuded that same dramatic intensity, and was filled with neat little details, like the pointed snap of the viola trills in the "Ritual Fire Dance." He got great playing from the orchestra, including powerful moments from the horns and heartfelt solos from Principal Cello Daniel Lee and Concertmaster David Halen in the "Dance of the Game of Love." I can't recall the last time I saw any version of El amor brujo live (the SLSO hasn't done it since 1998), so it was a pleasure to see it performed so well.

Catalina Cuervo
Photo: John Parra

Friday night's concert ended with one of the longest crescendos in musical history, Ravel's 1928 Boléro. Ravel himself apparently began to view it in somewhat the same way that Rachmaninoff came to view his equally popular Prelude in C sharp minor: as a career milestone that eventually became a millstone. But it's still a piece that never fails to entertain.

It certainly did that Friday night, with a brilliantly conceived performance that built expertly from the almost inaudible opening with snare drum and plucked strings to the massive orchestral crash of the final pages. Yes, Boléro is almost guaranteed to work as long as the conductor doesn't get in Ravel's way, but even so this was a performance that packed a real punch and brought down the house.

It helped, of course, that Mr. Märkl had an ensemble of virtuosos to work with. That includes, but is certainly not limited to, Associate Principal Clarinet Dana Haskell, Principal Bassoon Andrew Cuneo, Associate Principal Flute Andrea Kaplan, Principal Trombone Timothy Myers, and Cally Banham on oboe d'amore. Guests Nathan Nabb and Jeffrey Collins on soprano and tenor sax, respectively, brought the same jazzy feel to their solos that they did the last time the SLSO played this piece in 2015. And let's hear it for Principal Percussionist Will James. Seated just behind the violas, he had the difficult and somewhat thankless role of playing the same snare drum figure repeatedly for around 17 minutes. There ought to be a medal for that.

The St. Louis Symphony Orchestra's mostly Spanish post-Thanksgiving feast repeats Saturday night at 8 and Sunday at 3, November 25 and 26, at Powell Symphony Hall in Grand Center. The music continues next weekend with an all-Vivaldi program conducted by Nicholas McGegan.

St. Louis theatre calendar for the week of November 27, 2017

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St. Louis Actors' Studio presents A Behanding in Spokane December 1 - 23. "In Martin McDonagh's first American-set play, Carmichael has been searching for his missing left hand for almost half a century. Enter two bickering lovebirds with a hand to sell, and a hotel clerk with an aversion to gunfire, and we're set for a hilarious roller coaster of love, hate, desperation and hope." Performances take place at the Gaslight Theatre, 358 North Boyle For more information, call 314-458-2978 or visit stlas.org.

Alpha Players present the comedy The Best Christmas Pageant Ever Friday and Saturday at 7:30 pm, November 30 and December 1. Performances take place at The Florissant Civic Center Theater, Parker Rd. at Waterford Dr. in Florissant, MO. For more information: alphaplayers.org, call 314-921-5678.

The Lemp Mansion Comedy-Mystery Dinner Theater presents The Christmas Killer through December 31. " Welcome to the party sponsored by Chatty Cathy, (and the "Misfit Toys"). We certainly hope that you can find a good home for one of our toys! Of course, it'll be a fun party as long as the wrong element doesn't show up! We're talking about Ricky Stitch, of course. Gee! I hope nothing bad happens to him! Anyway, you'll meet lots of characters tonight. In fact, you'll be a character too! Whether you'd like to participate a lot, or just a little, we promise you great holiday fun when you attend 'The Christmas Killer!'" The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com.

Curtain's Up Theatre presents the comedy A Christmas Story, based on the 1983 film and the stories of Jean Shepherd, Thursday and Friday at 7:30 pm, Saturday at 2 and 7:30 pm, and Sunday at 2 pm, November 30 -- December 2. Performances take place at the Alfresco Art Center, 2401 Delmar in Granite City, IL. For more information, visit curtainsuptheater.com.

Southern Illinois University at Edwardsville presents The End: an Apocalypse Anthology December 1 -- 10. "The End: An Apocalypse Anthology is comprised of eight one act plays. Some say the world will end in fire, some say in ice. Others have their money on a zombie apocalypse. The eight plays tackle these and other questions with all sorts of answers and some questions of their own." Performances take place in the Metcalf Student Experimental Theater on the campus in Edwardsville, IL. For more information, call 618-650-2774 or visit siue.edu

New Jewish Theater presents A Jewish Joke November 29 -- December 10. "During the 1950's, the great era of Jewish humor, we meet irascible comedy screenwriter Bernie Lutz who is about to open a big movie. When he discovers to his surprise -- and chagrin -- that his name appears on Senator Joseph McCarthy's infamous "black list," Bernie is confronted with the dilemma of naming names and implicating his writing partner in order to save himself and his career. This poignant solo comedy shows one small man facing the tough American events of the mid-20th century. A story as relevant today as it was during the McCarthy era." Performances take place in the Marvin and Harlene Wool Studio Theater at the Jewish Community Center, 2 Millstone Campus Drive in Creve Coeur. For more information: www.newjewishtheatre.org or call 314-442-3283.

The King and I

The Fabulous Fox presents Rodgers and Hammerstein's The King and I opening on Tuesday, November 28, at 7:30 p.m. and running through December 10th. "Set in 1860's Bangkok, the musical tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna Leonowens, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children. Winner of the 2015 Tony Award® for Best Musical Revival." The Fox is at 527 North Grand in Grand Center. For more information: fabulousfox.com.

The University of Missouri at St. Louis presents L-vis Lives Friday and Saturday at 7:30 pm and Sunday at 2 pm, December 1 -- 3. "L-vis is an imagined persona, a representation of artists who have used and misused Black music. Like so many others who gained fame and fortune from their sampling, L-vis is as much a sincere artist as he is a thief. In Kevin Coval's poems, L-vis' story is equal parts forgotten history, autobiography, and re-imaginings. We see shades of Elvis Presley, the Beastie Boys, and Eminem, and meet some of history's more obscure "whiteboy" heroes and anti-heroes: legendary breakdancers, political activists, and music impresarios. A story of both artistic theft and radical invention, L-vis Lives! is a poetic novella on all of the possibilities and problems of "post-racial" American culture--where Black art is still at times only fully accepted in a white face, and every once in a while an 'L-vis' comes along to step in to the void." Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information: www.kranzbergartscenter.org.

The University Theatre at Saint Louis University presents Shakespeare's The Merchant of Venice Thursday and Friday, November 30 and December 1 at 8:00pm, Saturday, December 2 at 2pm and 8pm and Sunday, December 3 at 2 pm. Performances take place at The Marcelle Theatre, 3310 Samuel Shepard Drive. For more information: slu.edu/utheatre.

Southern Illinois University at Edwardsville presents Gilbert and Sullivan's The Mikado Friday and Saturday, December 1 and 2, at 7:30 pm. Performances take place in the Dunham Hall Theater on the campus in Edwardsville, IL. For more information, call 618-650-2774 or visit siue.edu

Miss Bennet: Christmas at Pemberly

The Repertory Theatre of St. Louis presents Miss Bennet: Christmas at Pemberly November 29 -- December 24. "In this winning and witty sequel to Jane Austen's Pride and Prejudice, the bookish middle child of the Bennet family finally has her day. Constantly overshadowed by her four sisters, Mary Bennet finds hope for a new life beyond her family from an unexpected holiday romance. Austen fans and first-timers alike will find much to love in this alluring comedic tale." Performances take place at the Loretto-Hilton Center on the Webster University campus. For more information: repstl.org.

The Bissell Mansion Murder Mystery Dinner Theatre presents Murder on 34th Street through December 31. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com.

Alton Little Theater presents A Nice Family Christmas Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m., December 1 - 10. "A Holiday sequel to the beloved and zany family our audiences met in A NICE FAMILY GATHERING...Add a Saucy Grandma, an eccentric Uncle..and competing Siblings....will the magic of Christmas bring this dysFUNctional Family back together? You Betcha!" Performances take place at 2450 North Henry in Alton, IL. For more information, call 618.462.6562 or visit altonlittletheater.org.

Sister's Christmas Catechism

The Playhouse at Westport Plaza presents Sister's Christmas Catechism: The Mystery Of The Magi's Gold,running through December 3rd. "Think "CSI: Bethlehem" in this holiday mystery extravaganza, from the author of the wildly popular Late Nite Catchism, as Sister takes on the mystery that has intrigued historians throughout the ages - whatever happened to the Magi's gold? As Sister states, "We know that Mary used the frankincense and myrrh as a sort of potpourri - they were in a barn after all." Retelling the story of the nativity, as only Sister can, Sister's Christmas Catechism is bound to become an annual classic. Employing her own scientific tools, assisted by a local choir, and a gaggle of audience members, Sister creates a living nativity unlike anything anyone has ever seen. Highly interactive with gifts galore and a bundle of laughs, this show is a must-see for the holiday season. " The Playhouse at Westport Plaza is at 635 West Port Plaza. For more information: playhouseatwestport.com.

Stray Dog Theatre presents the comedy Steel Magnolias Thursdays through Saturdays, November 30 -- December 16. "All the ladies who are "anybody" flock to Truvy's beauty salon where she dispenses shampoos and free advice. Filled with hilarious repartee and good ol' Southern charm, the play explores the lives of six remarkable women and the special qualities that make them truly touching, funny, and marvelously amiable company in good times and bad." Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995.

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 Events Calendar.

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 27, 2017

Nicholas McGegan
Photo: Steve Sherman

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The Chamber Music Society of St. Louis presents Baroque'n Reeds and Bows on Monday, November 27, at 7:30 pm. "Renowned British conductor Nicholas McGegan returns November 27 to lead an entertaining program of Handel, Bach, Vivaldi and more featuring the oboe, harpsichord and strings. McGegan previously taught at Washington University and has also appeared with the St. Louis Symphony. He currently serves as Music Director for San Francisco's Philharmonia Baroque Orchestra." The program takes place at the Sheldon Ballroom on Washington in Grand Center. For more information: chambermusicstl.org.

The Missouri Women's Chorus presents Songs of the British Isles on Sunday, December 3, at 3 pm. "The Missouri Women's Chorus and Conductor Scott Schoonover invite you to attend a concert featuring some of the most hauntingly beautiful folk tunes from England, Scotland, Wales and Ireland. Focusing on the work and the lives of the women from these islands the concert will weave the slower, more poignant lullabies with the lively pieces sung during work and dance." The performance takes place at Union Avenue Christian Church, 733 Union in the Central West End. For more information: missouriwomenschorus.org.

The St. Louis Children's Choirs present a Holiday Concert on Sunday, December 2, at 1 pm. " There's nothing as moving as children's voices to inspire your holiday season! Hear all six ensembles of talented young singers--ages 6 to 18--of The St. Louis Children's Choirs performing Christmas carols and holiday favorites old and new. Outstanding professional instrumentalists collaborate with the young singers in this St. Louis holiday tradition. The thrilling concert finale includes all 450 young voices filling the hall--an experience you won't want to miss." The performance takes place at Powell Hall in Grand Center. For more information: stlsymphony.org.

The Kitharo Duo

The St. Louis Classical Guitar Society presents a Great Artist Guitar Series concert with The Kitharo Duo on Saturday, December 2, at 8 pm. "Olga Amelkina-Vera grew up in Belarus and moved to the United States in 1997. Fernand Vera, born to a French mother and an Ecuadorian father, is a native of Houston, Texas. Multi-talented artists as performers, composers, and teachers, their debut CD, Beings (2011), included the world premiere recordings of Olga's critically acclaimed music for the Duo." The performance takes at the Ethical Society of St. Louis, 9001 Clayton Road. For more information: guitarstlouis.net.

Nicholas McGegan conducts The St. Louis Symphony Orchestra and Chorus in an all-Vivaldi program, featuring Vivaldi's Gloria, Friday and Saturday, December 1 and 2, at 8 pm "From the bright opening of "Gloria in excelsis Deo" to the meditative melodies throughout, Vivaldi's uplifting and inspiring choral work will bring the joy and splendor of the holiday season to your heart." The performance takes place at Powell Hall in Grand Center. For more information: stlsymphony.org.

Leslie Odom, Jr.

Lee Musiker conducts The St. Louis Symphony Orchestra in An Evening With Leslie Odom, Jr. on Sunday, December 3, at 7 pm. "Multifaceted performer Leslie Odom, Jr., best known for originating the Tony Award-winning role of Aaron Burr in the original cast of Broadway's Hamilton and his role in the TV series Smash, joins the SLSO for an extraordinary event. Performing hits from his debut solo album that quickly rose to number one on the Billboard and iTunes Jazz charts and more, this one-night-only concert is the perfect way to begin your holiday season." The performance takes place at Powell Hall in Grand Center. For more information: stlsymphony.org.

The Washington University Department of Music presents a student recital by Heather Chung, violin; Sam Shonfeld, cello; and Sarah Liu, piano on Thursday, November 30, at 7 pm. The concert features music by Bach, Beethoven, and Samuel Barber, and takes place at the 560 Music Center at 560 Trinity in University City. For more information, music.wustl.edu or call 314-935-5566.

The Washington University Department of Music presents a Guitar Gala on Friday, December 1, at 8 pm. The concert includes music by Tarrega, Bach, and Poulenc and takes place in Graham Chapel on the Washington University campus. For more information, music.wustl.edu or call 314-935-5566.

The Washington University Department of Music presents a concert by the Washington University Symphony Orchestra on Sunday, December 3, at 7 pm. The concert features Vivaldi's The Four Seasons and selections from Tchaikovsky's The Nutcracker and takes place at the 560 Music Center at 560 Trinity in University City. For more information, music.wustl.edu or call 314-935-5566.

Symphony Preview: L'heure espagnol

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

Violinist Karen Gomyo

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Music lovers have a lot to be thankful for this weekend (November 24 -- 26), as Jun Märkl conducts the St. Louis Symphony Orchestra in a program of classical favorites. It's a real feast for the ears to match the one your stomach will probably still be digesting.

The concerts will open with Ravel's colorful tone poem Alborada del gracioso, written as a solo piano work in 1905 then orchestrated in 1919. The work's title is, as Ravel admitted, essentially untranslatable. The composer explained it this way in a letter to Ferdinand Sinzig of Steinway and Sons in New York on September 14, 1907 (cited in the 2011 biography Ravel by Roger Nichols):

I understand your bafflement over how to translate the title 'Alborada del gracioso'; precisely why I decided not to translate it. The fact is that the gracioso of Spanish comedy is a rather special character and one which, as far as I know, is not found in any other theatrical tradition. We do have an equivalent, though, in the French theater: Beaumarchais' Figaro. But he's more philosophical, less well--meaning than his Spanish ancestor. The simplest thing, I think, is to follow the title with the rough translation 'Morning Song of the Clown' [Aubade du buffon]. That will be enough to explain the piece's humoristic style.

reflecting the composer's love of Spain. The brilliant orchestration includes a large percussion battery with, of course, castanets.

Up next is the Poéme for violin and orchestra, composed in 1896 by Ernest Chausson, a composer whose music does not, in my view, get quite as much attention as it deserves. His Symphony in B flat (1890) is a particular favorite of mine, but live performances seem to be rare.

Inspired by Turgenev's 1881 novella The Song of Love Triumphant, the Poéme originally had the same title as the book, but Chausson changed it before the piece was published, apparently to avoid associating it too closely with the novel. I think it was a wise decision; this music has a haunting beauty that doesn't need any extra-musical connections.

The Poéme has been massively popular with violinists ever since it was first performed by the great composer/violinist Eugène Ysaÿe, who commissioned the piece and may have helped with some of the details of the violin part. "When Ysaÿe introduced the Poéme in Paris," writes Michael Steinberg in The Concerto: A Listener's Guide, "the applause rang on and on. Chausson's friend the novelist Camille Mauclair recalled that the bewildered composer kept repeating 'I can't get over it.'" Sadly, it wouldn't last; only two years after the work's 1897 premiere, Chausson lost control of a bicycle and smashed into the wall of his country villa. He was only 44.

Conductor Jun Märkl
Photo by Christiana Hohne

The violin remains in the spotlight with the last work in the first half, the flashy 1883 Carmen Fantasy by the virtuoso violinist and composer Pablo de Sarasate, based on Georges Bizet's massively popular 1875 opera Carmen. Like Chausson, Bizet died young; he shuffled off this mortal coil at the age of 36 from a heart attack a few months after the opera opened to tepid reviews and public apathy. So he went to his grave not knowing that he had composed what would become one of the most popular operas ever written. Operabase statistics for the 2015/2016 season, in fact, show it as number 3 worldwide, surpassed only by Verdi's La Traviata and Mozart's The Magic Flute.

This mini-concerto weaves virtuoso fireworks out of a number of tunes from the opera, starting with the Aragonaise that serves as the entr'acte between Bizet's Acts III and IV and ending with the Danse bohème from the top of Act II, as Carmen and her friends Frasquita and Mercédès dance for some army officers in Pastia's Inn. Along the way you'll also hear the famous Habanera as well as the Seguidilla, both from Act I. It's pure melodic fun that offers the violinist a chance to strut his or her stuff, especially in the breakneck finale.  This weekend's soloist is Karen Gomyo.

After intermission, the Spanish theme continues with a performance of Manuel de Falla's 1925 revision of a ballet that premiered in 1916, El amor brujo (usually translated as "Love, the Magician"). Originally commissioned by flamenco dancer Pastora Imperio, the ballet is infused with Andalusian folk elements and, of course, the spirit of flamenco.

The spooky scenario reads like something that would have been more appropriate around Hallowe'en. Here's a summary from John Henken's program notes for a 2015 performance by the Los Angeles Philharmonic:

The tale in its final version concerns Candelas, a young widowed gypsy haunted by the ghost of her jealous husband. To free her from his unwanted attention, Candelas and Carmelo, her new lover, must exchange a kiss of perfect love. In a series of dances the ghost first frightens the couple (Dance of Terror), Candelas tries to exorcise it (Ritual Fire Dance), and then her friend Lucia seduces it. While the ghost is distracted by Lucia, Candelas and Carmelo kiss, and then mock the ghost in the final dance (Dance of the Game of Love).

Most concertgoers will be familiar with the "Ritual Fire Dance," but there's much to relish in this colorful and highly evocative score. There's even a part for a mezzo-soprano (sung this weekend by soprano Catalina Cuervo), acknowledging the influence of the Andalusian tradition of cante jundo, a dark and dramatic style of singing associated with the flamenco tradition.

The concerts close with one of the most popular orchestral works ever written and certainly the best-known thing Maurice Ravel ever produced: Bolero. Composed originally on commission for the dancer Ida Rubinstein, Bolero was first performed by her at the Paris Opéra on 22 November 1928, with choreography by Bronislava Nijinska and designs by Alexandre Benois.

"Inside a tavern in Spain," runs the scenario printed in that first program, "people dance beneath the brass lamp hung from the ceiling. [In response] to the cheers to join in, the female dancer has leapt onto the long table and her steps become more and more animated." In program notes for the New York Philharmonic, the late New York Times music critic Louis Biancolli goes into greater detail. "The men gathered in the public room of the inn eye the dancer fixedly. As her movements grow more animated, their excitement mounts. They beat out an obbligato with their hands and pound their heels. At the peak of the crescendo, where the key abruptly shifts from C major to E major, the sharpening tension snaps. Knives are drawn and there is a wild tavern brawl."

Sounds like a hell of a party. There will be no weapons at Powell Hall this weekend, fortunately, so you will be able to enjoy Ravel's Greatest Hit in safety.

The essentials: Jun Märkl conducts The St. Louis Symphony Orchestra with soloists Karen Gomyo, violin, and Catalina Cuervo, soprano, Friday and Saturday at 8 pm and Sunday at 3 pm, November 24 -- 26. The performances take place at Powell Hall in Grand Center.

Review: For the St. Louis Symphony Chorus, Beethoven's "Missa Solemnis" poses no difficulties

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

The St. Louis Symphony Chorus
Photo by Jerry Naunheim, Jr.

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The reverent and magisterial performance of Beethoven's Missa Solemnis by David Robertson and the St. Louis Symphony Orchestra and Chorus on Saturday, November 18th, reminded me of what a challenging piece was when it was first performed back in 1824--and still is today.

For singers, it's something of a marathon. Running around 75 minutes or more, it's the longest concert piece Beethoven wrote and the chorus sings for nearly all of it. The four soloists often do little more than add emphasis. Add in the fact that Beethoven was not especially adept at writing for the human voice and you have a work that can be a tough nut for vocalists to crack.

It's a challenge for listeners as well. The musical structure is large and ungainly, with a tendency to ramble. In his book Nineteenth-Century Romanticism in Music, British musicologist Rey M. Longyear went so far as to dub the Missa Solemnis as "one of the greatest failures in the history of music." "Despite its sublime moments," he wrote, "especially in the outer movements (Kyrie and Agnus Dei), the work is uneven, even patchy, and the overlong conclusions of the Gloria and Credo simply stupefy rather than edify."

I wouldn't go that far, but I must admit that this is a piece that sometimes conjures up a bewildering variety of sonic environments. This is music that looks back to the counterpoint of the Baroque but also forward to the massive sound blocks of Bruckner. It's ancient and modern, reverent and raucous.

So, yeah, the Missa Solemnis is a real workout for both the performers and the audiences. It is, therefore, a real tribute to Mr. Robertson and the SLSO that they did such a fine job with it when I heard it Saturday night.

The Kyrie was every bit as sublime as Mr. Longyear says it is, beginning with a deliberate tempo and building to an imposing climax that prepared us for the power of the Gloria that followed. The big fugue on "in Gloria Dei Patris. Amen." may, indeed, be longer than necessary, but the chorus certainly sang it with authority and clarity.

The central Credo that followed is the very heart of the piece and benefitted from heartfelt performances by the soloists: soprano Joélle Harvey and bass-baritone Shenyang (both so remarkable in the San Francisco Symphony's Missa Solemnis in 2015), mezzo Kelley O'Connor, and tenor Stuart Skelton. All four have operatic experience, a fact very much apparent in the way they invested the "Crucifixus etiam" section with real anguish. They're strong singers--perhaps a bit too strong in Mr. Skelton's case, as his Wagnerian heldentenor sometimes overwhelmed his fellow soloists. The chorus once again sang heroically here, especially in the massive double fugue that concludes the movement.

The Sanctus featured soaring vocals from Ms. Harvey and Ms. Skelton on "pleni sunt coeli" and the entire quartet blended nicely with Concertmaster David Halen in what Sir Donald Francis Tovey (quoted in Christopher H. Gibbs's program notes) called an "aria-concerto of violin, voices, and orchestra." This is another one of those sublime moments, and Mr. Halen has never sounded better.

David Halen

The concluding Agnus Dei is probably the most obvious example of Beethoven's colliding sound worlds, including the juxtaposition of sharply contrasting textures like the noisy "battle music" that pops up in the middle of the calls for peace and an idiosyncratically low key finale. Once again, Mr. Robertson and his forces made it work, bringing this difficult but important masterpiece to a satisfying conclusion.

The SLSO's performances of the Missa Solemnis on Saturday and Sunday, November 18th and 19th marked the last time David Robertson will conduct the chorus before his tenure as Music Director ends in the spring of 2018. It was, I expect, a moving experience for the members of the chorus and, in fact, Chorus Master Amy Kaiser did seem to be holding back tears as she took her much-deserved bows Saturday night.

Next at Powell Hall: Jun Märkl conducts the orchestra with soloists Karen Gomyo, violin, and Catalina Cuervo, soprano, Friday and Saturday at 8 pm and Sunday at 3 pm, November 24 - 26. The concert consists of Ravel's Alborada del gracioso, Sarasate's Carmen Fantasy, Chausson's Poéme, Falla's El amor brujo Ballet Suite, and Ravel's Bolero. The performances take place at Powell Hall in Grand Center. .

St. Louis theatre calendar for the week of November 20, 2017

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The Lemp Mansion Comedy-Mystery Dinner Theater presents The Christmas Killer through December 31. " Welcome to the party sponsored by Chatty Cathy, (and the "Misfit Toys"). We certainly hope that you can find a good home for one of our toys! Of course, it'll be a fun party as long as the wrong element doesn't show up! We're talking about Ricky Stitch, of course. Gee! I hope nothing bad happens to him! Anyway, you'll meet lots of characters tonight. In fact, you'll be a character too! Whether you'd like to participate a lot, or just a little, we promise you great holiday fun when you attend 'The Christmas Killer!'" The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com.

Cindy Kohlbry

The Presenters Dolan presents Cindy Kohlbry in Dreaming Of One Night Standards on Friday, November 24, at 8 p.m. "Warm, wise and sometimes wickedly funny, Cindy Kohlbry shares songs which have moved and inspired her over the years. Laughter, tears and just plain fun are what you should expect in this St. Louis Cabaret debut. Headhunter by day, actress and a cappella singer by background, Kohlbry takes her show out of the shower and onto the stage." The performance takes place at the Kranzberg Center, 501 North Grand in Grand Center. For more information: presentersdolan.com.

The St. Louis Family Theatre Series presents the Dragons Love Tacos Friday and Saturday, November 24 and 25, at 2 p.m. "Theatreworks USA's newest musical revue of beloved contemporary children's books! Dragons Love Tacos by Adam Rubin Dragons love all sorts of tacos-except spicy ones! When a boy throws his new dragon friends a spicy salsa taco party , red-hot trouble ensues. Interrupting Chicken by David Ezra Stein It's bedtime for the little red chicken. Papa is going to read her a story, but the chicken can't help interrupting. Will the chicken ever get to sleep? The Dot by Peter H. Reynolds A story about the creative spirit in all of us. Vashti can't draw, but when her teacher says “Just make a mark and see where it takes you.” Vashti discovers she is an artist, after all. Mercy Watson Goes for a Ride by Kate DiCamillo, Illustrated by Chris Van Dusen. Mercy, a porcine wonder, and Mr. Watson go for a ride every Saturday in Mr. Watson's automobile. But one Saturday, guess who winds up behind the wheel? Cowgirl Kate and Cocoa School Days by Erica Silverman, painted by Betsy Lewin Yee Haw! Cowgirl Kate and her loyal horse Cocoa are the perfect pair. They do everything together, until school is in session-and horses are not allowed!" Performances take place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 314-921-5678 or visit www.florissantmo.com

The Bissell Mansion Murder Mystery Dinner Theatre presents Murder on 34th Street through December 31. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com.

Rudolph the Red-Nosed Reindeer

The Fabulous Fox presents Rudolph the Red-Nosed Reindeer: The Musical Tuesday at 7:30 pm and Wednesday at 1 and 7:30 pm, November 21 and 22. "The beloved TV classic Rudolph the Red-Nosed Reindeer soars off the screen and onto the stage this holiday season. Come see all of your favorite characters from the special including Santa and Mrs. Claus, Hermey the Elf, Bumble the Abominable Snow Monster, Clarice, Yukon Cornelius and, of course, Rudolph, as they come to life in Rudolph the Red-Nosed Reindeer: The Musical. It's an adventure that teaches us that what makes you different can be what makes you special. Don't miss this wonderful holiday tradition that speaks to the misfit in all of us" The Fox is at 527 North Grand in Grand Center. For more information: fabulousfox.com.

The Playhouse at Westport Plaza presents Sister's Christmas Catechism: The Mystery Of The Magi's Gold opening on Friday, November 24th, at 8 p.m. and running through December 3rd. "Think "CSI: Bethlehem" in this holiday mystery extravaganza, from the author of the wildly popular Late Nite Catchism, as Sister takes on the mystery that has intrigued historians throughout the ages - whatever happened to the Magi's gold? As Sister states, "We know that Mary used the frankincense and myrrh as a sort of potpourri - they were in a barn after all." Retelling the story of the nativity, as only Sister can, Sister's Christmas Catechism is bound to become an annual classic. Employing her own scientific tools, assisted by a local choir, and a gaggle of audience members, Sister creates a living nativity unlike anything anyone has ever seen. Highly interactive with gifts galore and a bundle of laughs, this show is a must-see for the holiday season. " The Playhouse at Westport Plaza is at 635 West Port Plaza. For more information: playhouseatwestport.com.

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 Events Calendar.

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 20, 2017

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St. Louis Cathedral Concerts presents a Holiday Concert with the Vienna Boys Choir on Wednesday, November 22, at 8 p.m. "Start your holidays with the world-renowned Vienna Boys Choir. Perennial favorites of the Cathedral Concert Series, their repertoire spans from medieval to contemporary. These “voices of angels” will be in St. Louis for only one delightful holiday performance!" The performance takes place at the Cathedral Basilica of St. Louis at 4431 Lindell. For more information: www.cathedralconcerts.org.

Violinist Karen Gomyo

Jun Märkl conducts The St. Louis Symphony Orchestra with soloists Karen Gomyo, violin, and Catalina Cuervo, soprano, Friday and Saturday at 8 pm and Sunday at 3 pm, November 24 - 26. "Join us Thanksgiving weekend for a concert with Spanish flair! Beginning with Ravel's nod to the uplifting rhythmic beat of Spanish dance in his Alborada del gracioso, the concert concludes with his legendary orchestral showpiece Bolero. Plus, violinist Karen Gomyo takes center stage performing Sarasate's fiery Carmen Fantasy, a captivating work full of 'finger fireworks' certain to mesmerize." The performances take place at Powell Hall in Grand Center. For more information: stlsymphony.org.

Review: John Cleese and the Holy Grail

John Cleese as Sir Lancelot

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When I first saw Monty Python and the Holy Grail at the Westport Cinema back in 1975, the TV show that spawned the film hadn't made its way to St. Louis yet and I didn't really get the humor. The movie struck me as mostly unfunny and, in the second half, downright dull.

A few years later, after seeing the entire run of Monty Python's Flying Circus, my opinion of the film had changed. Now I saw the inspired silliness of the argument between Graham Chapman's King Arthur and Michael Palin's peasant over whether Great Britain was a kingdom or an anarcho-syndicalist commune, the loopy charm of the Knights of Ni, and the satire of the "she's a witch" scene. The second half of the movie still dragged and the ending seemed to be part of another film, but it was entertaining stuff nevertheless.

Last night (Thursday, November 16th), following a showing of Monty Python and the Holy Grail at the Peabody Opera House, there was a 45-minute talkback with a noted British actor and writer who shares my view of the uneven nature of the movie. And he should know, because his name is John Cleese.

Mr. Cleese is touring the USA with Grail screenings. After the film he takes the stage with a local media personality for a moderated discussion in which he answers some questions submitted in advance from the audience, tells some stories about his life in show biz, and generally acts like the raconteur he so clearly is.

Having just celebrated his 78th birthday last month, Mr. Cleese is now heavier and creakier than he was in his Monty Python days. Towards the end of his chat he noted that he'd had both knees replaced, a hip replacement, artificial lenses in his eyes, and hair transplants. "I don't see," he quipped, "how I can ever die."

Thereby confirming that whatever his physical infirmities might be (and who among us geezers doesn't have them?) his mordant wit remains as sharp as ever.

In the course of the Q&A he made some caustically hilarious comments about the USA and about his fellow Pythons. Architecture in American cities, he observed, looks like it was designed by someone "inspired by cornflake boxes." He hates Cleveland ("what a dump!") and, when queried about the difference between American and British humor, said that there were parts of the USA "that appear to be mystified by irony."

Regarding his fellow partners in comedy, he dismissed Michael Palin's many travel documentaries as boring (I couldn't disagree more) and noted that Terry Gilliam's great failing as a filmmaker was that while he has a brilliant visual imagination, he has no idea how to tell a story (I couldn't agree more). The secret to making a good film, he noted, was to understand your limitations and find collaborators who can fill in those gaps.

On a more serious note, he also talked briefly about Terry Jones's struggles with dementia and the horror of seeing someone close to you slowly slip away.

Asked about how he got into show business, he said that while he had always known that he had a gift for making people laugh, and that this was something that made both him and his audience feel good, he nevertheless had attended university with the intention of becoming a lawyer, working for a big London firm, and then shooting himself when he turned 50 "because that's what lawyers do." But the collegiate revue A Clump of Plinths turned into a West End Show and before long he and a bunch of other blokes who expected to be lawyers, teachers or accountants suddenly found themselves wearing black t-shirts to work and making jokes for a living.

His favorite role? Archie in the highly acclaimed 1988 comedy A Fish Called Wanda, which Mr. Cleese also wrote. His least favorite role? The Minister of Silly Walks in Monty Python. To this day, he thinks it's just not funny and doesn't really understand why the fans like it so much.

Mr. Cleese closed with the story of a practical joke played on Michael Palin. Mr. Palin was in Norway filming one of his travel documentaries and Mr. Cleese needed to contact him about an upcoming meeting. He got the phone number of the hotel from Mr. Palin's wife, but before he made the call he realized that "Michael wouldn't be expecting me to call him and wouldn't know where I was calling from." So when the hotel operator connected him to Mr. Palin's room, Mr. Cleese put on a phony Norwegian accent and claimed he was a local broadcaster with a camera crew in the lobby who wanted to do an interview with Mr. Palin on the spot.

Mr. Palin repeatedly demurred, pointing out that it was late and he was in his pajamas. "Oh, that's all right," fluted Mr. Cleese, "our audience will just feel more relaxed." Finally Mr. Palin asked why they wanted to interview him, of all people. "Well," said Mr. Cleese, "we're going a documentary on one of the world's great comedians, John Cleese, and we just wanted to talk to one of his assistants!"

Ouch.

John Cleese's tour moves on to Akron, Ohio, next and will circle around in this direction again next year, when he appears in Chicago on January 22nd. Check the official Monty Python web site for details. It has lots of interesting Silly Stuff for your entertainment, so you may want to spend some time there. And don't forget to check the Peabody Opera House web site for upcoming shows there.

Chuck's Choices for the weekend of November 17, 2017

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:

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Of Mice and Men
Photo: Joey Rumpell

Slightly Askew Theatre Ensemble presents Of Mice and Men Wednesdays through Saturdays at 8 p.m. through November 18. "George, an affable migrant farm worker and Lennie, a towering, simple-minded, pleasantly humble young man, have just arrived to work at a ranch. They are bound together by George's devotion and Lennie's seeming-helplessness, but George's guardianship soon leads to an ominous slippery slope. With an approaching lynch mob and blood on Lennie's hands, George is faced with a moral question: spare his friend or allow the ranchers to take matter into their own hands." Performances take place at The Chapel Venue, 6238 Alexander Drive. For more information: slightlyoff.org.

My take: The relevance of this story to a present-day American that seems intent on returning to the bad old economic days seems obvious, but SATE has taken the subtext and put it front and center. "John Steinbeck's short novel", writes Tina Farmer at KDHX, "...springs vibrantly to life in Slightly Askew Theatre Ensemble's (SATE) riveting production. Director Jacqueline Thompson and the company intentionally cast the emotionally powerful show to authentically reflect our country's migrant workforce, adding poignant relevance to a story originally set in 1935." Does the unusual casting, which includes some cross-gender roles, work? Ms. Farmer thinks so, and Ann Lemmons Pollack, in her St. Louis Eats and Drinks blog, says this is "[f]ine work in an intimate space." YMMV but it looks like SATE has once again produced an innovative and provocative show.

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Held Over:

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Stones in His Pockets
Photo: John Lamb

The West End Players Guild continues its 107th season with the comedy Stones in His Pockets Thursday through Saturday at 8 PM and Sunday at 2 PM, November 16 - 19. "The play offers a sharply satiric look at what happens when an American movie company sets up shop in a down-on-its-luck village in County Kerry, Ireland, to film a major motion picture. Enticed by the prospect of making more money as film extras every day than most can make in a week, everyone in the village wants in on the action. Most do get involved but some are left behind, and the village soon learns that there can be a steep price to pay for a few weeks of easy money and Hollywood excitement." 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: Full disclosure: I'm on the board and play reading committee at West End, but I have also been a great admirer of the remarkable comedy/drama since my wife and I first saw it in London many years ago. It's a virtuoso exercise for the two-man cast, who have to shift characters rapidly and often to portray around 30 roles in the course of the evening. I have shared the stage with both of the guys in this cast and I can tell you from personal experience that they've got the goods. Mark Bretz's review at Ladue news is typical of the show's notices: "Marie Jones’ whimsical, bittersweet story is given a touching tribute by director Steve Callahan and the talented twosome of Jared Sanz-Agero and Jason Meyers in a sparkling West End Players Guild presentation."

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Titus Androgynous

YoungLiars presents Titus Androgynous running through November 18. "Did you know that Shakespeares most brutal tragedy is actually a comedy? YoungLiars aim to prove the point with a vengeance in this riotous reimagining of Titus Andronicus - where the Italian Commedia smashes into All-American Splatter, and Shakespeare comes along for the ride. Titus Androgynous is YoungLiars deliciously deranged deep-dive into the perverse passions and vaudeville violence of the Bard's bloodiest play." Performances take place in in the hundred-year-old basement of the Centene Center for the Arts, 3547 Olive Street in Grand Center. For more information: brownpapertickets.com.

My take: I'm not a fan of grand guignol theatre in general, but if (say) Evil Dead: The Musical is your particular cup of stage blood, you might want to take a look at this unapologetically outrageous revision of Shakespeare's most violent play (which, to be fair, is often cited as an early example of grand guignol). Over at Ladue News, Mark Bretz praises the production's "inspired silliness" and says this Hallowe'en-themed show is "as much treat as trick."

Review: Winter Opera offers a 'Student Prince' to warm the operetta lover's heart

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

Andrew Marks Maughan and male chorus
Photo: Wylde Brothers Productions

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Time was when operetta was common on local stages. Shows like Rose Marie, The Fortune Teller, and Robin Hood made up the bulk of the season at The Muny when it opened back in 1919, and even as late as the 1970s you could still see the occasional Desert Song or Student Prince on the Forest Park stage.

For those of you longing for the sounds of good old-fashioned operetta in general, or The Student Prince in particular, Winter Opera has a brand new production of that 1924 Sigmund Romberg classic for you Friday and Sunday, November 10 and 12, 2017. And while not quite up to the standard set by their Merry Widow last fall, it's still a nice piece of work that's likely to warm the cockles of the operetta lover's heart.

When it opened on Jolson's 59th Street Theatre on Broadway, The Student Prince was a great hit, running 608 performances. That made it the longest-running show of the decade. Subsequent revivals in the 1930s and 1940s maintained its popularity, but it was undoubtedly the 1954 film version, featuring the voice of the legendary tenor Mario Lanza, that really brought it into the American mainstream.

Caitlin Cisler
Photo: Wylde Brothers Productions

Based on Wilhelm Meyer-Förster's play Old Heidelberg, the book by American actress and playwright Dorothy Donnelly revolves around young Prince Karl Franz of the mythical kingdom of Karlsberg. Chafing at the gloomy regimentation of castle life, the prince is taken by his kindly tutor Doctor Engel to study at Engel's alma mater, the University of Heidelberg. There he has a brief romance with Kathie, who waits tables at her uncle's beer garden, and is ready to run away with her to Paris when he learns the king is ill and he must return to seal the betrothal to Princess Margaret that was arranged when they both were children. In the end, Margaret persuades Kathie to give up her claim on Karl Franz's affections and Karl Franz reluctantly takes up his kingly mantle, wistfully recalling the good old student days.

It's all rather thin stuff by contemporary standards, with cardboard characters and a perfunctory plot advanced with telegraphic brevity between songs. But what wonderful songs they are!

John Stephens
Photo: Wylde Brothers Productions

The enchanting "Serenade (Overhead the Moon is Beaming)" is probably the most famous number from the show, but there are plenty of other memorable moments in this appealing score, including the students' "Drinking Song" and the moving "Deep in My Heart, Dear." The music is what matters in The Student Prince. A production will stand or fall based on the strength of its voices.

It's a good thing, therefore, that Winter Opera has strong, appealing singers in both the lead and supporting roles, starting with tenor Andrew Marks Maughan as Prince Karl Franz. From the first notes of his sentimental duet "Golden Days" it was obvious that he had an excellent clear voice that projected easily over the orchestra without being strident.

The same is true of soprano Caitlin Cisler as Kathie. Her acting is not, perhaps, in the same league as her fluid and flexible singing, but when she and Mr. Maughan joined their voices in the lovely "Deep in My Heart, Dear" that hardly mattered. They're both attractive and charismatic performers, their vocal blend is ideal, and they are, in any case, dealing with a text that is not what you'd call dramatically deep.

As the kindly and ailing Dr. Engel, bass John Stephens radiates warmth and compassion. Zachary Devin's powerful tenor leads the Heidelberg students in a rousing rendition of the drinking song, ably assisted by baritone Joel Rogier, and Gary Moss once again demonstrates his considerable comic talents as the prince's self-important valet Lutz.

Parenthetical note: Lutz seems to me to be a gloss on Pooh-Bah, the Lord High Everything Else from The Mikado, which makes his disdainful references to Gilbert and Sullivan that much more amusing.

Gary Moss
Photo: Wylde Brothers Productions

Ellen Hinkle, who was such a delight as Frasquita in Winter Opera's Carmen back in March, once again charms as Princess Margaret, most notably in the waltz duet "Just We Two" with tenor Ryan Keller. Although they're both just starting their careers, their vocal and acting skills are already impressive, and I hope to see more of them in the future.

There are many other fine performances in this large cast. That includes (but is not limited to) Karen Kanakis as the stern Grand Duchess Anastasia, Karla M. Hughes as the flighty barmaid Gretchen, and director Dean Anthony as the unyielding Count von Mark.

When I reviewed Winter Opera's Merry Widow last year, I noted that Mr. Anthony clearly had a good eye for what works well on a stage. The same is true here. That includes his choreography, which once again does an excellent job of keeping the real dancers front and center while providing easily executed steps for the non-dancing singers. Things were still a bit rocky in spots when I saw the show at final dress rehearsal, but that could easily change by the time you see it in performance.

Under Scott Schoonover's baton, the Winter Opera orchestra has never sounded better, with a full and polished sound. JC Krajicek, who has costumed so many fine local productions, scores once again with appropriately colorful outfits, including lavish hoop skirts for the women and dashing military garb for the men. Scott Loebl's sets are in the same fairy tale mode, including a nice trompe l'oeil backdrop for the big Act III ball scene that's reminiscent of the one he did for Merry Widow last year.

It's nice to see Winter Opera taking up the mantle of the neglected operetta repertoire. The sentimental melodrama of The Student Prince might not have aged as well as the comic hijinks of The Merry Widow, but it's still fun to hear these classic tunes sung so well in the warm acoustics of the Viragh Center.

Review: Katie McGrath does cabaret to perfection in 'Significant Others' at the Gaslight Theatre

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

Rick Jensen and Katie McGrath

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If you wanted to write a "How to Do Cabaret" textbook, you could easily start with Significant Others, the latest show by former St. Louisan Katie McGrath, which had its local premiere at The Gaslight Cabaret Festival on Friday, November 10.

With a great song list ranging from Bon Jovi to Cole Porter, perfectly tailored arrangements by Rick Jensen, ideally paced direction by Lina Koutrakos, and Ms. McGrath's powerfully genuine stage presence, this was a show that hit all the right notes, literal and figurative.

From the moment Ms. McGrath stepped on stage in a sleek basic black outfit that nicely set off her striking blonde hair and silver earrings, she grabbed the audience's attention with the haunting lyrics Steve Porcaro wrote for the Michael Jackson hit "Human Nature": "Looking out / Across the nighttime / The city winks a sleepless eye." By the time she got to "If this town / Is just an apple / Then let me take a bite" there was little doubt that she was singing not just about her new home town of New York City, but about her entire approach to life as well -- a view confirmed by the next song, a giddy run through Frank Loesser's "If I Were a Bell" from Guys and Dolls. As we say over at the Church of the SubGenius, she's not just going to eat that apple, she's gong to eat the hell out of it.

I should pause here to point out that I have known Ms. McGrath for over a decade, going back to when we both attended an early edition of the St. Louis Cabaret Conference. Even then, before experience and training had allowed her to polish her craft, it was obvious that her singing had the immediacy and emotional truth that is at the heart of cabaret performance. No wonder that Gerry Geddes, in a review of the NYC debut of this show, wrote that Ms. McGrath has now "pursued, captured, and pretty much perfected cabaret performance."

The "significant others" of the title, as Ms. McGrath points out, goes back to the original psychological definition of the term as anyone who had a strong influence on one's self-concept. For her that includes not only her current partner Chet (the subject of a charming original song by Ms. McGrath and Alex Rybeck near the end of the show) but also her parents, her many siblings, her favorite babysitter, and even Sen. Kamala Harris, whose pointed questioning of Jeff Sessions she praised with Frank Loesser's "I Believe in You" (from How to Succeed in Business Without Really Trying).

Memories of how her babysitter introduced her and her siblings to the joys of Motown in the 1960s led to an ingenious bit in which Ms. McGrath and Mr. Jensen sang only the backup parts of "Heat Wave" and "Come See About Me" (because only her babysitter could be Diana Ross or Martha Reeves) while she channeled her inner child trying (and failing) to execute the dance moves. That child stayed with us in the next song, Dar Williams's poignant "The Babysitter's Here," which views a failing relationship through the eyes of someone young enough to understand pain, but not yet old enough to understand its source.

Ms. McGrath touched on her family's struggle with alcoholism early on, but did so in a way that not only completely avoided self-pity, but also turned the pain into art with a wistful version of Irving Berlin's "Blue Skies." That led to a story about encountering Irving Berlin himself during a youthful trip to New York City, which in turn served as the basis for Rupert Holmes's "People That You Never Get to Love." It was an example of the solid dramatic structure of Significant Others, in which the experienced hand of Ms. Koutrakos was evident.

The show closed with a little something they didn't get in the Big Apple: James Taylor's "Sweet Baby James" sung in harmony with St. Louis singers Jeff Wright and Dionna Raedeke as a tribute to the late Neal Richardson, whose work as an arranger, music director, and educator enriched the lives of so many here in St. Louis before his own life was tragically cut short by illness earlier this year. It was a moment of true beauty.

Significant Others was, in short, a perfect blend of laughter and tears delivered by a singer who is now a master of her art, riding on Mr. Jensen's impeccably tailored arrangements. Our loss has been New York City's gain, and it was nice to see Ms. McGrath once again holding forth on her home turf. Let us hope she returns soon.

Significant Others was produced by The Presenters Dolan as part of the fall edition of the Gaslight Cabaret Festival, which concluded on November 11.