I caught up with Scott Schoonover, the Artistic Director
and
Conductor of Union Avenue Opera,
for
a chat about the company’s 20204 season. This interview is based
on
our Zoom call, with the usual edits for clarity and brevity (“the
soul of wit,” as Shakespeare wrote).
Chuck Lavazzi
So you're opening with Bizet’s “Carmen” and then a concert staging
of Verdi’s “Aida” and finally Sondheim’s “Into the Woods.”
Scott Schoonover
Right.
Chuck Lavazzi
Often the third show at UAO is a Broadway musical. I see others
doing this. Is this going to be something you're going to be doing
more of in the future?
Scott Schoonover
I think we'll continue to do it. It's not that we plan necessarily
to do it every single year for the rest of our lives, but for the
moment, it's working for us. And it's been a real boon to ticket
sales, especially post pandemic, trying to get things back up on
their feet.
And also, we ended up having a lot of fun with it. It’s sort of a
different medium of storytelling and for us the fun of opera is
the storytelling. And from what we hear from our audiences, they
really enjoy seeing those musicals and hearing them sung without
mics, which is really an interesting change from what they get to
hear other places.
Chuck Lavazzi
Yes, that is a rare experience. As an audience member and as a
critic, I've kind of gotten tired of going to see musicals that
are always amplified. Half the time I find that the amplification
makes a lot of the lyrics incomprehensible.
Scott Schoonover
I know. Me too. Yeah
Chuck Lavazzi
This raises another question. Is it sometimes difficult to find
shows, non-operas, that will work in an operatic setting? I mean,
obviously, “Ragtime” works because it's almost an opera, and
Sondheim shows have a lot of musical depth to them.
Scott Schoonover
Yeah, and sort of Golden Age shows, Rodgers and Hammerstein, those
sorts of things. I mean, they were written to be unamplified in
the beginning.
Sondheim is an interesting guy because in my brain, he has a
classical sense about him. “A Little Night Music”
was my first choice in that sense because I felt like it really
was operatic in so many ways.
Chuck Lavazzi
Well, “Sweeney Todd” also.
Scott Schoonover
Yeah. And I intend to do “Sweeney Todd” at some point, for sure.
And I’m also a big fan of Kurt Weil, which I want to do in the
future too. We aren't going to announce our 2025 season until our
big gala this fall. But we're working on some options for that.
And also, of course, the first two shows this season.
Chuck Lavazzi
Well, let's start with “Carmen.” I mean, this is one that's very
popula.r
Scott Schoonover
For the 30th season, I wanted to do three kind of big ensemble
shows that had a lot of popular appeal to kind of make a big
statement. And “Carmen” certainly is always the most popular piece
when we put out an audience survey.
I think it's just one of those operas that people know. They enjoy
hearing the music and it's got all the elements of a popular show.
It's got this rebellious, sexy character who is at the center of
it. And it's a dramatic story. There are things that tug at your
heartstrings. There's a kid's chorus. There are all sorts of great
things about it that people seem to like.
 |
| Elise
Quagliata |
And our Carmen, Elise Quagliata, has been at Union Avenue many,
many times over the past several years and has gone on to have a
pretty sizable career. Among a couple of roles that she does a lot
is Carmen. I've gotten to see major clips of her doing the show
and I keep wanting to engage her in this conversation. It happened
that she had free time during the summer, so she's going to be our
Carmen.
I can tell you already in rehearsals, it's so fun to watch her
work and see. Just all the different things that she brings to it
and all the different productions that she has been through in her
life, all the different ideas that are there
Chuck Lavazzi
Well, and there are so few really meaty leading roles for women
with lower voices.
 |
| Joel Balzun |
Scott Schoonover
That's true. That's a good point.
Chuck Lavazzi
So it's always good to see them on stage.
Scott Schoonover
Our Don Jose and Escamillo (Brendan Tuohy and Joel Balzun) are
both making their debuts with us and they're wonderful. And then
Meroë Khalia, who played the governess last year in “The Turn of the Screw,”
is playing Michaela, which is the really touching sweet role of
the home girlfriend of Jose, who comes twice to try to find him
and give him messages from his mother. And she has a beautiful
aria in the show.
Chuck Lavazzi
I think this is a very hard part to do credibly because she's
written as such a cliche victim.
Scott Schoonover
She is. I agree with that in terms of the character. But the other
thing about it is the Bizet gives her the only really beautiful
music in the whole piece. It was so touching to hear her sing that
aria. I think people are going to really love her.
Chuck Lavazzi
What kind of a production concept are you doing? Is it more or
less traditional?
 |
| Meroë Khalia |
Scott Schoonover
Yeah, it's pretty traditional. We have a unit set that is used in
different ways. It's a beautiful set and it's got a backdrop. It's
very traditional Seville, the time period they're used to. The
soldiers are in the yellow uniforms that they're supposed to be in
and all that kind of stuff.
Mark Freiman is directing this one. I think he has a nice eye for
the pictures of the stage. A lot of little nice details go into
what he's doing. The concept I would say is “just tell them the
story.”
Chuck Lavazzi
So let's go on to what I think is the really unusual one here: The
concert version of “Aida.” I don't know if there are any companies
in St. Louis that could actually do it as written because of its
size. So how are you approaching this? Is it going to be just a
concert setting, semi-staged, or what?
Scott Schoonover
We're going to have a basically blank stage with the blacks [black
curtains] around the back and then the chorus will be seated.
There's a chorus of 30, which is a pretty big group. There are 16
men and 14 women. And it's a really big sound.
They'll be seated on stage and then in front of them will be the
principals. And they're going to stand and come to the front of
the stage when they would be on stage. There won't be any
projections or anything like that. The only thing that will sort
of change is that when the chorus is singing, they'll be lit and
when they're not singing, they won't be lit.
 |
| Marsha
Thompson |
So it focuses the energy on the front of the stage when it's
just the principals. The principals are singing from memory, and
they'll be in concert attire, but they're going to be acting.
They're going to be relating to one another as they would in the
opera.
Our Aida, Marsha Thompson, is a bit of a known quantity. She was
our Abigaille in “Nabucco” a few years
ago and she's sung Aida several times already in her career. Our
Radames, Limmie Pullia, just covered [understudied] the role at
the Metropolitan Opera and he got to go on stage in the part, to
great success. He’s from Southern Missouri and so he was like,
“yeah, I really would love to be able to do this in my home
state.”
 |
| Limmie
Pullia |
Melodie Wilson, who is a favorite here, is our Amneris. There are
lots of roles in the show, but those are the three that have the
bulk of the arias.
It's going to be really full in there, similar to [our
production of] “Ragtime” in a way,
but even bigger. Interestingly, we got a lot of the ragtime folks
back in to do “Aida,” which is kind of cool.
Chuck Lavazzi
Regarding the size of the chorus and cast, what kind of challenges
does that present to you as a music director in terms of making
sure everything is sonically clear?
 |
| Melodie
Wilson |
Scott Schoonover
I talk to them about that a lot in rehearsals. I often make the
endings of phrases a little shorter, so that there's a space
in between. So, for example, if there's a quarter note at the end
of a phrase, I'll usually make that into a short eighth note, so
that we actually get in that space. It sounds a little truncated
in the rehearsal room, but when you go in the auditorium, it
sounds exactly right. We have to overstep everything up a little
bit in terms of articulation to make it work.
Chuck Lavazzi
More pointed and precise.
Scott Schoonover
Yeah, exactly. But it doesn't sound like that out front. It just
sounds clear, but that's what you have to do in order to make it
work.
We love the acoustic of the auditorium. One of the things that I
can't imagine is before the 1950s renovation of the building they
used to have wooden round pews, like they have up in the balcony,
and a wooden floor. I can't imagine what it sounded like in there
back then before carpeting and before those padded seats. It would
have been just insanely live. Now it just gives a nice balance
with the orchestra being in the pit. I love our space. I wouldn't
trade it
Chuck Lavazzi
Any other special events coming up that we need to talk about?
Scott Schoonover
Oh, I just want to say about “Into the Woods” that Jenny Wintzer
is directing. She has done a lot theater producing in the St.
Louis area. She used to be at COCA and has been
involved Shakespeare in the Park [St. Louis Shakespeare
Festival]. She's a wonderful director, and we're having a
lot of fun pulling all that together.
Laura Skroska is designing the set for this. We're using the whole
auditorium as the set. So it's not just the stage that's going to
be decorated. I think people will enjoy that a lot.
In terms of special events, we have the Backstage Pass luncheon
concerts [June 25, July 23, and August 6]. There's one for each of
the shows, and it's a chance to meet the singers and to hear what
the directors have in mind. You get a lunch, and you get to hear
two scenes from the opera itself, and then each of the four
principles sings a piece of their choosing.
And then we have our 30th anniversary gala celebration, which is
Thursday, October 17th. That is a sit-down dinner where we're
going to recognize lots of people who've been involved in the last
30 years. Christine Brewer is
the honorary chair. It will be at the Barnett on Washington.
Chuck Lavazzi
Cool.
Scott Schoonover
Yeah, it's gonna be a really nice evening.
The Essntials: Union Avenue Opera’s 2024 season runs
from July 5th through August 24th at the Union Avenue Christian
Church in the Central West End. For information and tickets,
including the Backstage Pass series 30th Anniversary Gala, visit their web site.
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