Sing like an Egyptian

By now, it’s old news that Union Avenue Opera’s (UAO) concert version of Giuseppe Verdi’s 1871 opera Aïda was a massive hit.  In his review for KDHX, Benjamin Torbert called it “superbly sung” and went on to praise the singers and musicians in great detail.  “The excellent cast gave compelling interpretations,” wrote Gerry Kowarsky over at HEC Media, “a most welcome gift to St. Louis operagoers.”

Having seen the final performance on August 3rd, I must heartily agree.

L-R: Marsha Thompson, Melody Wilson
Photo: Dan Donovan

Soprano Marsha Thompson and mezzo Melody Wilson, who last appeared at UAO in their impressive Nabucco in 2018, were once again romantic antagonists as, respectively, Aïda and Amneris. Both women were vocally formidable and theatrically savvy. Wilson, in particular, brought a welcome element of slinky cunning to her character.

Despite an upper respiratory infection that plagued him for the entire run, tenor Limmie Pulliam gave what can only be called a heroic performance as the heroic Radamès, with a passionate and ringing “Celeste Aïda.” If this was what he sounds like when he’s sick, I can only wonder what he can do when he isn’t.

Bass-baritone Lloyd Reshard was a commanding presence as Aïda’s dad Amonasro, whose decision to place patriotism over patrimony has tragic consequences. Baritone Todd Payne was an equally forceful King of Egypt. Baritone Jacob Lasetter, replacing Joseph Lodato on short notice (he had to learn the part in a week), was credibly solemn as the High Priest Ramfis.

L-R: Jacob Lassetter, Marsha Thompson,

Limmie Pulliam, Todd Payne, Melody Wilson
Photo: Dan Donovan

The roles of the High Priestess and the Messenger were taken by chorus members Danielle Yilmaz (soprano) and R. Nathan Brown. Both turned in first-rate performances, with Yilmaz the kind of vocal power you usually see in larger roles—not surprising when one realizes that she’s a principal soprano with the St. Louis Symphony Chorus. Her defiant performance of “Die Trommel gerühret” (from Beethoven’s incidental music for Egmont) was one of many highlights of the SLSO’s all-Goethe concert last year

Finally, let me congratulate the orchestra and chorus for their fine work. A chorus of 30 and an orchestra of 22 might not be particularly imposing in a large hall, but they sounded big and polished in UAO’s relatively small space at the Union Avenue Christian Church. Kudos as always to Conductor and UAO Artistic Director Scott Schoonover for a clear and well-paced reading of the score.

Aïda in 1928 at The Muny

A fully staged Aïda is a massive, eye-popping spectacle—a "grand opera" in the tradition of Meyerbeer, with lavish sets and costumes, a corps de ballet and even live animals. That calls for the kind of big stage and deep pockets that our local companies don’t have. The last time we had one, in fact, was in 1928, at The Muny. Since then, the closest we have gotten to a full-metal Aïda was the St. Louis Symphony Orchestra’s semi-staged version with digitally projected sets in 2015.

Union Avenue’s “no frill”s concert version demonstrated that one can abandon staging altogether and still deliver all the dramatic thrills Verdi had in mind. Anyone looking for an object lesson in how to deliver what RCA Victor modestly describes as “unquestionably the most stupendous experience available to the music-lover” (How to Get the Most Out of Your Victrola, 1919) on a modest budget should routinely put UAO’s season on their calendar.

Union Avenue Opera closes its 2024 season with Stephen Sondheim’s Into the Woods August 16th through 24th. Given their enviable track record with Broadway shows, it would be wise to visit their web site for tickets sooner rather than later.