Symphony Preview: A hazy shade of winter

Hannu Lintu
Photo: Marco Borggreve

Spring may be on its way, but this Friday and Sunday (March 14 and 16) a brisk Nordic breeze will, sonically speaking, waft through the Touhill Performing Arts Center for the first half of  the St. Louis Symphony Orchestra concert as Finnish guest conductor Hannu Lintu presents a pair of works from his native land. They’re part of a tribute to the late Helsinki-born composer Kaija Saariaho, who died of a brain tumor in 2023.

The concerts open with Saariaho’s “Ciel d’hiver” (“Winter Sky”), which had its local premiere on October 7, 2022, under the baton of Jonathon Heyward. My description of it here comes from the preview article I wrote back then.

Since 1982, Saariaho had been living in Paris, where her studies at the Institute for Research and Coordination in Acoustics/Music (IRCAM) convinced her to turn away from serialism and towards spectralism, a movement that treats orchestral color (the sonic spectrum) as a compositional cornerstone.  You can hear that in the rich acoustic palette of “Ciel d’hiver,” which is a 2014 re-orchestration of the second movement of Saariaho’s 2002 suite "Orion."

Kaija Saariaho
Photo courtesy of the SLSO.

Beginning with high woodwinds suspended over growling low notes with not much in between, the work strongly suggests the bleak emptiness of a dark, chilly night. The aurora borealis shimmers in the exotic percussion battery, and eventually the winds begin to moan ominously. Finally the sky clears to a tinkling piano motif and an evanescent cello melody and it all fades to black.

All that suggests, as W.C. Fields repeatedly declaims in “The Fatal Glass of Beer,” that “it ain’t a fit night out for man nor beast.” But this music has a forbidding beauty all the same.

Up next is the local premiere of the 2024 Viola Concerto by Magnus Lindberg (b. 1958) with soloist Lawrence Power, for whom the concerto was written. I interviewed Lindberg about it on my YouTube blog:

Lindberg’s comments on the virtues of writing for an 18th century-sized orchestra (strings, woodwinds, and trumpets only) are especially interesting, as are his thoughts on how his approach to composition has evolved over the decades.

The concerts conclude with the Symphony No. 2 in C major, Op. 68 by Robert Schumann (1810–1856). Written in 1845 and 1846, it’s the product of a time in the composer’s life marked by both an intense burst of creativity and an onset of the illness that would eventually destroy both his mind and body. If the first half of the program is about varieties of darkness, then Schumann’s symphony is about an eventual emergence into the light.

“For several days,” he wrote to his friend Felix Mendelssohn in September of 1845, “drums and trumpets in the key of C have been sounding in my mind. I have no idea what will come of it.” What came of it was the fanfare-like motif that dominates the Sostenuto assai – Allegro, ma non troppo first movement. Although highly reminiscent of the fanfare that opens Haydn’s Symphony No. 104 (“London”), it’s much more emotionally ambiguous, especially in the overall context of a movement that Judith Chernaik (in Schumann: The Faces and the Masks, 2018) describes as “agitated, even distraught in feeling.” Indeed, both the first movement and the Scherzo second movement can come across as a mix of the energetic and febrile, depending on how the conductor approaches them.

Schumann recognized that there was an element of agony and conflict behind the symphony. “I sketched it out,” he wrote to Mendelssohn, “while suffering severe physical pain; I may well call it the struggle of my mind, by which I sought to beat off my disease.” That struggle is most apparent in the anguished Adagio espressivo third movement, which Chernaik accurately describes as “an unmediated expression” of the composer’s suffering. It’s only in the Allegro molto vivace finale that he shows us his hope of returning health.

P.S. I put together my own playlist for this one so that I could include the world premiere recording of Lindberg’s concerto as well as a recording of the Schumann Symphony No. 2 by the SLSO under the baton of the late Jerzy Semkov, who was Music Director of the orchestra from 1975 to 1979.. 

The Essentials: Hannu Lintu conducts the St. Louis Symphony Orchestra and soloist Lawrence Power in the Viola Concerto by Magnus Lindberg, Kaija Saariaho’s “Ciel d’hiver,” and Schumann’s Symphony No. 2. Performances take place at the Touhill Performing Arts Center on Friday at 7:30 pm and Sunday at 3:00 pm, March 14 and 16. The Friday concert will be broadcast on Saturday night, March 15, at 7:30 pm on St. Louis Public Radio and Classic 107.3.

St. Louis theatre calendar for the week of March 10, 2025

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out

Albion Theatre Company presents The Beauty Queen of Leenane by Martin McDonagh March 14 through 30. “Set in the small town of Leenane, County Galway, Ireland, The Beauty Queen of Leenane tells the darkly comic tale of Maureen, a lonely woman in her early 40s, and Mag, her manipulative aging mother. Mag’s interference in Maureen’s first and possibly final chance of a loving relationship sets in motion a train of events that leads inexorably towards the play’s terrifying denouement.” Performances take place in the Black Box Theatre at the Kranzberg Center, 501 N. Grand in Grand Center. For more information: albiontheatrestl.org.

The Black Rep presents The Wash by Kelundra Smith March 12 through 30. “Ordinary women become working class heroes in this true story of the Atlanta 1881 Washerwomerl' Strike. America's first successful interracial organized labor strike. Tired if being overworked and underpaid, Black laundresses stage a strike just weeks before the International Cotton Expedition comes to town. The story gives us an intimate and often humorous peek at the women who fought for their rights and won. Presented as part of a National New Play Network Rolling World Premiere.” Performances take place at the Catherine B. Berges Theatre at COCA. For more information: www.theblackrep.org.

Who Killed Aunt Carloine?
Photo: John Lamb

Clayton Community Theatre presents the mystery Who Killed Aunt Caroline?, Thursdays through Saturdays at 7:30 pm and Sundays at 2 pm through March 16. “Following the struggling Endicott family, a murder takes place in their residence; this raises questions about inheritance and the character of this not-so-innocent family and those they call ‘friends.’” Performances take place at the Washington University South Campus Theatre, 6501 Clayton Rd. For more information: www.placeseveryone.org.

Mean Girls
Photo: Jeremy Daniel

The Fabulous Fox presents the musical Mean Girls Friday through Sunday, March 14 through 16. “Cady Heron may have grown up on an African savanna, but nothing prepared her for the vicious ways of her strange new home: suburban Illinois. Soon, this naïve newbie falls prey to a trio of lionized frenemies led by the charming but ruthless Regina George. But when Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a Queen Bee without getting stung.” The Fabulous Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

First Run Theatre Playwright’s Workshop presents a reading of the one-act plays Inside Boone Smalley and The Pachyderm by Kenn Stillson on Monday, March 10, at 6:30 pm. “Inside Boone Smalley is an expressionistic comedy about a simple man living in the nightmarish purgatory of his family room in 1998. It's prom night, and his loud and overbearing wife and his hellion daughter engage in an epic battle before and after the arrival of the girl's prom date . The Pachyderm is an absurdist comedy that asks the question, ‘How does the majority of Americans simultaneously lose their collective minds and reelect a clownish fraud and convicted felon to become president of the most powerful country in the history of the world? They drink the Kool-Aid.’” The readings take place at Square One Brewery and Distillery in Lafayette Square. For more information: firstruntheatre.org.

Kirkwood Theatre Guild presents comedy Into the Breeches March 14 through 26. “WWII era. Oberon Playhouse’s director and leading men are off at war. Determined to press on, the director’s wife sets out to produce an all-female version of Shakespeare’s Henriad, assembling an increasingly unexpected team united in desire, if not actual theatre experience. Together they deliver a delightful celebration of collaboration and persistence when the show must go on!” Performances take place at the Strauss Black Box Theatre in the Kirkwood Performing Arts Center. For more information, ktg-onstage.org

The Rocky Horror Show
Photo: Jill Ritter Lindberg

New Line Theatre presents the rock musical The Rocky Horror Show through March 22. “As the Culture Wars continue to escalate, ROCKY HORROR is as relevant today as it was in the early Seventies, a brilliantly creepy, wickedly funny satire that spotlights Americans' frequent cultural freak-outs, all told in the language of 1930s horror-sci-fi movies, 1950s "physique" magazines, and 1970s punk rock. This glam-punk celebration of the mad variety of human sexuality and gender is particularly timely right now.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com.

The Theatre Guild of Webster Groves presents Herb Gardner’s comedy A Thousand Clowns Friday and Saturday at 7:30 pm and Sunday at 2 pm through March 16. Performances take place at the Guild theatre at 517 Theatre Lane, at the corner of Newport and Summit in Webster Groves. For more information: www.webstergrovestheatreguild.com.

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

To get your event listed here, send an email to chukl at pobox dot com. Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.

Symphony Review: Gemma New returns for a celebratory Beethoven Ninth

Gemma New. Photo by Chris Christodoulou

Guest conductor Gemma New, in comments preceding her appearance with St. Louis Symphony Orchestra (SLSO) last Saturday (March 1), said that the concert would be about “celebrating our Earth and our life upon it.” Certainly the work that opened the evening, the local premiere of “Hymn to the Sun” by St. Louis’s own Kevin Puts (b. 1972), was quite a party.

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

Commissioned by the Sun Valley Summer Symphony in 2008, “Hymn to the Sun” is described by Puts as “a wild, sacred dance to call forth the sun and all its powers, and then the sudden and magnificent rising on the horizon.” It absolutely was that on Saturday night, with terrifically demanding writing for the percussion section (especially the marimbas, xylophone, and piano) and elaborate passages for the flutes. The mood abruptly shifted to a powerful chorale for the strings—the hymn of the title—before returning to the sense of wild revelry that opened the work.

Props to percussionists Will James, Alan Stewart, Kevin Ritenauer, and Charles Renneker; pianist Peter Henderson; and the members of the flute section: Jennifer Nitchman, Jennifer Gartely, and Ann Choomack (doubling on piccolo). New led her forces through this elaborate web with that perfect mix of what my fellow critic Gary Liam Scott described as “poise and control” a few years ago.

The mood turned reverential with the next work (also a St. Louis premiere) the Fantasia and Fugue in C minor, BWV 537, by J.S. Bach (1685–1750) in a 1921 orchestration by Sir Edward Elgar (1857–1934). Elgar employs the full resources of the post-Wagner orchestra (around 80 players) with spectacular results, especially in the final moments of the fugue.

Elgar doesn’t unleash the full power of that big band for the first time until nearly the end of the fantasia, which begins with the main theme played by the oboes and clarinets—done with great feeling Saturday by Phil Ross and Xiomara Mass (oboes) along with Abby Raymond and Thomas Frey (clarinets). Shannon Wood on tympani and (I think) Will James on bass drum provided the ominous processional tread that Elgar added to Bach’s original. The composer doesn’t pull out all the stops again, so to speak, until the final pages of the fugue, when the horns and bras sections really come to the forefront. They sounded terrific Saturday night, especially Thomas Jöstlein’s horns in those exposed trills.

New possesses a singular combination of artistic sensitivity and fine craftsmanship, especially when it comes to revealing sonic details. I could, for example, hear that in the way she kept the threads of the fugue clearly delineated while losing none of the raw power of the composer’s orchestration. This was a classic case of the iron fist in the velvet glove, a fine mix of finesse and force.

The same was true of her take on the evening’s Big Event, the Symphony No. 9 in D minor, Op. 125 (Choral) by Ludwig van Beethoven (1770–1827). Ideally, the Ninth ought to open with a mix of otherworldly mystery and tension, like the components of a nebula spiraling together to form a star, moving from pianissimo violins over a horn pedal point to a fortissimo statement of the first theme by the full orchestra. With the right pacing and instrumental balance, that first movement (Allegro ma non troppo e un poco maestoso—“not too fast and somewhat majestically”) should grab one by the throat.

The SLSO did all that and more under New’s direction. She  is, as I have written previously, an engrossingly theatrical conductor who engages on a very physical level with the score. Her big, sweeping gestures are a kind of 3-D metaphor for the music, bringing an added visual dimension to an already persuasive performance.

The first movement was rich in orchestral detail and forward momentum. The Molto vivace—Presto second movement featured some delightfully precise playing by the horns and woodwinds. The Adagio third had a balletic flow and heightened the contrast with what went before. And then there was the famous choral finale.

In looking over my notes from Saturday night, I find that my handwriting (which is never all the clear, even to me) deteriorated to chicken scratches as I tried to keep up with all the great things happening on stage. The vocal quartet was quite impressive, particularly bass-baritone Nathan Berg, who sang from memory and was deeply connected to the lyrics. 

Tenor Jamez McCorkle was a bit more dependent on his score but nevertheless turned in a fine performance in the alla Marcia solo. The decision to put the marching band in its own space stage right worked very well here, allowing the audience to hear both it and soloist quite clearly.

Soprano Susanna Phillips and mezzo Sasha Cooke, both familiar faces locally, rounded out the quartet in fine style, their powerful voices blending perfectly.

Under Erin Freeman’s direction, the SLSO Chorus were in top form. Their enunciation was crisp and their vocal lines clear, even during the complex contrapuntal moments in the choral finale. Beethoven, as New remarked back at the top of the evening, was a great admirer of Bach—a fact that is abundantly clear in Ninth. Indeed, in the hands of some conductors (the late Wilhelm Furtwängler comes to mind) Beethoven’s writing can be a bit of a strain for the singers. Happily, New and Freeman appear to have a better grasp of what works best for choristers.

So, yes, another immensely satisfying Beethoven Ninth from the SLSO. The last time they did it (February 2020) with Stéphane Denève at the podium, I praised their performance as “the Ninth against which all others must now be measured.” This one, I’m pleased to report, measured up quite well.

Next from the SLSO: Jason Seber conducts the orchestra in David Arnold’s score for the 2006 film version of Ian Fleming’s Casino Royale as the movie unspools on the big screen overhead at the Stifel Theatre. Performances are Saturday at 7:00 pm and Sunday at 2:00 pm, March 8 and 9.

Symphony Preview: Sleepers, awake!

“What’s so funny,” asked songwriter Nick Lowe in 1974, ”‘bout peace, love and understanding?” Good question, that. These days, it seems, it’s not so much “funny” as anti-American. And, of course, “woke.”

How is this relevant to the St. Louis Symphony Orchestra (SLSO) concerts former Assistant Conductor Gemma New (now Principal Conductor of the New Zealand Symphony Orchestra) will lead this Saturday and Sunday (March 1 and 2)? Simple: it’s relevant because the featured work is the Symphony No. 9 in D minor, Op. 125 (Choral) by Ludwig van Beethoven (1770-1827)—music that, in its advocacy of universal human fellowship, is about as “woke” as a 200-year-old piece can get.

[Note: at this point I’m going to quote—ahem—liberally from the article I wrote in 2020 for the SLSOs last performance of the Ninth. It’s still very relevant, trust me.]

The symphony’s commitment to inclusivity is clear from the first verse of Friedrich Schiller's poem "An die Freude" ("Ode to Joy"), which Beethoven uses in modified form as the text for the final movement:

Freude, schöner Götterfunken,
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum!
Deine Zauber binden wieder
Was die Mode streng geteilt;
Alle Menschen werden Brüder
Wo dein sanfter Flügel weilt.

Which, in a singable English translation, becomes:

Joy, thou source of light immortal,
Daughter of Elysium!
Touched with fire, to the portal,
Of thy radiant shrine, we come.
Your sweet magic, frees all others,
Held in custom's rigid rings,
All men on earth become brothers,
In the haven of your wings.

It's hard to justify warfare, apartheid, oligarchy, and other core ideas of the far right with those sentiments. Ditto autocratic rule, which is not surprising, given that Beethoven was "a staunch republican and in both his letters and conversation spoke frequently of the importance of liberty."

Bernstein at the Berlin Wall.
Photo by Andreas Meyer-Schwickerath

The late Leonard Bernstein certainly understood that. In December 23, 1989, he led an orchestra of musicians from New York, London, Paris, Leningrad, and both East and West Germany in a performance of the Ninth in Berlin to celebrate the lifting of regulations governing travel between East and West Berlin—a change which marked the beginning of the end of the infamous Berlin Wall. To drive the point home, he changed the word "freude" ("joy") to "freiheit" ("freedom"), making it literally an "Ode to Freedom."

Maybe it’s time to revisit that change. Especially since it has often been speculated that “Freiheit” was the word Schiller originally planned to use anyway. “The thought lies near,“ wrote Alexander Wheelock Thayer in Volume III of his Life of Ludwig van Beethoven, “that it was the early form of the poem, when it was still an ‘Ode to Freedom’ (not ‘to Joy’), which first aroused enthusiastic admiration for it in Beethoven’s mind.” Maybe it’s time for a performance at Lincoln Center?

Let me conclude with nine interesting (I hope) facts about Beethoven's Ninth:

1. By the time the Ninth had its premiere, Beethoven was already completely deaf. He never heard a note of his last major work live.
2. Nevertheless, Beethoven "had absolute pitch, so he could imagine the sounds and the harmony in his mind without hearing them on an instrument."
3. Beethoven spent at least three decades trying to set Schiller's poem to music. As an article on the Ninth in the Encyclopedia Britannica notes, the composer started working on a musical setting of the poem as early as the 1790s and, once he finally decided to include it in his symphony, he "considered and rejected more than 200 different versions of the 'Ode to Joy' theme alone."
4. The music (but not the words) of Beethoven's setting of the "Ode to Joy" was adopted by the Council of Europe as its anthem in 1972 and as the official anthem of the EU in 1985.
5. That last fact might explain why, on July 2, 2019, members of Nigel Farge's Brexit party attending the European Parliament in Strasbourg petulantly turned their backs on a performance of the EU anthem.
6. All audio CDs are 12 cm in diameter because that was the size necessary to accommodate a complete performance of the Ninth which usually runs between 65 and 74 minutes.
7. The instruments used by contemporary orchestras are, in many cases, very different from those used in Beethoven's day, so most contemporary performances sound very different from what the audience would have heard at the 1824 premiere. Roger Norrington's 1987 recording with the London Classical Players (a personal favorite of mine) was the first one to use reproductions of period instruments. At 62 minutes, it's also one of the shortest.
8. The finale of the Ninth makes huge demands on the chorus. You can hear that most clearly in Wilhelm Furtwängler's 1951 Bayreuth Festival recording (another of my favorites, even if it comes from a completely different universe than Norrignton's). At 74 minutes, it's one of the longest.
9. Bottom line: the Ninth is great enough to have inspired wildly different interpretations from both critics and performers. As Nicholas Cook wrote in his book "Beethoven: Symphony No. 9" (cited in an excellent article by Tom Service at The Guardian): "Of all the works in the mainstream repertory of Western music, the Ninth Symphony seems the most like a construction of mirrors, reflecting and refracting the values, hopes, and fears of those who seek to understand and explain it ... From its first performance [in Vienna in 1824] up to the present day, the Ninth Symphony has inspired diametrically opposed interpretations."

Kevin Puts. Photo by David White.

Sharing the bill with the Beethoven Ninth back in 2020 was the “Silent Night Elegy” by St. Louis-born composer Kevin Puts. His music will keep company with Beethoven’s again this weekend as the concerts open with the St. Louis premiere of his “Hymn to the Sun,” commissioned by the Sun Valley Summer Symphony in 2008. In his program notes, Puts cites the “ancient Egyptian appeal to the deific sun” as the inspiration for the piece:

“I imagined a wild, sacred dance to call forth the sun and all its powers, and then the sudden and magnificent rising on the horizon. The image of the sun’s rays binding all the lands is particularly moving to me in the context of today’s tense global climate.”

“Hymn to the Sun” isn’t available on Spotify, so it’s not part of my playlist, but you can watch a 2017 video by the Detroit Youth Symphony Orchestra that makes it abundantly clear how accurate the composer’s description is. Puts wrote it as a “curtain raiser” and to my ears it more than meets the requirements for that category.

The mood turns more solemn with the next work—another St. Louis premiere. It’s the Fantasia and Fugue in C minor, BWV 537, by J.S. Bach (1685–1750) in a 1921 orchestration by Sir Edward Elgar (1857–1934). As orchestral transcriptions of Bach’s organ works go, I’d say it’s quite a decent one.

Elgar circa age 60, from
The Musical Quarterly,
Vol. 3, No. 2 (April 1917)

I’ve provided an excellent 1980 recording of the Bach original by the legendary Marie-Claire Alain as the first item in my playlist, followed immediately by Elgar’s orchestration performed by our own Conductor Laureate Leonard Slatkin and the BBC Philharmonic. Listen to them back to back and I think you’ll agree that Elgar did a masterful job of translating Bach into the idiom of early 20th-century orchestra.

The final moments of both the Fantasia and the Fugue employ the full resources of the post-Wagner orchestra with spectacular results. We’re talking over 80 musicians, including five horns, three trumpets, three trombones, tuba, two harpists, and seven percussionists. Even for the Stifel stage, that’s quite party.

The Essentials: Gemma New conducts the St. Louis Symphony Orchestra and vocal soloists Susanna Phillips (soprano), Sasha Cooke (mezzo-soprano), Jamez McCorkle (tenor), and Nathan Berg, bass-baritone in the Symphony No. 9 by Beethoven. Also on the program are two St. Louis premieres: “Hymn to the Sun” by Kevin Puts and the Fantasia and Fugue in C minor, BWV 537, by Bach (arr. Elgar). Performances are Saturday at 7:30 pm and Sunday at 3 pm, March 1 and 2, at the Stifel Theatre, downtown.

The Saturday performance will not be broadcast live, but at 7:30 pm that night St. Louis Public Radio will play a recording of the February 8, 2020 Beethoven Ninth with Stéphane Denève conducting. At the time, I called that the best damn Beethoven Ninth that I have ever heard. If you’re not going to be at Stifel that night, I recommend tuning in.

Symphony Review: Afkham and Ashkar are a Dynamic Duo with the SLSO

David Afkham. Photo by Gisela Schenker courtesy of the SLSO

It’s always intriguing to see what happens when a guest conductor makes his debut with the St. Louis Symphony Orchestra. German-born conductor David Afkham’s first appearance with the orchestra last Sunday (February 23) was quite a striking one, with dynamic performances of Mozart, Brahms, and contemporary (b. 1985) Finnish composer Outi Tarkiainen.

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

This weekend marked the second appearance of Tarkiainen’s music on an SLSO program (the first was her 2019 “Midnight Sun Variations” in 2021), and I was struck with the similarity between that work and the one we’ll hear this weekend, her 2021 “The Ring of Fire and Love” from 2021. Both works begin and end quietly with the orchestra’s highest voices playing against the lowest, both build to a blow-your-hair-back sonic explosion, and both conclude almost (but not quite) as they began.

Both were also heavily influenced by the experience of Tarkiainen giving birth to her first child and both have a strongly visual aspect for the composer, who is synesthetic—someone who literally sees music as colors. In this respect, she’s in some august company, including Scriabin, Rimski-Korsakov, and Gully Foyle in Alfred Bester’s science fiction classic “The Stars My Destination” (which, BTW, now looks eerily prescient).

Those superficial similarities aside though, “The Ring of Fire and Love” feels like a much bigger and more cinematic work. In a BBC interview, the composer described “Midnight Sun Variations” as being mostly about “the colors of the northern sky during the summer…but also about the opening of a woman’s body to accommodate a new life.” As Tarkiainen writes on her web site, “The Ring of Fire and Love” extends the scope to include the geological and astronomical “Rings of Fire” as well as birth experience:

Outi Tarkiainen. Photo by Saara Salmi
courtesy of the SLSO

“The Ring of Fire is a volcanic belt that surrounds the Pacific Ocean and in which most of the world’s earthquakes occur. It is also the term referring to the bright ring of sunlight around the moon at the height of a solar eclipse... Yet, the same expression is also used to describe what a woman feels when, as she gives birth, the baby’s head passes through her pelvis. That moment is the most dangerous in the baby’s life, its little skull being subjected to enormous pressure, preparing it for life in a way unlike any other. The Ring of Fire and Love is a work for orchestra about this earth-shattering, creative, cataclysmic moment they travel through together.”

“Cataclysmic,” as it happens, is a pretty good way to describe the experience of seeing “The Ring of Fire and Love” live. The delicate passages for harp, celesta, and muted trumpet that make up most of the second half of the work were nicely done by Megan Stout, Peter Henderson, and Steven Franklin, respectively. The combination of shrieking high woodwinds and ominous, growling percussion that open the piece conjure images of something big and dramatic—a promise kept by the massive orchestral blowout at almost exactly the halfway point.

The piece was a major attention grabber. Vast quantities of congratulations are due to all concerned.

Piano Concerto No. 24 in C minor, K.491 by W.A. Mozart (1756–1791), while lacking the HD flash of “The Ring of Fire and Love,” is still a strikingly dark and dramatic work. First performed in 1786 in Vienna, it’s scored for what was, for Mozart’s time, a pretty large orchestra, including woodwinds, horns, and tympani. The long, dramatic opening movement would have felt like cutting-edge stuff at the time and is widely viewed as one of his greatest piano concertos. Beethoven and Brahms were both big fans.

Soloist Saleem Ashkar was a perfect choice for this material. When he made his debut here with the Mendelssohn Concerto No. 2, I noted the impressive combination of technical skill and terpsichorean lightness in his playing—both of which were evident on Sunday. His cadenzas (Mozart didn’t provide any) had a Beethoven-esque feel to them that might be out of place in an earlier Mozart concerto but felt exactly right here. Afkham’s direction did not stint on the darkness that pervades the concerto, especially in that first movement, but it also brought out the tenderness in the in second movement. Yes, there moments in that movement where the drama returns, but overall it felt almost like a cradle song.

Saleem Ashkar, photo courtesy of the SLSO

The concert concluded with the Symphony No. 1, Op. 68, by Johannes Brahms (1833–1897). Like the Mozart concerto, it’s in C minor and like “The Ring of Fire and Love” it begins on a portentous note with strings Un poco sostenuto over the steady tread of the tympani. Like many composers of his time, Brahms composed in the looming shadow of Beethoven (“You have no idea what it's like to hear the footsteps of a giant like that behind you,” he once said), and I tend to hear those footsteps in that introduction. Certainly Afkham’s reading had plenty of ominous weight, offering an effective contrast with the propulsive Allegro that followed.

The Andante sostenuto second movement featured meltingly lovely solos from Principal Oboe Jelena Dirks and Principal Clarinet Scott Andrews as well as a duet between Concertmaster David Halen and Principal Horn Roger Kaza. The Un poco Allegretto e grazioso third movement was graceful and easygoing with good stuff from the clarinets (Andrews and Tzuying Huang). Afkham seemed particularly caught up in the lively Trio section, but then so was I.

A brief pause, and then we were into the stormy opening of the final movement with its titanic struggle between darkness and light and its famous main theme (which later became the theme of the hymn “Refuge”). The horn section were really in their element here, rich and warm in the main theme and simply blazing in the C major finale.

I had planned to finish this with a few words about Afkham’s podium style and the expressive use of his left hand, but upon visiting the conductor’s web site I discovered that the Chicago Tribune had beaten me to the punch:

“Afkham was a model of physical grace and musical purpose on the podium. His left hand traced broad arcs of sound while his right hand articulated beats and phrases with the utmost clarity and precision. Every interpretative choice was well-motivated and grounded in an ability to maintain orchestral control that was exacting, yet never rigid.”

I couldn’t have said it better myself.

Next from the SLSO: On Friday February 28 at 7:30 pm, Grammy Award-winning vocalist Donald Lawrence joins the SLSO, the IN UNISON Chorus, and vocal soloists for “Lift Every Voice,” the annual Black History Month celebration. Kevin McBeth conducts. Then on Saturday at 7:30 pm and Sunday at 3 pm, former SLSO Resident Conductor Gemma New conducts the orchestra and vocal soloists for Beethoven’s Symphony No. 9 along with “Hymn to the Sun” by Kevin Puts and Elgar’s orchestration of J.S. Bach’s Fantasia and Fugue in C minor, BWV 537. All three performances take place at the Stifel Theatre downtown.

St. Louis theatre calendar for the week of February 24, 2025

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out

The Alpha Players present The Sweet Delilah Swim Club February 28 through March 9. “Five women, whose friendships began years ago on their college swim team, set aside a long weekend every August to recharge. Free from husbands, kids, and jobs, they meet at the same beach cottage, the “Sweet Delilah” to catch up, laugh and stick their noses in each other’s lives. Join us as we visit with them on four of those weekends spanning 33 years and rediscover the importance of enduring friendships.” Performances take place in the James J. Eagen Center in Florissant. For more information: www.alphaplayers.org

Act Two Theatre presents the comedy Nana’s Naughty Knickers Thursdays through Saturdays at 7:30 pm and Sundays at 2 pm February 27 through March 9. “What happens when you mix a sweet grandmother with a saucy secret business? When Bridget moves in with her Nana for the summer, she expects quiet days in New York, but quickly discovers Nana is running an illegal boutique out of her apartment, selling risqué lingerie to seniors! With nosy neighbors, landlords, and the law looming, Bridget must help her quirky Nana keep the business afloat while trying to avoid eviction—or worse, arrest. Katherine DiSavino’s hilarious comedy delivers non-stop laughs in this zany tale of family, mischief, and a whole lot of naughty knickers.” Performances take place at the St. Peters Cultural Center in St. Peters, MO. For more information: www.acttwotheatre.com

Coconut Cake
Photo: Keshon Campbell

The Black Rep presents Coconut Cake by Mealdy Beaty through March 2. “Eddie Lee seeks companionship with his friends at the local McDonald's, swapping stories for advice over coffee and games of chess. But what happens when a mysterious woman comes to town, offering visitors a tantalizing coconut cake along with another big secret? Life takes a interesting turn for all of them.” Performances take place at the Edison Theatre on the Washington University campus. For more information: www.theblackrep.org.

The Fabulous Fox presents the musical Some Like It Hot opening on Tuesday, February 26 and running through March 9. “Set in Chicago when Prohibition has everyone thirsty for a little excitement, SOME LIKE IT HOT is the “glorious, big, high-kicking” (Associated Press) story of two musicians forced to flee the Windy City after witnessing a mob hit. With gangsters hot on their heels, they catch a cross-country train for the life-chasing, life-changing trip of a lifetime.” The Fabulous Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

"Just Coffee" from Spectrum 2025.
Photo: Sean Belt

First Run Theatre presents the Spectrum 2025 Short Play Festival, Fridays and Saturdays at 8 pm and Sundays at 2 pm through March 2. The program consists of seven new one-act plays by local playwrights:Bell Bottom Boos by Rita Winters (St. Louis, MO),Girl and Goat by Dennis Fisher (Belleville, IL), Just Coffee by Marella Sands (St. Louis, MO), Points of Intersection by M.K. DeGenova (St. Genevieve, MO), Put Me In Coachby Stuart A. Day (Lawrence, KS), and Silver Lining and Stranger Than Fiction, both by Marjorie Williamson (St. Louis, MO). Performances take place at The Chapel, 6238 Alexander Drive in Clayton. For more information: firstruntheatre.org

KTK Productions presents Love Letters Fridays and Saturdays at 7:30 pm and Sundays at 2 pm, February 28 through March 9. “A Pulitzer Prize finalist for Drama, A.R Gurney’s Love Letters is a two-hander drama comprised of letters exchanged between two friends over a lifetime. Andrew and Melissa, both born into wealth and position, begin their correspondence in childhood with birthday party thank-you notes. Their letters continue through their boarding school and college years while they are romantically attached and later through their individual marriages and careers. As the actors read the letters aloud, an evocative, touching, frequently funny, but always telling pair of character studies is revealed, where what is implied is as revealing and affecting as what is written down.” Performances take place at the Saint John the Baptist Gymnasium, 4200 Delor Street in south St. Louis. For more information: kurtainkall.org

New Line Theatre presents the rock musical The Rocky Horror Show, February 27 through March 22. “As the Culture Wars continue to escalate, ROCKY HORROR is as relevant today as it was in the early Seventies, a brilliantly creepy, wickedly funny satire that spotlights Americans' frequent cultural freak-outs, all told in the language of 1930s horror-sci-fi movies, 1950s "physique" magazines, and 1970s punk rock. This glam-punk celebration of the mad variety of human sexuality and gender is particularly timely right now.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com.

Clyde's
Photo: Jon Gitchoff

The Repertory Theatre of St. Louis presents Clyde’s by Lynn Nottage through March 7. “From two-time Pulitzer Prize winner Lynn Nottage comes the Tony-nominated-play, Clyde’s. In a small run-down sandwich joint, ex-cons endure Clyde’s fiery critiques and a scorching kitchen. Yet, when a mystic chef throws down the gauntlet—craft the ultimate sandwich—the team ignites with newfound zeal. Fueled by this savory challenge, they transform their past into a recipe for triumphant fresh starts. Join this spirited culinary quest where second chances are as vibrant as the flavors sizzling in the pan!” Performances take on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

St. Louis University Theatre presents Secret Order by Bob Clyman Thursday through Saturday at 7 pm, and Saturday and Sunday at 1 pm, February 27 through March 2. “A young, idealistic cellular biologist with a brilliant new idea for curing cancer is recruited from relative obscurity to a major cancer research institute by its charismatic director with the offer of his own lab and all the resources he will need to pursue that idea. As the pressure to show publishable results begins to build, his research suddenly hits a snag. He is faced with having to choose between full disclosure of the problem, which would jeopardize the funding he needs, and making the more expedient decision to bend the rules just a little, which will buy him enough additional time to solve the problem.” Performances take place in The Kranzberg Black Box Theatre, 501 N Grand in Grand Center. For more information: www.slu.edu.

The Washington University Theatre Department presents The Wolves Friday at 7:30 pm, Saturday at 2 and 7:30 pm, and Sunday at 2 pm, February 21 through March 2. “The Wolves, by Sarah DeLappe, is a 21st century coming-of-age tale. A finalist for the 2017 Pulitzer Prize for Drama, the play offers a glimpse into the lives of nine teenage girls who are teammates on an indoor soccer team. In a series of scenes depicting their pre-game warm-up routine, the girls engage in seemingly frivolous banter, but under the surface, they are vying for power, understanding, and acceptance as they figure out their place in a changing world.” Performances take place in the Edison Theatre on the Washington University Campus. For more information: https://pad.wustl.edu/events.

Webster Conservatory presents The Legend of Georgia McBride by Matthew López Friday at 7:30 pm, Saturday at 2 and 7:30 pm, and Sunday at 3 pm, February 28 through March 1. “He’s young, he’s broke, his landlord’s knocking at the door, and he’s just found out his wife is going to have a baby. To make matters even more desperate, Casey is fired from his gig as an Elvis impersonator in a run-down, small-town Florida bar. When the bar owner brings in a B-level drag show to replace his act, Casey finds that he has a whole lot to learn about show business — and himself.” Performances take place in the Emerson Studio Theatre at the Loretto-Hilton Center on the Webster University campus. For more information: www.webster.edu/conservatory.

Winter Opera presents Mozart’s Die Zauberflöte (The Magic Flute) Friday at 7:30 pm and Saturday at 2 pm, February 28 and March 2. “Embark on a fantastical adventure filled with wonder, humor, and timeless music in Mozart's enchanting opera, Die Zauberflöte (The Magic Flute)! Prince Tamino, guided by a magical flute, embarks on a quest to rescue the beautiful Pamina, stolen away by the mysterious Sarastro. Along the way, he encounters a cast of unforgettable characters: Papageno, a comical birdcatcher with his own desires, three wise Ladies, and a chilling Queen of the Night. This beloved opera is a delightful blend of fantasy and allegory, with trials to overcome, secrets to be revealed, and the power of love and reason to conquer all. ” Performances are in German with English supertitles and take place at the Kirkwood Performing Arts Center, 201 E. Monroe in Kirkwood, MO. For more information: winteroperastl.org

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

To get your event listed here, send an email to chukl at pobox dot com. Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.

Symphony Review: Anna Clyne's PALETTE dominates the stage at the SLSO

I strongly suspect that most of sold-out crowd for the St. Louis Symphony Orchestra (SLSO) concert last Saturday, February 15th, were attracted primarily by the prospect of seeing Rachmaninoff’s Piano Concerto No. 2 and Tchaikovsky’s "Romeo and Juliet Overture-Fantasy." After all, we’re talking about a pair of wildly popular Romantic classics performed by a world-class orchestra with a soloist—Russian pianist Nikolai Lugansky—whose substantial discography includes quite a lot of Rachmaninoff, including all four concertos. And it was Valentine’s Day weekend.

“’Nuff said,” as Stan Lee used to say.

"Amber." Photo by Virginia Harold
Courtesy of the SLSO

I was looking forward to that music as well, but for me the big attraction was the world premiere of PALETTE, Concerto for Augmented Orchestra by composer and artist Anna Clyne. Each of the seven movement\s in this half-hour piece is based on a different color whose first letters collectively spell the title of the work: Plum, Amber, Lava, Ebony, Teal, Tangerine, and Emerald. Clyne created paintings to go with each movement and these were used as the basis for a subtle light show created by Luke Kritzeck that enhanced the mood of each section.

In pre-performance remarks, SLSO Music Director Stéphane Denève promised “a bouquet of colors” and Clyne described PALETTE as an attempt “to create something beautiful in these turbulent times.” Everything about this work fulfilled those promises. PALETTE is by turns inspiring, fanciful, funny, dramatic, and just plain fun.

The augmented orchestra (AO) of the title uses a software program developed by sound designer (and Clyne's husband) Jody Elff that takes elements of the acoustic orchestra and electronically transforms them and integrates the transformed sound into the live experience in real time. It was done so subtly and tastefully Saturday night that I sometimes wasn’t sure when it was being used and when it wasn’t. I was just aware of a wider sonic range.

In “Plum” and “Amber,” for example, the AO added bottom notes to the basses that made them sound like 64 ft. organ pipes—very appropriate for music that often sounded like a Bach chorale. In the fanciful “Tangerine” the flute section became a diffuse, ethereal choir. Less obvious manipulation enhanced the sunny “Amber,” the scurrying marimbas in “Ebony,” and the meditative liquid calm of “Teal.”

"Lava" Photo by Virginia Harold
Courtesy of the SLSO

At least, I think it did. As I said, it wasn’t always obvious where the acoustic orchestra stopped and the AO began. The performance was, in any case, a compelling one, with the usual consummate playing by the band. Standing ovations at SLSO concerts are less common for new works than for the more traditional repertoire; PALETTE was an enthusiastic exception to that rule. I’ll admit to being one of the first to rise to the occasion.

After intermission it was time for the Russian Romantics, starting with an admirable Rachmaninoff Second. Lugansky’s playing and Denève’s interpretation blended seamlessly to deliver a performance with plenty of power and drama. The opening “church bell” chords for the Moderato first movement led to an attention-grabbing statement of the first theme, followed by a strongly contrasting second. The reflective Adagio Sostenuto second movement was capped by a pristine performance of the cadenza by Lugansky. That led to a blazing Allegro scherzando finale, featuring a sweeping, Technicolor treatment for the famous second theme.

The audience response was enthusiastic, leading to a most welcome encore: Rachmaninoff’s Prelude, Op. 23 No. 7 in C minor. With cascades of 16th notes flying over power chords it was a bold choice after a virtuoso workout like the concerto, and a good one.

Finally, there was an utterly theatrical reading of Tchaikovsky’s "Romeo and Juliet Overture-Fantasy," a concert standard which (somewhat surprisingly) the SLSO has not played in over seven years. As is so often the case, Maestro Denève filled this reading with little touches all his own. To pick just two examples: the horn motif that accompanies the famous love theme pulsed like a heartbeat and there was a good pause at the double bar between the final outburst of battle music and the final Moderato assai dirge. It was all nicely done and a guaranteed crowd pleaser.

Next from the SLSO: Conductor David Afkham makes his SLSO debut in a program consisting of “The Ring of Fire and Love” by Finnish composer Outi Tarkianen, Mozart’s Piano Concerto No. 24 with soloist Saleem Ashkar, and the Symphony No 1 by Brahms. Performances are Friday at 10:30 am and Sunday at 3 pm, February 21 and 23, at the Touhill Performing Arts Center.

St. Louis theatre calendar for the week of February 17, 2025

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out

Coconut Cake
Photo: Keshon Campbell

The Black Rep presents Coconut Cake by Mealdy Beaty through March 2. “Eddie Lee seeks companionship with his friends at the local McDonald's, swapping stories for advice over coffee and games of chess. But what happens when a mysterious woman comes to town, offering visitors a tantalizing coconut cake along with another big secret? Life takes a interesting turn for all of them.” Performances take place at the Edison Theatre on the Washington University campus. For more information: www.theblackrep.org.

The Blue Strawberry presents Broadway, My Way starring Tony Award Winner Norbert Leo Butz on Wednesday at 9:30 pm and Thursday and Friday at 7:30 pm, February 19 - 21 . “In this special evening of story and song, Mr. Butz sings highlights from his storied three decades on Broadway. From his humble beginning as the 7th of 11 children (his first bed was a drawer!) to being one of only 9 actors to win a Tony Award twice for Best Actor in a Broadway Musical. Expect the unexpected in this singular evening of musical entertainment, by one of Broadway’s legendary leading men.” The performances take place in at The Blue Strawberry, 364 N. Boyle. For more information: bluestrawberrystl.com.

Circus Harmony presents Unbound! Saturdays and Sundays at 2 pm, through February 23. “An unfettered look at fairy tales featuring Circus Harmony youth circus troupe.” Performances take place at City Museum downtown. For more information: circusharmony.org.

Schucked
Photo: Matthew Murphy and Evan Zimmerman

The Fabulous Fox presents the musical Schucked running through February 23. “SHUCKED is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” And nobody knows funny like economists. Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Brandy Clark and Shane McAnally (Kacey Musgraves’ “Follow Your Arrow”), and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.” The Fabulous Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

First Run Theatre presents the Spectrum 2025 Short Play Festival, Fridays and Saturdays at 8 pm and Sundays at 2 pm, February 21 through March 2. The program consists of seven new one-act plays by local playwrights: Bell Bottom Boos by Rita Winters (St. Louis, MO), Girl and Goat by Dennis Fisher (Belleville, IL), Just Coffee by Marella Sands (St. Louis, MO), Points of Intersection by M.K. DeGenova (St. Genevieve, MO), Put Me In Coach by Stuart A. Day (Lawrence, KS), and Silver Lining and Stranger Than Fiction, both by Marjorie Williamson (St. Louis, MO). Performances take place at The Chapel, 6238 Alexander Drive in Clayton. For more information: https://firstruntheatre.org.

Clyde's
Photo: Jon Gitchoff

The Repertory Theatre of St. Louis presents Clyde’s by Lynn Nottage through March 7. “From two-time Pulitzer Prize winner Lynn Nottage comes the Tony-nominated-play, Clyde’s. In a small run-down sandwich joint, ex-cons endure Clyde’s fiery critiques and a scorching kitchen. Yet, when a mystic chef throws down the gauntlet—craft the ultimate sandwich—the team ignites with newfound zeal. Fueled by this savory challenge, they transform their past into a recipe for triumphant fresh starts. Join this spirited culinary quest where second chances are as vibrant as the flavors sizzling in the pan!” Performances take on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

The Curious Savage
Photo: John Lamb

Stray Dog Theatre presents The Curious Savage by John Patrick Thursdays through Saturdays at 8, through February 22. “Ethel Savage’s husband left her $10-million, which she intends to give to anyone who wishes to pursue their “foolish dreams.” Her stepchildren strongly object, and to prevent her from ruining their legacy, they have her committed to a sanitarium. Much to her surprise, Mrs. Savage finds a new family filled with kindness, loyalty, and unconditional love as she befriends the gentle residents of her newfound home. A warm, hilarious comedy about who are the so-called “normal people” who live among us.” Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. For more information: www.straydogtheatre.org.

Long Day's Journey Into Night
Photo: Patrick Huber

St. Louis Actors' Studio (STLAS) presents Long Day’s Journey Into Night by Eugene O’Neill Thursday, Friday and Saturday evenings at 8 pm and Sundays at 3 pm, through February 23. “Directed by our friend and Tony® award nominated Actor/Director Austin Pendleton, Long Day’s Journey Into Night is widely regarded as O’Neill’s magnum opus and one of the great American plays of the 20th century. It premiered in Sweden in February 1956 and then opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for Long Day’s Journey Into Night. The work is openly autobiographical in nature. The “long day” in the title refers to the setting of the play, which takes place during one single day.” Performance take place at the Gaslight Theatre on North Boyle. For more information: stlas.org.

The Washington University Theatre Department presents The Wolves Friday at 7:30 pm, Saturday at 2 and 7:30 pm, and Sunday at 2 pm, February 21 through March 2. “The Wolves, by Sarah DeLappe, is a 21st century coming-of-age tale. A finalist for the 2017 Pulitzer Prize for Drama, the play offers a glimpse into the lives of nine teenage girls who are teammates on an indoor soccer team. In a series of scenes depicting their pre-game warm-up routine, the girls engage in seemingly frivolous banter, but under the surface, they are vying for power, understanding, and acceptance as they figure out their place in a changing world.” Performances take place in the Edison Theatre on the Washington University Campus. For more information: https://pad.wustl.edu/events.

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

To get your event listed here, send an email to chukl at pobox dot com. Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.

Symphony Preview The Comeback Kid

For Valentine’s Day weekend, Music Director Stéphane Denève and the St. Louis Symphony Orchestra have a program that features a pair of passionate audience favorites by Tchaikovsky and Rachmaninoff, along with the world premiere of Anna Clyne’s multi-media Concerto for Orchestra, “PALETTE.”

I covered Clyne’s work extensively in an interview with her on my video blog. In this piece I’m going to concentrate of the two Romantic blockbusters by liberally re-writing material I first published about a decade ago.

[Preview the music with the SLSO's Spotify playlist.]

Tchaikovsky circa 1872

There’s little doubt that the "Romeo and Juliet Overture-Fantasy" is one of the Greatest Hits of Pyotr Ilyich Tchaikovsky (1840–1893). First performed in Moscow in 1870 and then revised in 1877 and 1880, the work manages the neat trick of compressing the essential emotional themes of Shakespeare's five-act tragedy into around 20 minutes of music. The "love theme" is, as Daniel Durchholz writes in his program notes for a 2014 St. Louis Symphony performance, "one of Tchaikovsky's best and most memorable melodies." With lyrics by Buddy Bernier and Bob Emmerich, it even became a hit song: "Our Love," recorded by the Larry Clinton band in 1939.

The Piano Concerto No. 2 in C minor, Op. 18 by Sergei Rachmaninoff (1873 – 1943), which concludes the concerts, inspired not one but two pop songs (three if you count a 1975 Eric Carmen ballad), both recorded by Frank Sinatra: “I Think of You” from 1957 (adapted from the second theme of the first movement by Jack Elliott, Don Marcotte) and “Full Moon and Empty Arms.” The latter was adapted by Buddy Kaye and Ted Mossman. Sinatra’s recording rose to number 17 on the Billboard charts in 1945.

Of somewhat more interest than the concerto’s success as a source of Top 40 inspiration, however, is the remarkable story of its troubled origins.

Rachmaninoff’s career got off to promising start. By the age of 20 he had already finished his Piano Concerto No. 1, had his opera Aleko produced to great acclaim at the Bolshoi Theater, and published a plethora of works for orchestra and solo piano. That includes his immensely popular Prelude in C-sharp minor, which the composer would later come to loathe. In short, Rachmaninoff’s star was on the rise

That star fell abruptly when the composer's Symphony No. 1 had its St. Petersburg premiere in 1897. The performance was a debacle. Conductor Alexander Glazunov, a notorious alcoholic, was said to be conducting under the influence and critics hated it. Vituperatively.

Rachmaninoff in 1900
en.wikipedia.org

The psychological impact on the young Rachmaninoff's was devastating. He spiraled down into a depression so severe that friends urged him to seek help from one Dr. Nikolai Dahl, who was then making a name for himself in Moscow with hypnotherapy.

Dahl hypnotized Rachmaninoff daily for three months. "I heard repeated, day after day,” recalled the composer, ”the same hypnotic formula as I lay half somnolent in an armchair in Dr. Dahl's consulting room. 'You will start to compose a concerto—You will work with the greatest of ease—The composition will be of excellent quality.' Always it was the same, without interruption."

The result was everything Rachmaninoff could have hoped for. Ideas for the concerto "began to well up within me," he reported. The second the third movements were completed by the autumn on 1900 and by the spring on 1901 the entire work was ready for a November Moscow premiere under Alexander Siloti, with the composer at the piano. It was a hit and has remained so ever since. Rachmaninoff was on the comeback trail.

The SLSO recorded all of Rachmaninoff’s concertos in 1990 under Leonard Slatkin with Abbey Simon at the keyboard. You can listen to the 2023 remaster of the Concerto No. 2 on Spotify. I think it holds up quite well. The soloist this weekend will be Nikolai Lugansky, who gave us a superlative Rachmaninoff Concerto No. 3 back in 2017 with John Storgårds at the podium. Lugansky recorded all of the concertos in the early 2000s, so this will likely be familiar territory for him.

The Essentials: Stéphane Denève conducts the St. Louis Symphony Orchestra in the world premiere of Anny Clyne’s “PALETTE,” Tchaikovsky’s "Romeo and Juliet Overture-Fantasy," and Rachmaninoff’s Concerto No. 2 with piano soloist Nikolai Lugansky. Performances are Friday and Saturday, February 14 and 15, at 7:30 pm at the Touhill Performing Arts Center on the University of Missouri—St. Louis campus. Saturday night’s concert will be broadcast live on St. Louis Public Radio and Classic 107.3 and will be available as an on-demand stream for a month starting the week of February 17th.

St. Louis theatre calendar for the week of February 10, 2025

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out

The Black Rep presents Coconut Cake by Mealdy Beaty February 5 through March 2. “Eddie Lee seeks companionship with his friends at the local McDonald's, swapping stories for advice over coffee and games of chess. But what happens when a mysterious woman comes to town, offering visitors a tantalizing coconut cake along with another big secret? Life takes a interesting turn for all of them.” Performances take place at the Edison Theatre on the Washington University campus. For more information: www.theblackrep.org.

Image courtesy of The Blue Strawberry

The Blue Strawberry presents Galentine’s Day with Maria Bartolotta: A Show For The Girlies, on Thursday, February 13, at 7:30 pm . “Join Maria Bartolotta as she celebrates the one area of her life she has no trouble with: The Girlies! “Girly” is not a gender binary - it’s a state of mind. This is a celebration of friendship, love and laughter for all! Whether you’re coming with your bestie, flying solo with style, or bringing your special someone - Maria will have you covered with music and laughs. If you’ve never considered yourself a “Girly” - we guarantee you will by the end of the show.” The performance takes place in at The Blue Strawberry, 364 N. Boyle. For more information: bluestrawberrystl.com.

Circus Harmony presents Unbound! Saturdays and Sundays at 2 pm, through February 23. “An unfettered look at fairy tales featuring Circus Harmony youth circus troupe.” Performances take place at City Museum downtown. For more information: circusharmony.org.

Schucked
Photo: Matthew Murphy and Evan Zimmerman

The Fabulous Fox presents the musical Schucked opening on Tuesday, February 11 and running through February 23. “SHUCKED is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” And nobody knows funny like economists. Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Brandy Clark and Shane McAnally (Kacey Musgraves’ “Follow Your Arrow”), and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.” The Fabulous Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

First Run Theatre Playwright’s Workshop presents a reading of the new play Out of Life by Guy Selbert. “We see a “Challenged” person, a homeless individual on the corner talking to themself and shake our head in dismay. Does it ever occur to you that they just might not be? Talking to themselves that is.” The reading takes place at Square One Brewery and Distillery in Lafayette Square. For more information: firstruntheatre.org.

Clyde's
Photo: Jon Gitchoff

The Repertory Theatre of St. Louis presents Clyde’s by Lynn Nottage February 6 – March 7. “From two-time Pulitzer Prize winner Lynn Nottage comes the Tony-nominated-play, Clyde’s. In a small run-down sandwich joint, ex-cons endure Clyde’s fiery critiques and a scorching kitchen. Yet, when a mystic chef throws down the gauntlet—craft the ultimate sandwich—the team ignites with newfound zeal. Fueled by this savory challenge, they transform their past into a recipe for triumphant fresh starts. Join this spirited culinary quest where second chances are as vibrant as the flavors sizzling in the pan!” Performances take on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

The Curious Savage
Photo: John Lamb

Stray Dog Theatre presents The Curious Savage by John Patrick Thursdays through Saturdays at 8, February 6 through 22, with additional performances at 2 pm on Sunday February 9 and 16. “Ethel Savage’s husband left her $10-million, which she intends to give to anyone who wishes to pursue their “foolish dreams.” Her stepchildren strongly object, and to prevent her from ruining their legacy, they have her committed to a sanitarium. Much to her surprise, Mrs. Savage finds a new family filled with kindness, loyalty, and unconditional love as she befriends the gentle residents of her newfound home. A warm, hilarious comedy about who are the so-called “normal people” who live among us.” Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. For more information: www.straydogtheatre.org.

St. Louis Actors' Studio (STLAS) presents Long Day’s Journey Into Night by Eugene O’Neill Thursday, Friday and Saturday evenings at 8 pm and Sundays at 3 pm, February 7-23. “Directed by our friend and Tony® award nominated Actor/Director Austin Pendleton, Long Day’s Journey Into Night is widely regarded as O’Neill’s magnum opus and one of the great American plays of the 20th century. It premiered in Sweden in February 1956 and then opened on Broadway in November 1956, winning the Tony Award for Best Play. O’Neill received the 1957 Pulitzer Prize for Drama posthumously for Long Day’s Journey Into Night. The work is openly autobiographical in nature. The “long day” in the title refers to the setting of the play, which takes place during one single day.” Performance take place at the Gaslight Theatre on North Boyle. For more information: stlas.org.

West End Players Guild presents Constellations by Nick Payne, February 7 through 16. “Marianne and Roland meet at a party and go for a drink, or perhaps they don’t…Their choices send them off…and back together…” Performances take place at the Union Avenue Christian Church, 733 Union in the Central West End. For more information: westendplayers.org.

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

To get your event listed here, send an email to chukl at pobox dot com. Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.