Review: Fantastic symphony, fastastic night

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

Stéphane Denève
Photo courtesy of the SLSO

In remarks from the podium before the St. Louis Symphony Orchestra concert Friday night (May 10, 2019) Stéphane Denève, who takes over as Music Director in the fall, promised "a fantastic night together." I'm happy to say that he made good on that promise.

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

The concerts opened with the local premiere of the tone poem "Nyx," written in 2011 by composer/conductor Esa-Pekka Salonen. The title refers to the Greek goddess of the night, a powerful figure in mythology and the mother of all the other gods, and the music undoubtedly has a kind of dark, elemental power that's extremely appealing. A joint commission by Radio France, the Barbican Centre, the Atlanta Symphony, Carnegie Hall, and the Finnish Broadcasting Company, the work is a kind of concerto for orchestra, clearly written with a virtuoso ensemble in mind. The SLSO is just that kind of ensemble, and it made the piece positively sparkle.

Salonen is a horn player, so it's not surprising that the horn section had some of the most elaborate writing, although there are also long, complex passages for clarinet. Thomas Jöstlein and the other five members of the horn section played their part brilliantly, and Principal Clarinet Scott Andrews deserves a medal of some sort for his impressive solos. Rapid, whirling passages for the high woodwinds were delivered with panache and precision, and a fanciful duet for celesta and harp was nicely done by Peter Henderson and Allegra Lilly, respectively.

In short, congratulations are in order for the entire band.

Mezzo Rinat Shaham
Photo courtesy of the SLSO

Up next was Ravel's 1903 song cycle "Shéhérazade," inspired by the protagonist of the "1001 Nights." The lyrics by Symbolist poet Tristan Klingsor (real name: Arthur Justin Léon Leclère) are a bit heavy on the kind of pulp fiction Orientalism that I associate with Sax Rohmer, but combined with Ravel's colorful and sensuous music it can be irresistible in the hands of a skilled singer.

This weekend's soloist, mezzo Rinat Shaham, is exactly that sort of singer. In a strapless pale gown, Ms. Shaham cut a striking figure on stage, but it was her complete emotional investment in the lyrics, in combination with her supple voice, that made this such a memorable performance. Ms. Shaham's extensive operatic background was evident in the way she started and remained completely in character for each of the three songs, from the wide-eyed wonder of "Asie" ("Asia"), to the longing of "La flûte enchantée," to the regret of "L'indifférent" ("The Indifferent One"). Mr. Denève led the orchestra in backing her up with some exquisite playing, including a fine solo by Principal Flute Mark Sparks in "La flûte enchantée."

The final concert of the season usually features a popular blockbuster of some sort. This year it was Hector Berlioz's 1830 "Symphonie Fantastique," a wildly imaginative piece that Leonard Bernstein once famously described as "the first psychedelic symphony in history." Inspired by the composer's own obsessive (to put it mildly) pursuit of the Shakespearean actress Harriet Smithson, the work tells the tale a young musician who dreams about his ideal woman (first movement), pursues her at a ball (second), and then flees to the country to escape his longing (third). Overdosing on opium, he dreams he is being beheaded for her murder (fourth movement) and then literally goes to Hell (fifth), where he encounters his love for the last time, now transformed into a demon and presiding over a witches' Sabbath.

Like "Nyx," it's a genuine orchestral showpiece, with a large orchestra that includes instruments rarely heard in concerts, from the little E-flat clarinet to the coarse-sounding ophicleide (now usually replaced by the tuba) and tuned iron bells. Berlioz also asks the players to employ uncommon techniques, such as having the strings play col legno (with the wood of their bows instead of the strings) in the finale.

The musicians of the SLSO have demonstrated in the past that this music holds no terrors for them, so it's no surprise that they covered themselves with glory Friday night. Up on the podium, Mr. Denève delivered a consistently engrossing reading filled with interesting details and concluding with a downright hair raising final two movements, played attacca (in quick succession, without pause) for maximum dramatic effect. It clocked in at close to an hour--a bit long for this work--but felt much shorter.

This was the final concert of the regular St. Louis Symphony Orchestra season. Post-season activity continues at Powell Hall through June, though; check the SLSO web site for details.

St. Louis classical calendar for the week of May 13, 2019

Post-season concerts continue at the St. Louis Symphony and The Chamber Project presents its annual audience choice concert.

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Sherezade Panthaki

The Bach Society of St. Louis presents A Bach and Baroque Family Concert on Thursday, May 16 at 6:30 pm. "The Bach Society of Saint Louis is proud to offer a free education concert tailored to families, which will focus on Bach and Baroque performance practice. Bach specialist David Gordon will serve as a narrator and teacher, and India-born soprano, Sherezade Panthaki, will sing several musical examples in this style, accompanied by Sandra Geary and Bach Society Concertmaster, Lenora Marya-Anop. Ms. Panthaki will also discuss her Indian heritage and how it impacted her chosen career path, giving some insight into Indian culture while also displaying how music continues to break barriers and can overcome societal differences." The event takes place at Bonhomme Presbyterian Church in Clayton. For more information: www.bachsociety.org.

The Bach Society of St. Louis presents a performance of Bach's Mass in B Minor on Sunday, May 19 at 3 pm. "Bach's most monumental work is the cornerstone and grand finale of the 2019 St. Louis Bach Festival. Composed over a span of 35 years, the Mass in B minor reveals the depth and breadth of the master's creativity and spiritual conviction. Guest soloists include soprano Sherezade Panthaki, sponsored by Greg and Alayne Smith, mezzo-soprano Meg Bragle, tenor Lawrence Jones and baritone Tyler Duncan. " The concert takes place at First Presbyterian Church of Kirkwood, 100 E. Adams in Kirkwood. For more information: www.bachsociety.org.

The Chamber Project St. Louis presents Choice on Friday, May 17, at 8 p.m. "Always fun, this program is chosen by you, our audience. All of the favorites it one giant concert, determined by YOUR votes throughout the season. The program is a secret, so find out what won!" The concerts take place at The Chapel Venue, 6238 Alexander Drive. For more information: www.chamberprojectstl.org.

Who ya gonna call?

The St. Louis Symphony Orchestra, conducted by Peter Bernstein, presents a showing of the 1984 film Ghostbusters, with the score played live by the orchestra, Friday and Saturday at 7 pm, May 17 and 18. The performances take place at Powell Hall in Grand Center. For more information: stlsymphony.org.

The wind, brass, and percussion players of the St. Louis Symphony Orchestra team up with military musicians from the U.S. Air Force Band of Mid-America and the 399th Army Band for a free Joining Forces On Stage at Powell concert on Sunday, May 19, at 3 pm. "The afternoon of rousing musical performances features patriotic anthems, military medleys, and an unforgettable performance commemorating the 50th anniversary of the Apollo moon landing that includes narration and video. IN UNISON Chorus director Kevin McBeth shares the podium with military band directors in this epic joint performance with some of the best musicians in uniform." The performance takes place at Powell Hall in Grand Center. For more information: stlsymphony.org.

The Washington University Department of Music presents a faculty recital by Timothy Myers, trombone, on Monday, May 13, at 7:30 pm. The concert takes place in the Pillsbury Theatre at the 560 Music Center, 560 Trinity in University City. For more information, music.wustl.edu.

Chuck's Choices for the weekend of May 10, 2019

New on the list: a pair of cabaret shows and a chilling look the downside of advances in medical science from the author of A Doll's House Part 2 and The Christians.

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New This Week:

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Death Tax
Photo by Jill Ritter Photography

Mustard Seed Theatre presents Death Tax by Lucas Hnath Thursdays through Saturdays at 8 pm and Sundays at 2 pm, May 9-19. "As Maxine nears the end of her life she is certain of three things: Death, Taxes and the Greed of her daughter who wants her to die quickly. A desperate nurse vows to keep her alive, but at what cost? Darkly comic, the play explores morality and forgiveness." Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

My take: When I saw the world premiere of this play at the Humana Festival back in 2012, I wrote that it had a dramatic power that couldn't be denied, demonstrating forcibly the corrupting effects of money and power—and, for that matter, of want and powerlessness. Lucas Hnath's play raises disturbing questions: as medical science advances, will we become a race divided between those who can purchase virtual immortality and those who can't? And what will that mean? Death Tax suggests the answers might not be pleasant. I won't get to see this production until next week, but I'm going to recommend it anyway based on my admiration for Hnath's work as a playwright and on the quality Mustard Seed's work in general.

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Bob Wetzel

The Kranzberg Center presents Bob Wetzel in Facing the Music on Saturday, May 11, at 8 pm. "This show will feature the music of songwriters as diverse as Irving Berlin, Jimmy Van Husen, Stephen Sondheim, Paul Simon, Jerome Kern and Don Henley; Bob and the band will spin some of them in ways you have likely not heard before." Carol Schmidt is pianist and music director for the show, which also features Rick Vice on bass and Kevin Gianino on drums. Tim Schall directs. The performance takes place at the Kranzberg Center, 501 N. Grand in Grand Center. For more information: www.metrotix.com

My take: I should preface my comments by acknowledging that Bob is a member of the board of The Cabaret Project St. Louis, on which I also sit. That said, I have had the opportunity to see Bob perform many times, both at The Cabaret Project's monthly open mic night and last summer in his debut show A Fine Bromance, a duet cabaret with Craig Becker. Reviewing that show for KDHX, I described it as an unfailingly charming evening, with Mr. Wetzel delivering cabaret and jazz standards with suave assurance. He has a great band working with him in his solo debut here, and St. Louis cabaret legend Tim Schall can be relied upon to provide expert direction. Last time I checked, tickets are selling fast, so an advance purchase is recommended.

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Ben Nordstrom

The Sheldon Concert Hall presents Ben Nordstrom and Steve Neale in The Music of Billy Joel and Elton John on Saturday, May 11, at 11 am. "Two of St. Louis' favorite musical theater performers come together to celebrate music icons Billy Joel and Elton John. Enjoy hits such as "New York State of Mind," "Don't Let the Sun Go Down On Me," "Scenes From an Italian Restaurant" and "Your Song," performed with Ben and Steve's trademark wit and charm." The Sheldon is at 3648 Washington in Grand Center. For more information: thesheldon.org.

My take: Here's a duet show by a pair of well known and highly regarded local theatre and cabaret artists. Mr. Nordstrom has a long resume that includes dramatic and comic roles, along with extensive musical theatre work, while Mr. Neale is a composer, conductor, pianist, and vocalist who is much in demand here in town. It looks like an unbeatable combination to me.

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Held Over:

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Salt, Root, and Roe
Photo by ProPhotoSTL

Upstream Theater presents the St. Louis premiere of Salt, Root and Roe running through May 12. "Tim Price's Salt, Root and Roe is a poetic masterwork about the nature of change, the comfort of home, and the eternal bond of love, set against the mythical backdrop of the Pembrokeshire coast in western Wales. The play centers on identical twins Iola and Anest, who are very devoted to each other. Ageing fast, and with the time they have together more fragile by the day, they arrive at a desperate decision. Word of this reaches Anest's daughter Menna, who rushes to her long-abandoned childhood home where her own ideas of love and compromise are tested to the limit. In spite of its somber themes, the play is light, textured and at times very funny-and in the words of one reviewer "like a pebble picked from a Pembrokeshire beach… something to take home and reflect over, something that evokes a smell of the sea..."Another US premiere from Upstream Theater, in co-production with Stages Repertory Theatre of Houston." Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, including show times: upstreamtheater.org.

My take: I'm getting to the age at which plays about Alzheimer's tend to make me more than a little uncomfortable, but there's no doubt that reviews for Upstream's production have been good. "Tim Price's affecting, absorbing drama is given a top-notch presentation in its American premiere production," writes Mark Bretz at Ladue News. "It's a one-act wonder that ideally fits Upstream's goal "to move you and move you to think." At KDHX, Steve Callahan praises the "superb cast," which consists of some of our finest local actors: Donna Weinsting, Amy Loui, Sally Edmundson, and Eric Dean White.

Symphony Preview: Three faces of Eve

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

Mezzo Rinat Shaham

The St. Louis Symphony Orchestra concludes its regular concert season this weekend (May 10-12, 2019) as Music Director Designate Stéphane Denève conducts three works inspired by exotic women. Only one of them was real, though, and even she wasn't exactly what the composer hoped for.

But I'm getting ahead of myself.

The concerts open with the local premiere of the tone poem "Nyx," written in 2011 by composer/conductor Esa-Pekka Salonen, who will take over the post of Music Director at the San Francisco Symphony Orchestra next year. The title refers to the Greek goddess of the night, a powerful figure in mythology and the mother of all the other gods. "She is an extremely nebulous figure altogether; we have no sense of her character or personality," writes Mr. Salonen in his program notes:

It is this very quality that has long fascinated me and made me decide to name my new orchestral piece after her. I'm not trying to describe this mythical goddess in any precise way musically. However, the almost constant flickering and rapid changing of textures and moods as well as a certain elusive character of many musical gestures may well be related to the subject.

He goes on to note that his real challenge in composing the piece was "to write complex counterpoint for almost one hundred musicians playing tutti at full throttle without losing clarity of the different layers and lines." The score calls for a big ensemble with a lot of percussion instruments, including glockenspiel, tam-tam, tom-tom, vibraphone and bongos. It certainly makes a glorious noise, as you can hear in the composer's own recording.

As to whether it achieves that clarity, the composer says "I leave it to the listener to judge how well I succeeded." I think he did, and conjured up something dark, elemental, and potent in the process. Come see for yourself this weekend and decide.

Maurice Ravel in 1925
en.wikipedia.org

The legendary woman behind the next work, Ravel's song cycle "Shéhérazade," surely needs no introduction. The musical immortality of the fictional author of the "1001 and One Nights" was guaranteed by Rimsky-Korsakov's colorful 1888 symphony/tone poem, but Ravel's much shorter and more transparently scored set of three songs deserves to be heard far more often than it is.

Ravel was fascinated by Scheherazade and her stories. His first published work, in 1898, was an orchestral overture named for her. It was not well received, convincing the composer that a planned opera based on the "1001 Nights" would be a non-starter.

It all might have ended there if it hadn't been for La Société des Apaches, a group of artists, writers, and musicians in Paris circa 1900 who would hang out every Saturday at the home of the artist Paul Sordes. In addition to Ravel, the group's membership included the Symbolist poet Tristan Klingsor (real name: Arthur Justin Léon Leclère) who, in 1903, published a collection of 100 free-verse poems titled "Shéhérazade." Ravel read them, liked them, and decided to set three of them to music.

Ravel's compositional approach, as Thomas May writes in this weekend's program notes, was unusual. Impressed by the conversational rhythms of the music his colleague Debussy had written for "Pelléas et Mélisande," "Ravel had Klingsor recite his texts out loud to accentuate their beautiful rhythms and the sensuality of the sounds of the words. He was intent on translating these aspects into his musical setting." The resulting music unspools in a languorous, exotic line that mimics and enhances the feel of spoken French. As Caroline Rae writes in notes for the Phliharmonia Orchestra:

Ravel's magically evocative setting of Klingsor's texts brims with mystery and desire. All three songs are tranquil and reflective, opening and closing in a veiled piano, while the sensuous orchestral sound combines with a rich harmonic palette, in which added seconds, sevenths and ninths abound, to create a sense of yearning and nostalgia...moving from rich voluptuousness and gentle lyricism to languid sensuousness.

It's good thing that Ravel's music is so seductive because, as Mr. May notes, "Klingsor's poems are problematic for contemporary audiences sensitive to stereotypes of other cultures." Indeed. "Asie," ("Asia") the first (and longest) of the three songs, reads like something out of Sax Rohmer, with images of "beautiful silk turbans / Above dark faces with gleaming white teeth" ("de beaux turbans de soie / Sur des visages noirs aux dents claires"), "Plump mandarins sitting under parasols" ("Les mandarins ventrus sous les ombrelles") and a "cruel assassins smile / As an executioner lops off a guiltless head ("des assassins souriants / Du bourreau qui coupe un cou d'innocent"). It's a reminder that the Orientalism of authors and poets of a century ago had very little to do with the actual Orient.

Parenthetical note: "Shéhérazade" is nearly always sung by a soprano or mezzo-soprano. This weekend's soloist, for example, is mezzo Rinat Shaham, whose stage credits range from Mozart's "Don Giovanni" to Bartok's "Bluebeard's Castle." But, as James M. Keller writes in notes for the San Francisco Symphony, Ravel might actually have had a male voice in mind:

From the outset, Ravel's Shéhérazade has been in the domain of sopranos (or mezzo-sopranos with a comfortable upper range), but in 1965 the late baritone Martial Singher wrote to the Ravel scholar Arbie Orenstein that the composer had something quite different in mind: "I had remarked to Ravel that the texts of those songs were certainly meant for a man. He confirmed (this must have happened about 1935) that he had had in mind a male voice when writing them, but that only women singers with strong musical backgrounds had been interested in them. "

Charles Kemble and Harriet Smithson
as Romeo and Juliet
By Francis (François-Antoine Conscience)

The concerts will conclude with a work inspired by a woman who wasn't at all mythological: the Irish Shakespearean actress Harriet Smithson. To composer Hector Berlioz, though, she was something of a goddess. His pursuit of her, ill conceived and ultimately disastrous as it was, moved him to compose one of his greatest works, the "Symphonie Fantastique."

Berlioz's first exposure to Smithson came when he saw her play Ophelia in 1827 in a highly edited production of "Hamlet" by the actor Charles Kemble (who also played Hamlet) at the Odéon in Paris. Although considered a somewhat mediocre performer in Britain, she bowled the French over with her sensitive "mad" scene and completely transfixed poor Berlioz, even though he didn't understand a word of English.

He became infatuated with her immediately. He sent her letters. He sent hand-delivered notes. He did everything but mail himself to her in a box like poor Waldo in the Velvet Underground's "The Gift". The depth of his obsession can be seen in a letter he sent to his friend Ferdinand Hiller (quoted on Melissa Ide and Leslie Merriman's Interdisciplinary Shakespeare site):

... today it is a year since I saw HER for the last time_________oh! unhappy woman! how I loved you...trembling I write, HOW I LOVE YOU! If there is another world shall we find each other again?...Shall I ever see Shakespeare? Will she know me?...Will she understand the poetry of my love?...oh! Juliet, Ophelia, Belvidera, Jane Shore, names that hell repeats unceasingly...Oh! sublime ones! sublime ones! annihilate me! summon me to your golden clouds! deliver me!...Go, go Henriette Smithson and Hector Berlioz will be reunited in the oblivion of the tomb, which will not prevent other unhappy ones from SUFFERING AND DYING."

And so on.

Today he would have been hit (justifiably) with a restraining order. Instead, he wrote his "Symphonie Fantastique," a work Leonard Bernstein once famously described as "the first psychedelic symphony in history, the first musical description ever made of a trip, written one hundred thirty odd years before the Beatles."

Subtitled "An Episode in the Life of an Artist," the "Symphonie Fantastique" tells, in dramatic and musically explicit terms, the story of a "young vibrant musician" who becomes sexually obsessed with an "ideal" woman. He dreams of her in the first movement; unsuccessfully pursues her at a ball in the second; and flees to the country to escape his longing in the third. In the fourth movement "March of the Scaffold" (often performed by itself) he overdoses on opium (the LSD of the early 19th century) and dreams he is being beheaded for her murder. The work ends with the hallucinatory "Dreams of a Witches' Sabbath," in which the protagonist envisions himself at an infernal dance, presided over by the object of his affection, now transformed into a demon.

Even after the premiere of the "Symphonie Fantastique" Berlioz continued to pursue Smithson, going to far as to threaten to kill himself with an opium overdose if she didn't marry him. In 1833, after seeing a performance of "Lélio" (Berlioz's rarely-performed sequel to the "Symphonie Fantastique"), she finally agreed, but they did not live happily ever after. The marriage fell apart after a decade and both Smithson's health and fortunes went into decline. Some great music emerged from the wreckage, but I doubt that was any comfort to Ms. Smithson.

The Essentials: Music Director Designate Stéphane Denève conducts the St. Louis Symphony Orchestra and mezzo-soprano Rinat Shaham Friday and Saturday at 8 pm and Sunday at 3 pm, May 10-12. Performances take place at Powell Hall in Grand Center.

Review: Quintessential Slatkin at the St. Louis Symphony

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

Soprano Hila Plitmann

It's an index of the continuing popularity of St. Louis Symphony Orchestra Conductor Laureate Leonard Slatkin that he got a standing ovation from the crowd as soon as he stepped on to the stage Saturday night (May 4, 2019) for the final performance in a two-week concert series.

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

Granted, SLSO CEO Marie-Hélène Bernard warmed up the crowd with a laudatory introduction, but the audience didn't need much prompting. Fifty years after his first appearance with the orchestra, Mr. Slatkin--who ended his 17-year tenure as SLSO Music Director back in 1996--is as popular as ever.

Saturday night's concert demonstrated why that's the case. It was a quintessentially Slatkin evening, with an infrequently heard American classic, a world premiere by an American composer, and a highly personal take on a concert hall favorite--exactly the sort of thing that has endeared him to local classical music lovers. It was good to have him back.

The concert began with that infrequently heard American work, the Symphony No. 1 by Samuel Barber. Composed in 1935 and 1936 in Rome, the symphony netted him the American Prix de Rome at the ripe old age of 25. Running around 20 minutes, it's expansive, dramatic music with a wide emotional range.

Composer Jeff Beal

Conducting without a baton, Mr. Slatkin delivered a performance that was a perfect combination of big, dramatic gestures and precise details. The brass section was wonderfully clear and powerful in the first movement, the woodwinds danced through the rapid triplet passages in the second movement with ease, and the increasingly elaborate passacaglia of the finale was a model of clarity. There were fine individual performances here as usual, including the rapid bassoon and tympani duet at the end of the second movement (Andy Gott and Shannon Wood, respectively) and Jelena Dirks's plaintive oboe solo at the top of the final movement.

Next was that world premiere, the song cycle "The Paper Lined Shack" by contemporary American composer Jeff Beal. Best known for his film and television work (mostly notably the series "House of Cards"), Mr. Beal has recently branched out into the concert world. If this piece is any indication, he has a promising future there.

Based on diaries kept by Mr. Beal's great-grandmother Della, the piece reminded me a great deal of "Knoxville: Summer of 1915," written by Samuel Barber in 1947 to a text by novelist James Agee. Both are based on memoirs of family life in the early 20th century--urban middle class in Agee's case and dirt poor rural in the case of Della Beal--and both speak a musical vocabulary that would not have been shocking to audiences a century ago. Mr. Beal's music has a gentle, transparent quality that mirrors the sometimes surprisingly poetic text.

I'm not sure, though, that Mr. Beal writes that well for the human voice. I know he had input from the soloist, soprano Hila Plitmann, in developing the work, but even so the vocal line seems to lie too high a bit too often, and while Ms. Plitmann was in good voice generally, she did not always sound comfortable singing softly at the top of her range.

Still, it was a compelling performance, and a convincingly acted one. Ms. Plitmann made good theatrical use of the stage, entering far right on her first song, "Carefree Girl," and gradually working her way center to finish the cycle sitting at Mr. Slatkin's feet on the podium, as Della speaks directly to her children. I thought she perfectly captured Della's progression from carefree childhood to devastating personal losses in adulthood and, finally, poetic acceptance of her lot in life. The final two songs, "Our Garden" and "My Heart," were especially touching in their evocation of the contrast between the deaths of Della's mother and husband and the life of her garden. "The garden looked the same," Della wrote, "but everything had changed."

Leonard Slatkin
Photo by Nico Rodamel

The concert concluded with Tchaikovsky's popular Symphony No. 6, whose title, "Pathétique," is an example of what the French call a faux ami--a "false friend" that appears to be an English cognate but isn't. So while it looks like it should mean "pathetic", it is more property translated as "moving, touching, or poignant." The dark and dramatic first movement and, in particular, the despairing finale will move the most stony heart, and the absurdly rousing Allegro molto vivace third movement inevitably provokes applause.

Conducting without a score, Mr. Slatkin delivered a riveting, highly personal performance filled with subtle little touches that made it unlike any other performance of the work I have heard. The opening phrases in the bassoons, for example, were hushed and anguished. The first movement coda moved at a deliberate pace that made it feel like a candlelight procession. The tympani ostinato in the central section of the second movement had palpable tension. Small alterations in tempo added nuance to the boisterous third movement. And the yearning second theme of the final movement felt especially powerful.

The orchestra played beautifully, as always. Notable performances were turned in by bassoonists Andrew Cuneo and Felicia Foland, Scott Andrews on clarinet, and Tzuying Huang on bass clarinet. Thomas Jöstlein's horns acquitted themselves very well, and their muted notes in the finale had a truly threatening rasp. The strings had great depth and power, as they so often do.

The final measures faded out in despair, as they should, and would have been followed by a few seconds of silence if some members of the audience had not insisted on bursting into applause before Mr. Slatkin had lowered his arms. You really need a few seconds to exhale at the end of this piece, and Mr. Slatkin was trying to give it to us. As my wife remarked on the way out, people need to remember that the conductor leads the audience as well as the orchestra.

Next at Powell Hall: Music Director Designate Stéphane Denève conducts the St. Louis Symphony Orchestra and mezzo-soprano Rinat Shaham in the final concert of the season Friday and Saturday at 8 pm and Sunday at 3 pm, May 10-12. The program consists of "Nyx" by composer/conductor Essa-Pekka Salonen, Ravel's song cycle "Shéhérazade," and the "Symphonie Fantastique" by Berlioz. Performances take place at Powell Hall in Grand Center.

St. Louis theatre calendar for the week of May 6, 2019

This week's events include the opening of the Tennessee Williams Festival and the local premiere of a thought provoking play by Lucas Hnath at Mustard Seed.

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Biloxi Blues

Clayton Community Theatre presents Neil Simon's Biloxi Blues Thursdays through Saturdays at 8 p.m. and Sundays at 2 p.m. through May 12 (except for Friday, May 10, when there is no performance). "This well-known play, the second in Simon's semi-autobiographical "Eugene trilogy," centers on Eugene's observations of the contest of wills between his drill sergeant and an intellectual recruit at a Biloxi, Mississippi, Army base in 1943. Along the way, he loses his innocence in many ways. It is both a reflection on prejudice and people's reaction to prejudice, and also hilariously funny from beginning to end; and it is the winner of multiple Tony awards. CCT plans to present the entire trilogy over three seasons." Performances take place at the Washington University South Campus Theatre. For more information, call 314-721-9228 or visit placeseveryone.org.

CSZ St. Louis presents The ComedySportz Show on Saturday nights at 7:30 pm. The show is "action-packed, interactive and hilarious comedy played as a sport. Two teams battle it out for points and your laughs! You choose the winners the teams provide the funny!" Performances take place on the second floor of the Sugar Cubed, 917 S Main St. in St Charles, Mo. For more information: www.cszstlouis.com.

Mustard Seed Theatre presents Death Tax by Lucas Hnath Thursdays through Saturdays at 8 pm and Sundays at 2 pm, May 9-19. "As Maxine nears the end of her life she is certain of three things: Death, Taxes and the Greed of her daughter who wants her to die quickly. A desperate nurse vows to keep her alive, but at what cost? Darkly comic, the play explores morality and forgiveness." Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

The Tennessee Williams Festival presents Dear Mr. Williams, written and performed by Bryan Batt, Friday at 8:30 pm and Saturday at 3:30 and 8:30 pm, May 10 and 11. "The blue devils of sex, alcohol, and mendacity take center stage in this tender and funny coming-of-age story of a young gay artist. With the great American playwright as his compass, Batt takes us on a thrilling and very personal journey out of the shadows into a bright light of self-discovery. The tumultuous-and sometimes treacherous-journey from adolescence to adulthood is one we all must take, but Batt's one-man tour de force proves that it's oh so much more fascinating and fun with Tennessee Williams as your guide" . Performances take place at the Curtain Call Lounge at the Fabulous Fox in Grand Center. For more information: twstl.org

Curtain's Up Theatre presents the musical Disney's Freaky Friday Thursday and Friday at 7:30 pm, Saturday at 2 and 7:30 pm, and Sunday at 2 pm, May 10 - 12. Performances take place in the Dunham Hall Theatre on the campus of Southern Illinois University at Edwardsville. For more information, visit curtainsuptheater.com.

Bob Wetzel

The Kranzberg Center presents Bob Wetzel in Facing the Music on Saturday, May 11, at 8 pm. "This show will feature the music of songwriters as diverse as Irving Berlin, Jimmy Van Husen, Stephen Sondheim, Paul Simon, Jerome Kern and Don Henley; Bob and the band will spin some of them in ways you have likely not heard before." Carol Schmidt is pianist and music director for the show, which also features Rick Vice on bass and Kevin Gianino on drums. Tim Schall directs. The performance takes place at the Kranzberg Center, 501 N. Grand in Grand Center. For more information: www.metrotix.com

A Lovely Sunday for Creve Coeur
Photo by ProPhotoSTL

The Tennessee Williams Festival presents A Lovely Sunday for Creve Coeur Saturdays and Sundays at 1 and 5 pm, May 11-19. "Four eccentric and unforgettable women fry chicken, plan a picnic to Creve Coeur Lake, and cope with loneliness and lost dreams in an efficiency apartment on Enright Avenue in the Central West End circa the mid-1930s. Williams gives us more laughs than usual, but no less poetry or poignancy. Williams believed that growing up in St. Louis was essential to the shape of his work. A Lovely Sunday for Creve Coeur is one of his few plays set here, and was the inspiration behind TV's "The Golden Girls." Featuring an all-female cast, A Lovely Sunday for Creve Coeur will be directed by Kari Ely." Performances take place at the Grandel Theatre, 3610 Grandel Square in Grand Center. For more information: twstl.org.

The Fabulous Fox Theatre presents the Madea's Farewell Play Tour Friday at 8 pm, Saturday at 3 and 8 pm, and Sunday at 3 and 7:30 pm, May 10 - 12. "Tyler Perry's Madea's Farewell Play Tour will be Perry's 21st stage play. In addition to Perry, the play will star Tamela Mann, David Mann, and Cassi Davis Patton". The Fabulous Fox Theatre in on N. Grand in Grand Center. For more information: fabulousfox.com.

Alton Little Theater presents the musical Mamma Mia! Fridays and Saturdays at 7:30 pm and Sundays at 2 pm, May 10-19. "The most romantic musical comedy comes to the ALT stage just as the popular movie sequel hits the screens summer 2018. Love, mishaps, and music by ABBA will have audiences dancing in the aisles again as they feel transported to the Greek Island of Kalokairi on the eve of a wedding!" Performances take place at 2450 North Henry in Alton, IL. For more information, call 618.462.6562 or visit altonlittletheater.org.

The Looking Glass Playhouse presents the musical Mamma Mia! Thursdays through Saturdays at 7:30 pm and Sundays at 2 pm through May 12. " ABBA's hits tell the hilarious story of a young woman's search for her birth father. This sunny and funny tale unfolds on a Greek island paradise. On the eve of her wedding, a daughter's quest to discover the identity of her father brings three men from her mother's past back to the island they last visited 20 years ago. A mother. A daughter. Three possible dads. And a trip down the aisle you'll never forget!" Performances take place at 301 West St. Louis Street in Lebanon, Ill. For more information, visit www.lookingglassplayhouse.com.

The Lemp Mansion Comedy-Mystery Dinner Theater presents Muurder in Maaaybury! through July 27. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com.

The Sheldon Concert Hall presents Ben Nordstrom and Steve Neale in The Music of Billy Joel and Elton John on Saturday, May 11, at 11 am. "Two of St. Louis' favorite musical theater performers come together to celebrate music icons Billy Joel and Elton John. Enjoy hits such as "New York State of Mind," "Don't Let the Sun Go Down On Me," "Scenes From an Italian Restaurant" and "Your Song," performed with Ben and Steve's trademark wit and charm." The Sheldon is at 3648 Washington in Grand Center. For more information: thesheldon.org.

Nice Work if You Can Get It
Photo by Julie A. Markle

Kirkwood Theatre Guild presents the musical Nice Work if You Can Get It through May 12. "This hilarious new screwball comedy premiered on Broadway in 2012. This new musical, featuring the glorious songs of George and Ira Gershwin, pokes fun at the Prohibition era in a clash of elegant socialites and boorish bootleggers. Set in the 1920s, "Nice Work If You Can Get," is the story of a charming and wealthy playboy Jimmy Winter, who meets a rough female bootlegger, Billie Bendix, the weekend of his wedding. Jimmy, who has been married three (or is it four?) times before, is preparing to marry Eileen Evergreen, a self-obsessed modern dancer. Thinking Jimmy and Eileen will be out of town, Billie and her gang hide cases of alcohol the basement of Jimmy's Long Island mansion. But when Jimmy, his wife-to-be and her prohibitionist family show up at the mansion for the wedding, Billie and her cohorts pose as servants, causing hijinks galore." Performances take place in the Robert G. Reim Theatre of the Kirkwood Community Center, 111 South Geyer Road. For more information, call 314-821-9956 or visit ktg-onstage.org.

Night of the Iguana
Photo by ProPhotoSTL

The Tennessee Williams Festival St. Louis presents Night of the Iguana Thursdays through Saturdays at 7:30 pm and Sundays at 3 pm, May 9-19. "The steamy and startling Iguana is one of the most richly textured and dramatically satisfying plays written by Williams. At its center is Shannon, a pastor who has lost his flock, has lost his religion, and has-at the very least- misplaced his sanity and sense of decency. He takes refuge at a rundown resort owned by the lusty and busty Maxine, where they are soon joined by the beautifully refined but repressed Hannah, in the company of Nonno, her nonagenarian grandfather. These two may be scam artists, but they are artists all the same; as such, they offer some brief hope of redemption." Performances take place at the Grandel Theatre, 3610 Grandel Square in Grand Center. For more information: twstl.org.

The Bissell Mansion Murder Mystery Dinner Theatre presents Nursery Crimes through May 9. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com.

The Theatre Guild of Webster Groves presents the comedy Over the Tavern running through May 11. "In that most idealized period of 20th-century America, the Eisenhower years of the 1950s, the Pazinski family has a lot going on in their cramped Buffalo apartment. The youngest of the bunch, 12-year-old Rudy, is a smart, wise-cracking kid who's starting to question family values and the Roman Catholic Church. When Rudy goes up against the ruler-wielding Sister Clarissa and announces that instead of being confirmed he'd rather shop around for a more "fun" religion, all hell breaks loose." Parental discretion is advised." Performances take place in the Guild theatre at Newport and Summit in Webster Groves, MO. For more information: theatreguildwg.org or call 314-962-0876.

The St. Louis Writers' Group presents the first round of its Playwright Slam on Monday, May 6 at 6:30 pm. "Get ready for a night of fun impromptu theater. The order of scripts to be read will be chosen at random. Actors to read will be chosen at random. Each script will be given a five minute read, and rated by a panel of judges based upon audience reaction. The judges will select several plays to move on to round two, held on May 13" The event takes place upstairs at Big Daddy's, 1000 Sidney in Soulard. For more information: www.stlwritersgroup.com.

Salt, Root, and Roe
Photo by ProPhotoSTL

Upstream Theater presents the St. Louis premiere of Salt, Root and Roe running through May 12. "Tim Price's Salt, Root and Roe is a poetic masterwork about the nature of change, the comfort of home, and the eternal bond of love, set against the mythical backdrop of the Pembrokeshire coast in western Wales. The play centers on identical twins Iola and Anest, who are very devoted to each other. Ageing fast, and with the time they have together more fragile by the day, they arrive at a desperate decision. Word of this reaches Anest's daughter Menna, who rushes to her long-abandoned childhood home where her own ideas of love and compromise are tested to the limit. In spite of its somber themes, the play is light, textured and at times very funny-and in the words of one reviewer "like a pebble picked from a Pembrokeshire beach… something to take home and reflect over, something that evokes a smell of the sea..."Another US premiere from Upstream Theater, in co-production with Stages Repertory Theatre of Houston." Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, including show times: upstreamtheater.org.

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 May 6, 2019

The 2019 Bach Festival continues this week and the regular St. Louis Symphony Orchestra season concludes with a visit from Music Director Designate Stéphane Denève.

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The American Chamber Chorale

The American Chamber Chorale and the Salem St.-Louis Chamber Orchestra perform on Saturday, May 11, at 7:30 p.m. The concert takes place at Salem United Methodist Churh, 1200 S. Lindbergh. For more information: americanchamberchorale.com.

The Bach Society of St. Louis presents A Classical Cabaret on Tuesday, May 7 at 6 pm. "A lively event highlighting favorites from classical to contemporary Broadway, featuring soloists from the Bach Society Chorus and hosted by Debby Lennon. Directed by Stephen and Jamie Eros." The event takes place at Jazz St. Louis on Washington in Grand Center. For more information: www.bachsociety.org.

The Bach Society of St. Louis presents A Bach Spring Sing on Saturday, May 11 at 9 am. "Singers of all ages, at any experience level are invited to sing the music of Bach collectively for this unforgettable, one-day singing workshop. We'll start the day with breakfast together followed by rehearsal. Led by Bach Specialist David Gordon and Bach Society Music Director A. Dennis Sparger. The workshop ends in a FREE 11:30am performance, open to the community." The event takes place at Central Presbyterian Church, 7700 Davis Drive in Clayton. For more information: www.bachsociety.org.

Stéphane Denè

Music Director Designate Stéphane Denève conducts the St. Louis Symphony Orchestra and mezzo-soprano Rinat Shaham Friday and Saturday at 8 pm and Sunday at 3 pm, May 10-12. The program consists of Nyx by Essa-Pekka Salonen, Ravel's song cycle Shéhérazade, and the Symphonie Fantastique by Berlioz. Performances take place at Powell Hall in Grand Center. For more information: stlsymphony.org.

The Sheldon Concert Hall presents the contemporary chamber ensemble Alarm Will Sound on Friday May 10, at 8 p.m. "Alarm Will Sound, the contemporary music ensemble known for pushing the boundaries of musical performance, presents Alarm System 2019, with music by King Britt, Dave Douglas, Tyshawn Sorey, and more. The performance will begin with a special collaboration between members of AWS and St. Louis musician Mvstermind (named an "Artist to Watch in 2019" by NPR)." The Sheldon is at 3648 Washington in Grand Center. For more information: thesheldon.org.

Cappella Romana

The Touhill Performing Arts Center presents the a cappella vocal ensemble Cappella Romama on Wednesday, May 8, at 8 p.m. "Byzantine musicologist and performer Alexander Lingas directs his ensemble Cappella Romana, renowned for their presentations of music that span the full breadth of the Roman Tradition, from the Greek East to the Latin West. Here Lingas conducts Venice in the East, a program of medieval Byzantine chant and related Latin works influenced by Byzantine Tradition from Crete and the Ionian Islands, which were ruled by the Venetians after the Latin conquest of Constantinople in 1204, and from Cyprus, a Venetian outpost from 1489 to 1571. Commissioned by the Early Music Festival in Utrecht (Netherlands), the largest early music festival in the world." The Touhill Center is on the campus of the University of Missouri at St. Louis. For more information: touhill.org.

The Town and Country Symphony Orchestra performs on Sunday, May 12 at 2:30 pm. The program features music from Gliere's Red Poppy ballet and takes place at the Ridgway Auditorium at The Principia, 13201 Clayon Road in Town and Country. For more information: tcsomo.org.

Chuck's Choices for the weekend of May 3, 2019

New on the list: cabaret fund raisers, a Broadway spectacular, an intimate local premiere, and a Brian Friel classic.

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New This Week:

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The Black Tulip Chorale presents Cabaret Soirée, a special benefit performance for the group, on Saturday, May 4, at 8 pm, preceded by a silent auction at 7 pm. The Black Tulip Chorale is "St. Louis' only LGBTQIA-friendly mixed voice ensemble welcoming all genders and orientations. In its inaugural season, the Black Tulip Chorale promotes social consciousness through the finest in choral repertoire. This show features a dozen wonderful singers (some of whom are catching the "Cabaret Bug") from BTC in an evening of songs and stories that are touching, hilarious, profound, and/or kinda raunchy." The evening is hosted by St. Louis cabaret artist Ken Haller and takes place at The Chapel, 6238 Alexander Clayton. For more information: www.brownpapertickets.com/event/4220447

Lola Van Ella

The Gateway Men's Chorus presents Cabaret Risque, its annual fundraiser, on Friday, May 3, at 8 pm preceded by a cocktail hour at 7 p.m. "Gateway Men's Chorus welcomes back Miss Lola Van Ella and her troupe to Cabaret Risqué! Join us for an evening of sultry burlesque acts from male and female performers, incredible edibles from some of St. Louis's best caterers, and a range of tempting silent auction items that will tantalize your senses!" The show takes place Rialto Ballroom on the fourth floor of the Centene Center for the Arts, 3547 Olive in Grand Center. For more information: gatewaymenschorus.org.

My take: Both the Gateway Men's Chorus and The Black Tulip Chorale represent important aspects of the musical scene here. The Gateway Men's Chorus is a local cultural treasure and deserves our support. And and by attending their event, you'll get an entertaining evening of cabaret along with the good feeling of knowing that you've helped them keep going. The Black Tulip Chorale is a spinoff group of the much-admired GMC. Dr. Ken Haller, who is also much admired for his work as a cabaret singer, actor, and (most recently) cabaret director is a force majeure here, which is reason enough to recommend their fund-raiser. And since they're on different night, you could attend both!

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Miss Saigon

The Fabulous Fox Theatre presents the musical Miss Saigon running through May 5. "Experience the acclaimed new production of the legendary musical Miss Saigon, from the creators of Les Misérables. This is the story of a young Vietnamese woman named Kim who is orphaned by war and forced to work in a bar run by a notorious character known as the Engineer. There she meets and falls in love with an American G.I. named Chris, but they are torn apart by the fall of Saigon. For 3 years, Kim goes on an epic journey of survival to find her way back to Chris, who has no idea he's fathered a son. Featuring stunning spectacle and a sensational cast of 42 performing the soaring score, including Broadway hits like "The Heat is On in Saigon," "The Movie in My Mind," "Last Night of the World" and "American Dream," this is a theatrical event you will never forget." The Fabulous Fox Theatre in on N. Grand in Grand Center. For more information: fabulousfox.com.

My take: Unlike some earlier Vietnam War-inspired theatre, Miss Saigon doesn't deal in propaganda, but it does raise some troubling issues about both the way Americans deal with the rest of the world. At its heart are conflicting visions of America. The Engineer sees it as a place to get rich quick. The reluctant prostitute Kim sees it as a place where her child can grow up without hunger or fear. The jury is still out regarding which is more accurate, although the less family friendly one certainly seems to be on the ascendant these days. Tina Farmer at KDHX calls this production "provocative and thought provoking." "The first touring production of the 2014 revival of this acclaimed musical shows once again the power and majesty of the original," writes Mark Bretz at Ladue News.

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Salt, Root, and Roe
Photo by ProPhotoSTL

Upstream Theater presents the St. Louis premiere of Salt, Root and Roe running through May 12. "Tim Price's Salt, Root and Roe is a poetic masterwork about the nature of change, the comfort of home, and the eternal bond of love, set against the mythical backdrop of the Pembrokeshire coast in western Wales. The play centers on identical twins Iola and Anest, who are very devoted to each other. Ageing fast, and with the time they have together more fragile by the day, they arrive at a desperate decision. Word of this reaches Anest's daughter Menna, who rushes to her long-abandoned childhood home where her own ideas of love and compromise are tested to the limit. In spite of its somber themes, the play is light, textured and at times very funny-and in the words of one reviewer "like a pebble picked from a Pembrokeshire beach… something to take home and reflect over, something that evokes a smell of the sea..."Another US premiere from Upstream Theater, in co-production with Stages Repertory Theatre of Houston." Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, including show times: upstreamtheater.org.

My take: I'm getting to the age at which plays about Alzheimer's tend to make me more than a little uncomfortable, but there's no doubt that reviews for Upstream's production have been good. "Tim Price's affecting, absorbing drama is given a top-notch presentation in its American premiere production," writes Mark Bretz at Ladue News. "It's a one-act wonder that ideally fits Upstream's goal "to move you and move you to think." At KDHX, Steve Callahan praises the "superb cast," which consists of some of our finest local actors: Donna Weinsting, Amy Loui, Sally Edmundson, and Eric Dean White.

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Translations
Photo by Sharon Corcoran

The Black Mirror Theatre presents Brien Friel's Translations running through May 4. "Translations is an intimate look into a world at odds with itself. It could have been set in one of any number of eras and lands - anywhere in which an alien force imposes it's culture on a conquered people through the suppression of all that which gave and gives that culture cohesion, especially its language. One need look no farther than America, where indigenous peoples still struggle to maintain and transmit their values, beliefs, their souls thru their native tongues." Performances take place at the .ZACK, 3224 Locust in Grand Center. For more information: blackmirrortheatre.com

My take: Brian Friel is a gifted playwright, and Translations is one of his finest pieces. In his review for KDHX, Jacob Juntunen describes this production as "intimate and moving." "The ten-person cast makes a wonderfully strong ensemble," he writes, "and does great work together."

Preview: "I'm not afraid of going for emotion," a conversation with composer Jeff Beal

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

Composer Jeff Beal

St. Louis Symphony Orchestra Conductor Laureate Leonard Slatkin leads the orchestra in the second of a pair of concerts this weekend, May 3 and 4, 2019. During his tenure with the orchestra, Mr. Slatkin championed new works and infrequently heard pieces by American composers, so it's not surprising that this weekend's concerts features one of each.

The concerts will open with the Symphony No. 1 by Samuel Barber. Composed in 1935 and 1936 in Rome, the work netted him the American Prix de Rome at the ripe old age of 25. It's expansive, dramatic music with a wide emotional range--the sort of thing that made some critics dismiss him as "conservative" at a time when serialism was all the rage and actual melodies were seen as somehow déclassé. It's great stuff.

Up next is the new work: "The Paper Lined Shack," a song cycle by contemporary American composer Jeff Beal that's getting its world premiere this weekend. Mr. Beal is probably best known for his music for the TV series "House of Cards," but he also has extensive film and, more recently, concert credits. I talked with him late last week.

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Chuck Lavazzi (CL): I'd like to start off with a little bit about your background. I know you were a jazz trumpeter before you started composing, and that you picked up the trumpet at a very early age.

Jeff Beal (JB): Yes, I was in grade school--probably third or fourth grade--and I went to a school assembly with my dad where musicians were demonstrating different instruments. This guy picked up the trumpet and I pointed and said, "that's the one!" It's funny how your fate might get sealed at an early age, but I love the trumpet. It's a vocal instrument in many ways and it has always been a big part of my voice. When I started composing, I think improvising and being a jazz trumpet player opened the doors for me to be a composer.

CL: So you came to composing from the world of jazz. What was that transition like, moving from the freer atmosphere of jazz to composing for film and the concert hall?

JB: I think when you improvise in jazz, it really is a form of spontaneous composition. Also the other childhood connection that really influenced me was playing trumpet in the Oakland Youth Symphony Orchestra, which is a really fine youth orchestra. I'll never forget, we were playing Stravinsky's "The Rite of Spring," and I was listening to that incredible music, that mind of Stravinsky's, the colorful nature of it, and the fact that it was from a ballet so it had a narrative to it--and I knew that I wanted to write all kinds of music. Not just jazz but for the orchestra, to express my musical urges through composition.

CL: I was reading that you are something of a one-man band. You compose, orchestrate, and even engineer and record your own works. How does it feel to turn your artistic children out into the wild to be performed by others?

JB: That's a great question. Having done film for so long, I really missed that chance to connect back to the world of live performance. And I think I have relaxed a little bit. I'm 55 now and I'm more forgiving of the unpredictable nature of live performance. In fact, I really quite enjoy it.

One of the things I've discovered during these years of recording and producing my own scores is that often I prefer to use the first or second take, which is more like a live performance. So the energy of a live performance is one of the ultimate ways to not only have your work done but to listen to music.

I find myself going to a lot more concerts than when I was in the darkroom writing film scores. I think when you listen to music played live in a room by people something magical happens. For me it's like flying first class, especially with Hila Plitmann singing and Leonard Slatkin conducting. I couldn't be happier.

CL: The piece they're going to do is "The Paper Lined Shack," a song cycle. It's the world premiere. What has the experience been like working on that with the orchestra?

Soprano Hila Piltmann
Photo courtesy St. Louis Symphony Orchestra

JB: I had a session with Hila several weeks ago, and that was really useful. You always have a sense in your mind of what the piece is going to feel like and I do a little mock-up with the computers when I'm writing, but there's always something I learn when it really gets played by the orchestra and the way it lives and breathes in the room. I know I'm going to understand the piece in a different way, which is an enjoyable part of the experience for me. Whenever you're doing something for the first time, it has a life of its own and you're sort of discovering it, even if you wrote it. That's the amazing thing about music for me--it's a performance medium so I'm really looking forward to that.

One of things I like about Hila is that she always memorizes her music and she really takes on the story that she's singing. What she brings to it as a performer will be a powerful part of the piece.

CL: The text for "The Paper Lined Shack" is based on a diary by your great-grandmother Della that you found while unpacking some boxes.

JB: Yes, this was 20 years ago. My wife and I discovered it and she started reading it. I knew the general outline of what her story was, but reading it we thought "this is really special." There's some really beautiful writing, especially in the way she describes that crucial moment in her life when she was in Idaho pregnant with her sixth child and her husband got sick and died suddenly. She ended up raising these six kids on a farm by herself.

It was always in the back of my mind that it would be great to do something with this. I knew I wanted to have a strong female character for Hila because of her acting ability, something that really had dramatic weight, and that's when this came back to me. I read it with my wife Joan who helped me craft parts of this diary into a libretto. We both had similar ideas about the important images and parts of her life that we wanted in the song cycle.

CL: What made you think of this as a good choice for Leonard Slatkin and the SLSO?

JB: To me the St. Louis Symphony and Leonard Slatkin represent a very American take on culture and the part of the country that's dependent on the pioneer spirit, because anybody that didn't start on the East coast was a pioneer of some sort. Even though I grew up in San Francisco, I always felt that the West was part of the mythology of how I identified.

CL: I like the way your great-grandmother Della talks about her garden as part of the cycle of life.

JB: Yes, we bring that back in the last movement. I realized that's a really important part of my story as well. There's a documentary film I scored called "The Biggest Little Farm" opening May 10th. It's about a husband and wife that took over this farm in southern California, and I realized there's something powerful about that connection to the earth. There's something spiritual and mythical about it in a way, tapping into that universal part of the story.

This is a very personal text for me, but my hope is that, as a concert piece, it won't just be about my story. I hope that everybody will find something in Della that they can relate to. She was the only girl in a family of four brothers, so she was a kind of tomboy. This is the story of how she found her identity and a woman and became who she was. It's wonderful the humility she had and the lack of self-pity. It's a sort of Midwestern, Protestant work ethic that I find quite beautiful, hopeful, and not cynical.

I think we're living in such a horribly cynical time, politically and otherwise, so to me this isn't nostalgia. It's about values and celebrating the best we can be. The best of us.

CL: I think it also touches on something we seem very blind to in this country, which is our debt to the past. Americans seem to have this belief that the past doesn't matter and that we can reinvent ourselves every day, and that's just not real.

Della's paper lined shack

JB: I think that's a great point. I think inventiveness is great, but there's a danger in that. In fact, I rediscovered myself writing this.

I came up with the title based on a description of the house. It's really startling when you live in the modern era in a relatively wealthy country, it's a reality check to be reminded how so many people had so little and got by with so little and made it work.

CL: There's a picture of it in the program, so people will see it when the come.

JB: It has a kind of Ken Burns iconic look.

CL: Let's talk about the music. What are people going to hear when they experience "The Paper Lined Shack"?

JB: The music follows the beats of Della's life. It's somewhat chronological. So you first meet her as a young girl and the music has a childlike, playful character. There's energy and a definitely American sound. I'm really honored to be on the same program as Samuel Barber because his musical language is part of what I love.

The garden movement is much more lyrical and bittersweet. When Hila and I were rehearsing it we both started crying at a certain point because those are powerful words. I love music like that, that's cathartic. That probably goes back to my roots as a film composer. I'm not afraid of going for emotion in what I do. That part of what I love about being a composer, trying to communicate the feelings of an experience with somebody.

CL: I love these final words in the text: "It was love that we planted in the garden / There our hearts bloomed, / Our hearts opened. / Carry my heart." That feels like a wonderful way to close it.

JB: Thank you. I certainly hope people are moved by it.

CL: Is there anything more you want to communicate to the listeners?

JB: Well, Leonard Slatkin has been an important mentor in my life and I'm grateful to have him as a partner. His parents were very involved with film music, so he's not afraid to reach out to a film composer to write a piece of concert music. That's very special to me.

And I really feel--and I know Leonard feels this way too--that the more we can break down the barriers between "high" art and "low" art and the more we can have the story telling drive what gets played, I think that's the way music is going. I'm not the only one doing this and it's nice that this is starting to happen.

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The Essentials: Leonard Slatkin returns to conduct the St. Louis Symphony Orchestra and soprano soloist Hila Plitmann Friday at 10:30 am and Saturday at 8 pm, May 3 and 4 at Powell Hall in Grand Center. In addition to the Barber and Beal works, the concert features Tchaikovsky's Symphony No. 6 ("Pathetique"). In an interview with me last week, Mr. Slatkin said his interpretation "will perhaps remind audiences, sonically, of what that collaboration [with the SLSO] was like in the earlier days when I was music director. It has changed over the years, but for the next couple of weeks we old timers will show the kids how we used to play."