Check out Ryan Spearman - "No Name Blues" at Smalls Tea & Coffee
Monday, June 30, 2014
Dialogues of the Carmelites Answers a Higher Calling
By Rob Levy
In dramatic terms, Dialogues
of the Carmelites is as intense as any film by Lars Van Trier or Quentin
Tarantino.
Francis Poulenc’s second opera is perhaps his most famous.
Its subjust is the sixteen Carmelite nuns of Compiègne, who were executed
during the Reign of Terror in 1794. These brave sisters, in refusing to
renounce their vocation, showed indelible courage by remaining loyal to their
faith. This twentieth century opera has an almost filmic quality to it: it is
both epic and tragic, as its protagonists find themselves at the center of a maelstrom
of events they cannot control.
That is not by happenstance. The roots of the opera can be
traced first to a novella and then to a proposed film. Failing to reach the
silver screen, the work was then adapted unsuccessfully for the stage before it
landed in the hands of Poulenc, who thought this story of martyrdom would be ideal
as an opera.
Timing is everything, and this opera is filled with it. Blanche
De La Force is an aristocrat who yearns for something more than the good life.
Like many of her class, Blanche fears that the revolution is coming to her doorstep,
and she wants no part of it.
As the opera opens Blanche informs her father that she is
leaving home to answer a higher calling. She joins the Carmelite order in Compiègne
but finds that the Mother Superior is not thrilled to have her in their
commune: the ailing Prioress, Madame De Croissy, has a premonition that her
arrival will bring ruin to them. Nonetheless, she takes Blanche under her wing
and encourages her to find her true self.
The first half of the opera closes with the death of the
Prioress and a sense of looming dread. Things only get worse as the revolution,
which suppresses religious orders, comes to the monastery. This places Blanche
and the other sisters in great peril, since they are housing an aristocrat in
addition to their other supposed “crimes.” As Blanche flees, the sisters are
sentenced to execution by guillotine. All seems lost — but the sisters’ inner
strength is their absolute faith.
The great thing about Poulenc’s opera is the music. Conductor
Ward Stare and members of the St. Louis Symphony do an excellent job of framing
the tension on tage with a score that is at times both
perfectly subtle and necessarily overstated. The score is as tenuous as the
Carmelites themselves and it perfectly underpins the production.
Native St Louisan and opera legend Christina Brewer returns
to Opera theatre as Madame Lidoine. Although she has a smaller role her
presence is felt with yet another superb performance. Brewer is one of the
biggest names in contemporary opera and having her appear in the opera is quite
a coup.
Soprano and audience favorite Kelly Kaduce stars as Blanche.
In the role she excels at bringing both a naïve vulnerability and inner turmoil
to the character. The result is yet another powerful performance of a strong
female character. Kaduce is the glue that holds the production together. She
holds her own with some heavy hitters onstage, enhancing her reputation as one
of opera’s young American talents.
As the Prioress Madame De Crossiy, another favorite, Meredith
Arwady steals the first half of the production. Playing a dying character is
never easy and she simply takes over the part and pours ever fiber of her being
into the role. She creates a sense of empathy that connects with the audience;
she is a commanding force to be reckoned with. A dynamo onstage she does a
balancing act of being at the core of the drama without overshadowing Kaduce or
her other cast mates.
There also is a sterling debut from mezzo-soprano Daveda
Karanas as Mother Marie who holds her own amidst a cast of audience favorites
and OTSL veterans.
Dialogues
of the Carmelites is a tragedy and infinite despair and
sadness. Yet the music, set design and performances from an all-star cast makes
it the perfect closing note for Opera Theatre’s 39th season. It’s
penetrating production that stays with you long after you leave your seat. The ensemble does it job by creating an
opera that is vividly heroic, passionate and heart wrenching.
27 IS A FEISTY PREMIERE
By Rob Levy
In a season filled with operas centered on strong women,
Opera Theatre of St Louis has unveiled 27,
a world premiere production featuring two provocative women, Gertrude Stein and
Alice B. Toklas. 27 was commissioned
as part of New Works, Bold Voices
series (which began with last year’s Terence Blanchard excellent boxing opera, Champion), a three-year cycle of world
premieres by American composers for the company. This project came to fruition through the hard work and
collaboration of vocal music wunderkind Ricky Ian Gordon and librettist Royce
Vavrek.
The Paris art scene centered around the home of Gertrude
Stein has been a richly mined source for plays, movies and books. Now her
tempestuous life of complexity, creativity and passion comes to life in a vivid
new production that focuses on her life in the City of Lights between the World
Wars. The intense drama is set entirely at her home at 27 Rue de Fleurus, a hub
of creativity where Stein and her lover, Alice B. Toklas, served as beacons for
artists like Pablo Picasso, Henri Matisse, Man Ray and writers Ernest Hemingway
and F. Scott Fitzgerald.
In 27, Stein
interacts with the visionaries of her time. Here Matisse and Picasso jockey for
recognition while Stein and her brother Theo slug it out over who owns what in
the collection. Whereas Stein had an eye for art, she had no understanding for
the events of her time. She tragically believed that no war would break out in
either 1914 or 1939, a fact that would tarnish her reputation for decades. And
inevitably, as times changes, Stein and Toklas shared in the suffering of the
war.
At the core of the opera is the relationship between a controlling,
dominant and unnerving Stein, and the more practical and reserved Toklas.
Despite dire times, they never lost their spirit; through bombings and
occupation they never wavered in their efforts to embrace the creativity around
them. The larger-than-life Stein was a tastemaker of her time, and her approval
or disapproval could make or break an artist. Her taste in art was wide-ranging,
and her passion for developing literary talent was just as vital; she was more
responsible than anyone in bringing Modernism into the public eye.
This world premiere event showcases an amazing ensemble
cast. Stephanie Blythe, a powerhouse of opera debuting in her inaugural production
with OTSL, gives a mesmerizing performance. She is both an incredible vocalist
and mentor to her compatriots. Her co-star, soprano Elizabeth Futral, stars as
Alice B. Toklas. Futral’s work is not to be missed. Like Blythe, she rarely
leaves the stage, carrying the emotional weight of the libretto. As a duo, Futral
and Blythe are pure electricity.
The supporting cast fills multiple roles, which allows a
small ensemble to focus the intense drama on stage. Theo Lebow gives Picasso haughtiness
and a brooding tone that works well with Blythe and Futral. Tobias Greenleigh’s
Matisse is snarky and pouty, a perfect fit for a production focused on the
dealings of the art world.
The design team has outdone themselves. The opera utilizes
one set with great effect, allowing the actors room to roam and breathe. Yet
when the stage needs to close in for a more claustrophobic feel, it is pliable
enough to do so. Allen Moyer’s set elegantly captures the mood of the times
while also serving as a soft-toned backdrop for passionately emotional opera.
The use of picture frames to create living portraitures is a
remarkably effective technique for concentrating the focus of the audience.
Oftentimes the words “world premiere” lead straight to
material that turns out to be weird, unfinished or even frighteningly
experimental. With 27, Opera Theatre
of St. Louis has created a multi-textured production that is as emotionally
deep as it is visually exquisite.
In a season laden with formidable ensembles and dominant
singing, 27 sets the bar. It has
everything you want in a powerful opera and its execution is flawless. This
inaugural production has resonated with audiences while putting the opera world
on notice that OTSL is capable of creating innovative and dynamic new work.
THE MAGIC FLUTE GOES TO HOLLYWOOD
Its always risky business to update a classic. Opera Theatre
of St. Louis is well aware of the risks involved in such an endeavor — nonetheless
they persevered, and added one of Mozart’s most popular operas to their 39th
season.
Reimagined by fashion icon Isaac Mizrahi, this production of The Magic Flute is a daring break from
the traditional. It is set on a Hollywood sound stage of the 1950s, an
interesting choice that gives this rendition access to all of the glitz and
glamor of that era. The stage is soaked in bright colors: the flamboyant blues,
yellows and greens that Mizrahi has selected for the costumes and set make a
statement that this production is as vibrant and energetic as a Hollywood
musical. Complementing the color is a Tinseltown dose of sass in the form of
the ensemble and a troupe of dancers.
The story centers on a handsome prince named Tamino, who has
been recruited by The Queen of the Night to rescue her daughter, Pamina, from
the clutches of the diabolical Sarastro, the High Priest of the Sun. When
Tamino sees a portrait of the princess, he is instantly smitten and agrees to
rescue her.
Tenor Sean Panikkar is at the center of this production. As
Tamino he is heroic and dashing, channeling the panache of the Golden Age’s
biggest stars. He gives the prince a fragility not seen in most modern
interpretations. Meanwhile, Claire de Sevigny plays The Queen of the Night with
a sophisticated aloofness that adds to the mystery of her character. Every
piece of her performance recalls that golden age of screen sirens like Dietrich
or Garbo.
Matthew Anchel clearly enjoys playing the bad guy. In his
hands Sarastro is a seriously creepy dude who will stop at nothing to get his
way. Elizabeth Zharoff is a star on the rise as Pamina. Her chemistry with
Panikkar is electric, and she brings new layers to one of the most familiar
characters in opera. Her performance is stunning. Levi Hernandez’s turn as the
bird watcher Papageno is refreshingly bright. Mozart wrote him as the character
that propels the action on stage. Although Papageno is a comedic character, his
actions border on the heroic.
The Magic Flute is
as interesting as it is confounding.
There’s no real ending in the traditional sense, and each of the
characters clearly pursues a personal agenda, making each more a shade of grey
than black or white. Mizrahi has also utilized Masonic imagery in his version,
a play on the fact that Mozart, a mason himself, sprinkled its symbolism
throughout the opera. Mizrahi, in turn, amps it up, making Masonic iconography
the centerpiece of the set and costume design.
Tan, rested and ready,
Opera Theatre of St Louis has given a complete makeover to its production
of The Magic Flute. Sashaying around
tradition and staging it with unrelenting boldness, the company’s take-no-prisoner
attitude captures the quintessential essence of a big time Hollywood production.
The dancers hit their marks and offer a nice change of pace from the staid.
Splashy, sophisticated and uncompromising, this is a new
production of an old classic with a bright new coat of paint.
Wednesday, June 25, 2014
LoFi Cherokee Video #12
It's always a little sad on Wednesday, knowing it'll be another week before we get more LoFi Cherokee to enjoy, but first, enjoy Al Holliday & The East Side Rhythm Band doing "Little Woman Of Mine" at Saxquest!
Tuesday, June 24, 2014
Back to Back! Lo-Fi Cherokee video #11
Right in the heals of #10, here's #11, the great Cree Rider Family Band playing "Straight From The Bottle" at Strange Overtones
Lo-Fi Cherokee video #10!
Wow - the weekend went so fast, we missed Monday! So we need to catch up! Lo-Fi STL posted the 10th video for the 2014 installment of Lo-fi Cherokee, here it is - Kentucky Knife Fight playing "Father"
Friday, June 20, 2014
ELIXIR OF LOVE TRIUMPHS AT OTSL
It may sound strange to compare Opera
Theatre of St Louis’ production of The
Elixir of Love to a great scoop of ice cream, but bear with me.
The company’s production of Donizetti’s
comedic opera is sugary, sweet and goes down smooth. Its rich set design and
creamy musical score are topped off by great performances from an ensemble that
takes sugary material and adds some flavorful texture.
The
Elixir of Love shines as a bold work of operatic
entertainment. Stage director Jose Maria Condemi has stripped down the
lavishness in order to emphasize the dramatic love story at the center of the
plot. Moving the setting from Donizetti’s Basque country to the Grant
Wood-esque serenity of bucolic small town America of 1914 is an audacious move
that resonates with a modern American Midwest audience.
The story centers around a peasant ice
cream vendor named Nemorino who falls head over heels for Adina, a
strong-willed uptown girl. Knowing that guys like him don’t catch girls like
her, Nemorino buys a love potion from devious and dubious Dr. Dulcamara on the
assumption that it will help him win her heart.
As he waits for the potion to do its
thing, Nemorino is dismayed to learn that Adina has capitulated her heart and
agreed to marry a sergeant named Belcore. Helpless and frantic, Nemorino
spirals into an emotional mess, not knowing that he has already won the
affection of his dear Adina, who hopes to use her engagement to Belcore as
motivation for Nemorino to get on the stick and win her over. Act Two details
the several twists, turns, missteps and mishaps as Adina’s wedding day
approaches, culminating in a passionate and tumultuous final scene loaded with
deceit, emotion and passion.
The ensemble is led by tenor Rene
Barbera as Nemorino, and Barbera’s mesmerizing performance is the bedrock of
the entire show. His Nemorino is uncorrupted and captivating. Tim Mix plays the
conniving Belcore, and in his hands we see a character who will sneak and
slither to any depth to win the heart of Adina. Mix plays this role with great
relish, and he clearly enjoys playing the heavy. Patrick Carfizzi plays Dulcamara as a smarmy, strictly
self-interested huckster; Carfizzi’s a joy to watch onstage as he manipulates
poor Nemorino. Susan Biller debuts with OTSL as Adina, a woman’s whose charm
and intellect turns every head in town. Strong yet vulnerable, Biller’s Adina
can hold her own and is not afraid to scheme herself in order to get one she
wants.
Opera Theatre St. Louis’ production of The Elixir of Love is a fun romp and a
timeless tale of unrequited love, anchored by a great cast. Scheming, dreaming,
lust and love have never been this much fun!
All performances are presented at the
Loretto-Hilton Center on the campus of Webster University. For showtimes and
more information visit the Opera Theatre's home page
By Rob Levy
Wednesday, June 18, 2014
Popular Mechanics make it #9
How much fun is this, a month of awesome videos! They keep coming. Here's Popular Mechanics with their tune "Slip Away" live at Art Bar!
Tuesday, June 17, 2014
Monday, June 16, 2014
Lo-Fi Cherokee Video Numero 7!
Getting deeper and deeper into it! Check out Javier Mendoza looking comfortable on a couch at Melt! Smells like waffles and sounds very sweet!
Wednesday, June 11, 2014
Lo-Fi Cherokee Video #6!
We've reached Wednesday, which means the last video until next week, but no reason to be sad, check out this awesome one from Née, playing“Heavy Boats” at Whisk!
Tuesday, June 10, 2014
Monday, June 9, 2014
Wednesday, June 4, 2014
Lo-Fi Cherokee video #3!
Lo-Fi STL has dropped the third video! Middle Class Fashion performing "Golden Rose" filmed at Velvet Elvis
Tuesday, June 3, 2014
Lo-Fi Cherokee video #2!
Lo-Fi St. Louis has posted the second Lo-Fi Cherokee video, check out the wonderful Shelia Shanpari performing her song "Ode (To A President)" at Tenth Life Cat
Monday, June 2, 2014
Lo-Fi Cherokee debuts it 3rd installment
Friday night, a couple hundred people gathered to watch the latest from Bill Streeter's Lo-Fi Cherokee series. If you missed, have no fear, the videos will be released throughout the month on Lo-Fi STL's website and through it's YouTube Channel.
This is definitely one of the coolest things that happens every year and Eleven is proud to be a small part of it.
Check out what's to come, as the videos are released:
And the first full video, released this morning!
Check out what's to come, as the videos are released:
And the first full video, released this morning!
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