Union Avenue Opera’s ‘Salome’ Delivers Power and Uneven Spectacle

Union Avenue Opera’s ‘Salome’ Delivers Power and Uneven Spectacle

By CB Adams
It is a rare pleasure to encounter “Salome,” Richard Strauss’s 1905 masterpiece (after Oscar Wilde’s scandalous play), on a St. Louis stage. Union Avenue Opera’s production reminds us that even in a modest house, this one-act psychodrama retains its power to disturb.

The evening offered superlative singing across the board, a moody if sometimes murky staging and Strauss’s extraordinary score rendered with clarity and bite by a chamber-sized orchestra that, under Scott Schoonover, sounded far larger than its 23 players.

The vocal achievement was formidable. St. Louis’s own Kelly Slawson brought fearlessness and stamina to the punishing title role, her dramatic soprano slicing cleanly through Strauss’s post-Wagnerian textures. The part notoriously demands everything from flights of coloratura to plunges into the contralto register along with sheer brute endurance.

Slawson met those challenges with assurance, shaping a Salome who was as predatory as she was magnetic. She infused the role with a heavy-metal intensity — thrilling, unsettling and never bland.

Opposite her, baritone Daniel Scofield supplied a commanding Jochanaan, his resonant timbre and prophetic fire holding the line against Salome’s obsessive advances.

Daniel Scofield, Kelly Slawson. Photo by Dan Donovan.

Will Upham’s Herod was appropriately febrile, a portrait of jittery decadence, while Joanna Ehlers’s Herodias offered caustic bite and a Wildean cynicism delivered with relish.

Brian Skoog (Narraboth) brought pathos to his brief trajectory, Emily Geller (the Page) added androgynous ambiguity and the quintet of Jews (Zachary Devin, Thomas M. Taylor IV, David Morgans, James Stevens, Fitzgerald St Louis) bickered with crisp ensemble precision. It was a cast without weak voices.

For all its musical strengths, the staging stumbled at two moments of dramatic consequence. The first misstep came early in the opera with Narraboth’s suicide. Poorly blocked, the scene left the audience’s eye on Salome rather than the lovesick captain.

His awkward, almost perfunctory thrust of the sword could have been missed entirely, thereby diluting Herod’s subsequent questions about the bloodied corpse. What should resonate as the opera’s first shocking rupture barely registered.

Will Upham and Joanna Ehlers. Photo by Dan Donovan.

The Dance of the Seven Veils, the opera’s centerpiece, likewise faltered. Slawson committed herself wholly, but the choreography lurched from abrupt pivots to ground- wriggling, from a parody of Norma Desmond to burlesque flourishes, all without discernible logic. A needless ascent and descent of the steps only deepened the sense of randomness.

At one point she barked toward the chorus; at another, the sequence spun into manic incoherence. The result brought to mind Brad Pitt’s turn in “12 Monkeys” — all nervous tics, sudden lunges and wide-eyed mania, as though every acting exercise had been flung on stage at once.

In a film, that kind of method-to-madness can be riveting; in this opera, it scattered the focus of a moment that should be singularly hypnotic. As a seduction meant to clinch the opera’s fatal bargain, the dance distracted rather than compelled — a pity, given the strength of the surrounding production.

Kelly Slawson as Salome. Photo by Dan Donovan.

Schoonover drew exceptional results from the orchestra. Strauss scored “Salome” for more than a hundred musicians, but Union Avenue performed it using Francis Griffin’s reduced orchestration for 23 players. In Schoonover’s hands, the ensemble produced a luminous, incisive sound that never swamped the singers while still carrying the music’s unsettling erotic charge.

Union Avenue’s “Salome” deserves praise as a rare and rewarding opportunity (despite its missteps) to encounter Strauss’s modernist milestone. Vocally and musically, it was a triumph; dramatically, it remained absorbing despite missteps. For audiences willing to face opera at its most decadent and disturbing, this production more than justified the journey.

Union Avenue Opera’s production of “Salome” was performed Aug. 15, 16, 22 and 23 at the Union Avenue Christian Church

The cast of “Salome.” Photo by Dan Donovan.
Daniel Scofield. Photo by Dan Donovan.

Emily Geller, Brian Skoog. Photo by Dan Donovan

A Classic Reimagined: Union Avenue Opera’s Vocally Rich ‘My Fair Lady’

A Classic Reimagined: Union Avenue Opera’s Vocally Rich ‘My Fair Lady’

By CB Adams

Once considered the sacred domain of soaring arias and tragic finales, the modern opera house has become an increasingly hospitable venue for the American musical. As audiences diversify and box offices face familiar headwinds, opera companies on both sides of the Atlantic are redrawing the boundary lines between Puccini and Porter, Mozart and Lerner & Loewe. These incursions into Broadway territory are not merely pragmatic gestures toward sustainability — though the allure of fresh demographics and fuller houses certainly plays its part. They also reflect a shift in artistic priorities: a recalibration of high and low, serious and popular, in which mid-century musicals once dismissed as cultural confections are now approached with curatorial seriousness and full orchestral forces.

The result is a kind of genre détente, one that invites reconsideration of works like “Carousel,” “West Side Story” and “My Fair Lady” for their melodic richness as well as for their dramatic substance. Yet this recontextualization brings with it inevitable tensions. Operatic grandeur can deepen a musical’s emotional resonance, but it can just as easily flatten the vernacular texture that gives it heart. When the scale tilts too far toward vocal opulence, the quicksilver wit of a lyric or the intimacy of a book scene can dissipate into the rafters.

Dress rehearsal on July 2, 2025 for Union Avenue Opera’s production of My Fair Lady.

Union Avenue Opera’s “My Fair Lady” steps confidently into this evolving conversation — not as novelty or gimmick but as a fully realized statement of intent. Directed with restraint and elegance by Annamaria Pileggi, the production embraces the vocal and orchestral might of the opera house without losing sight of the musical’s theatrical spine. Unlike the heavily amplified Broadway revivals of recent decades, this staging offers an unamplified vocal experience, restoring a kind of sonic intimacy that harkens back to the musical’s 1956 premiere.

In the resonant acoustics of the opera house, spoken scenes and sung lines alike are given a natural immediacy — less glossy perhaps but more present, more human. The staging honors the show’s Edwardian polish while allowing its class-conscious undercurrents to simmer beneath the surface, even though some of the lines are lost (thank goodness for the supertitles!).

Much depends, of course, on the cast’s ability to navigate the delicate terrain between speech and song, between character and caricature. Here, the company largely succeeds, with performers who favor nuance over bombast and clarity over excess. The result is a “My Fair Lady” that reads not as a nostalgic nod to a bygone era but as a reclamation — of the work’s musical sophistication, certainly, but also of its enduring cultural bite, the proof of which may be the capacity audience at the July 6 matinee that I attended.

Dress rehearsal on July 2, 2025 for Union Avenue Opera’s production of My Fair Lady.

Musically, this “My Fair Lady” rests on a solid and sensitive orchestral foundation, conducted with finesse by Scott Schoonover, who also serves as UAO’s artistic director. Under his baton, the orchestra delivers Loewe’s lush, deceptively intricate score with clarity and warmth, never overwhelming the singers but instead supporting them with a rhythmic and emotional pliancy that elevates each number. It’s in the music — and in the vocal performances — that this production finds its center of gravity.

Freed from amplification, the voices bloom naturally in the hall, allowing phrasing, diction and dynamic shading to emerge with expressive immediacy. The decision to emphasize vocal and musical integrity over spectacle and fashion show proves a wise one. Though the scenic and visual design elements — Patrice J. Nelms’s versatile set, Teresa Doggett’s handsome period costumes, Patrick Huber’s unobtrusively evocative lighting and Melissa Wohlwend’s hats for Eliza — are all executed with polish, they serve as framing devices rather than focal points. This is a “My Fair Lady” that trusts the power of the human voice and live orchestra to carry the story — and earns that trust measure by measure.

At the heart of the production is Brooklyn Snow’s Eliza Doolittle, sung with a bright, ringing soprano and acted with a keen sense of Eliza’s evolving dignity. Snow navigates the character’s transformation with nuance, never sacrificing vocal precision for theatrical flourish. Her Eliza is neither overly precious nor overly hardened — a young woman who claims her own space in both Covent Garden and Embassy ballroom with equal conviction.

As Freddy Eynsford-Hill, Charles Calotta brings a youthful sincerity and a lyric tenor well-suited to “On the Street Where You Live,” which he delivers with a blend of open-hearted charm and vocal finesse. Calotta’s performance of this signature song is one of the highlights in this production.

Dress rehearsal on July 2, 2025 for Union Avenue Opera’s production of My Fair Lady.

Both Calotta and Trevor Martin, as the irascibly brilliant Henry Higgins, make impressive UAO debuts, as does veteran performer Steve Isom as the affably genteel Colonel Pickering. Martin’s Higgins is crisply articulated and appropriately cantankerous, yet avoids caricature. He finds flashes of vulnerability without softening the character’s harder edges. Isom brings warmth and ease to Pickering, serving as a steady counterbalance to Higgins’ intellectual bluster.

The supporting cast adds welcome texture and levity to the production, with several notable debuts. Paul Houghtaling makes a robust UAO entrance as Alfred P. Doolittle, Eliza’s roguish father. His affable bluster and rhythmic command enliven both of his big numbers — “With a Little Bit of Luck” and “Get Me to the Church on Time” — infusing them with energy and comic timing without tipping into excess.

Jennifer Theby-Quinn brings a crisp, clear-eyed presence to Mrs. Pearce, Higgins’ housekeeper, offering gentle authority that grounds the increasingly absurd domestic dynamics. And in scene-stealing turn, Donna Weinsting makes her company debut as Mrs. Higgins, Henry’s long-suffering mother. With pitch-perfect timing and a dry delivery that cuts like a well-honed butter knife, Weinsting elicits some of the evening’s most well-earned laughs. Together, these performers enhance the production’s character-driven approach, ensuring that even the secondary roles feel finely drawn and fully inhabited.

Dress rehearsal on July 2, 2025 for Union Avenue Opera’s production of My Fair Lady.

With “My Fair Lady,” Union Avenue Opera continues to demonstrate how a company rooted in traditional opera can expand its artistic reach without diluting its core identity. This production doesn’t chase Broadway spectacle or attempt to reinvent the musical; instead, it honors the integrity of the score and text while allowing the company’s operatic strengths — vocal rigor, live orchestration and musical detail — to illuminate the work anew. In doing so, UAO joins a growing chorus of opera houses exploring how canonical musicals can thrive in an acoustic, classically inflected setting.

If this “My Fair Lady” is any indication, such ventures are viable additions to the repertoire and not mere programming novelties. At a time when both opera and musical theater are searching for sustainable futures, productions like this one remind us that the border between genres is not a line to be guarded but a threshold to be crossed.

Union Avenue Opera’s “My Fair Lady” runs July 6-7 and 11-12 at the Union Avenue Christian Church. For more information: https://unionavenueopera.org.

Dress rehearsal on July 2, 2025 for Union Avenue Opera’s production of My Fair Lady.

Photos by Dan Donovan

Winter Opera’s 18th Season Sets Sail With a Buoyant ‘H.M.S. Pinafore’

Winter Opera’s 18th Season Sets Sail With a Buoyant ‘H.M.S. Pinafore’

By CB Adams

Timing, as they say, is everything. And Winter Opera’s sprightly production of Gilbert and Sullivan’s “H.M.S. Pinafore” succeeds thanks to all sorts of good timing.

First, Winter Opera’s timing was perfect – after the intensity of the recent elections – for anyone in need of a good laugh combined with catchy, rhythmic melodies. Yet, it was more than merely a distraction from the news cycles. It was an engaging and fulfilling experience starting from the first notes of the overture.

“Pinafore,” which debuted in 1878, endures because it offers both entertainment and a clever commentary on British social class and the workings of the naval hierarchy – a commentary that is relevant and nearly universal. The combined talents of conductor Scott Schoonover and director John Stephens delivered fresh vitality to “Pinafore.”

That’s a double dip of timing to Sullivan’s lively score and Gilbert’s witty lyrics – delivered with panache. Schoonover in particular captained this production’s consistent buoyancy, bright tempos and lively orchestrations.

Stephens injected contemporary energy into the operetta’s classic routines and underscored how bureaucratic absurdities and class distinctions are still relevant today.

Photo by ProPhotoSTL.

This production’s success relied on performances that combined vocal robustness with affection and irony. Brittany Hebel, as Josephine, and Brian Skoog, as Ralph, gave particularly charming performances, delivering their roles with vocal clarity and comic finesse. Hebel’s expressive soprano made Josephine’s role memorable with her strong top notes and flexibility – essential traits for Gilbert and Sullivan heroines.

Skoog’s warm tenor and cheery portrayal of Ralph added depth to their onstage romance. Jacob Lassetter’s Captain Corcoran was dignified and fatherly, effectively balancing authority with warmth. Gary Moss, playing Sir Joseph Porter, embodied the absurdity of his character with flair, delightfully showcasing Sir Joseph’s inflated self-importance as a government figure who commands the Royal Navy despite never having set foot on a ship.

More good “timing” was casting Emily Harmon in the role of Little Buttercup. She delivered playful mischief to the character, particularly in her duet “Things Are Seldom what They Seem” – a standout from the entire performance. Another was Tyler Putnam’s portrayal of the cynical seaman, Dick Deadeye. Putnam was immensely entertaining, vocally hearty, and ably added a touch of gritty realism to the otherwise farcical narrative.

Scenic designer Scott Loebl created a straightforward – and perfectly sized – quarterdeck set that captured the essence of a Victorian ship, allowing the performers’ comedic interactions to shine. Costume designer Jen Blum-Tatara and lighting designer Michael Sullivan enhanced the production’s ambiance, with era-appropriate attire and crisp lighting that brought out the unique personalities of each character.

Photo by PhotoProSTL.

Especially noteworthy were the performances of the ensemble songs that bookend the operetta: “We Sail the Ocean Blue” and “Oh Joy, Oh Rapture Unforeseen.” The first featured the chorus of sailors in a performance with definite “Anything Goes” vibes. The latter was a triumphant and celebratory rendition in which a stage full of characters happily rejoice in the resolution to the operetta’s romantic entanglements and class conflicts.

The combination of skilled musicianship, clever staging and talented vocal performances made this rendition of “H.M.S. Pinafore” a humorous, musically satisfying experience that exemplified why this operetta endures – time and again.

Winter Opera’s production of “H.M.S. Pinafore” ran November 8 and 10, 2024 at the Kirkwood Performing Arts Center.

Photo by PhotoProSTL.

The Beauty of Union Avenue Opera’s ‘Into the Woods’ Is No Fairytale

The Beauty of Union Avenue Opera’s ‘Into the Woods’ Is No Fairytale

By CB Adams
Union Avenue Opera’s production of “Into The Woods,” stage directed by Jennifer Wintzer, is a rich tapestry. From the set design through the final song, you (figuratively) want to run your hands over the texture and enjoy its quality.

Stephen Sondheim and James Lapine are the weft and weave, but it’s way UAO finely stitches the musical’s balance of humor and humanity with death and disillusionment that delivers a sumptuous and reassuring tapestry – like a Bayreux or Unicorn come to life.

UAO earns these accolades for its season-ending production of “Into the Woods” with excellence in all the theatrical components: direction, staging and set design, costumes and cast performance. If you’re a Sondheim fan but have never attended a UAO performance, don’t let the word opera scare you off. They deliver a traditional interpretation of this classic without any elaborate or ornamental operatic embellishments.

If you’re an opera fan, UAO always ends its season with an operetta or musical. Last year, they concluded the season with a fine production of “Ragtime.” Many opera companies do this, such as the storied New York City Opera, and it’s a way to demonstrate how opera set the stage for subsequent musical theater iterations. It’s also a way to fill the seats.

 Stephanie Tennill as Jack’s Mother and Matthew Greenblatt as Cinderella’s Prince, Photo by Dan Donovan.

The first – and one of the most impressive – aspects of this “Into The Woods” is the stage design by Laura Skroska, whose work on UAO’s production of the moody, atmospheric “Turn of the Screw” set was one of last year’s best. For “Into The Woods,” Skroska’s vision evoked the magical and eerie atmosphere of this fairytale world.

She, along with scenic artist Lacey Meschede and set decorator Cameron Tesson,  maximized the use of the Union Avenue Church’s modest stage by filling it with mossy tree trunks that serve as posts to multiple, rising platforms. The set extended into the sanctuary with the balcony festooned with moss and other elements from the main stage. The balcony also served as Rapunzel’s tower and the home of the heard-but-not-seen giants of Jack and Beanstalk fame.

Before the show began, the set created the ideal visual preparation for the rest of the performance. Skroska’s design elements  — expertly and effectively illuminated by Patrick Huber – underscore the timeless and complex nature of Sondheim’s work, ensuring that the woods felt both enchanting and foreboding, perfectly complementing the story’s themes.

Further enhancing the production are the outstanding costumes by Teresa Doggett. Appropriately tatty and fairytail-ish, Doggett’s costumes play a pivotal role in elevating “Into The Woods” by enhancing the visual storytelling and deepening the understanding of each character’s journey through the intertwined storylines. They reflect the dark, whimsical aspects of the show while paying homage to the traditional fairytale origins.

The movie adaptation of “Into the Woods” could use Disney magic to conjure the special effects. On stage, it’s a bit more challenging. UAO’s production makes fine use of the talents of puppeteer Jacob Kujath to portray Milky White, the emaciated cow, and a flock of birds. The use of these puppets adds a whimsical and imaginative element to the production. Kujath brings them to life through expressive manipulation and playful interactions that seamlessly integrate with the live action.

Rebecca Hatlelid as Lucinda, Gina Malone as Florinda, Debra Hillabrand as Cinderella’s Stepmother. Photo by Dan Donovan.

The cast of 21 showcases the depth and versatility across the roles with performances that rise from solidly good to exceptional. That latter response is earned by mezzo-soprano Taylor-Alexis Dupont for her Witch. Clad in a wickedly good mask, which is almost a character unto itself, Dupont intensely inhabits the character of the Witch and delivers an impressive performance.

It is a sheer delight witnessing Dupont – through powerful song and acting – deliver a full transformation of the Witch, exemplifying the duality of her character. Her believable duality turns “Children Will Listen” into an emotional, cautionary swan song delivered by a once-menacing – but now tragic – figure.

“Into The Woods” isn’t all serious and dark. At the other end of the spectrum from the Witch are Rapunzel’s and Cinderella’s respective, rather vacuous princes, played by tenors James Stevens and Matthew Greenblatt. Their duet “Agony” is usually one of the top-three most favorited songs, and Stevens and Greenblatt do not disappoint in their delivery of this biting, satirical tune.

Sidenote: “Into the Woods” debuted in 1986, and Cinderella’s dum-dum prince with his “I was raised to be charming, not sincere” attitude is definitely a precursor, if not the model, for the Ken character in the recent “Barbie” movie.

Soprano Brooklyn Snow’s portrayal of Cinderella her vulnerability with a growing strength, effectively conveying her journey from innocence to self-awareness through both subtle acting and dynamic vocals. Likewise, soprano Leann Schuering’s Baker’s Wife successfully merges the character’s fairy-tale origins with the weight of her decisions.

Lauren Nash Silberstein as Rapunzel and Taylor-Alexis DuPont as the Witch. Photo by Dan Donovan.

Schuering’s performance is marked by its depth and emotional resonance. Soprano Laura Corina Sanders performance of Little Red Ridinghood [sic] captures the character’s innocence and curiosity and skillfully transforms from naive cheerfulness to a deeper understanding of the dangers and complexities of the world.

Baritone Brandon Bell bakes into his performance as the Baker a balance of warmth with emotional complexity. Like the Witch, he too undergoes a transformation. Bell’s expressive acting and strong vocals make transition from reluctant hero to a more self-assured character both relatable and compelling.

Another baritone – a base baritone – Eric McConnell, delivers another highlight performance as the Wolf, with a blend of seductive charm and menacing undertones. McConnell’s deep voice projects exceptionally well into the sanctuary and masterfully balances the Wolf’s allure and danger with “Hello Little Girls” – a song that could come off as “pervey” with a less skilled performance.

Christopher Hickey plays both the Narrator and the Mysterious Man. Perhaps because the demands of each character are different, the Mysterious Man is the better of Hickey’s performances because there is more opportunity for him to inhabit the character, which he does by subtly weaving together intrigue and depth to create a profound and haunting presence.

Cameron Tyler as Jack. Photo by Dan Donovan.

On opening night, the weakest element of this otherwise satisfying performance was the imbalance of the sound, especially during the first half. The unamplified voices, especially those of the female performers, were repeatedly overwhelmed by the orchestra.

This performance includes supertitles, but with a musical in English, they shouldn’t be necessary to hear what’s going on. This made for a frustrating experience, leaving one wishing to “turn up” their volume a click or two to better enjoy the quality of the singing and dialogue.

This feeling was further exacerbated because the orchestra, under the direction Scott Schoonover, superbly performed the score. It would have been a shame to miss a single note. Perhaps because adjustments were made during the intermission, the sound issue was almost eliminated in the second half.

Another side note: From Greek myths to Joseph Campbell’s “The Hero’s Journey,” Carl Jung’s psychology and the fairytales of the Brothers Grimm, the “dark woods” are often inhabited by archetypal patters and are a place of confusion, danger or the unknown where the hero or heroes confront trials and their shadow selves.

Sondheim and Lapine created a masterful musical that hews closely to the cautionary purpose that fairytales were designed to convey. This cannot be a musical with an empty, happily-ever-after ending. UAO’s production effectively – and accurately – delivers an ending that should leave the audience feeling reflective, with a palpable poignancy that underscores the idea that while fairy tales may end, the journey of growth and understanding continues. It takes two acts and a lot of songs to reach that point.

Union Avenue Opera’s “Into The Woods” plays August 16-24. Visit unionavenueopera.org for more information.

Christopher-Hickey-as-the-Narrator-and-Brandon-Bell-as-the-Baker. Photo by Dan Donovan.

Union Avenue Opera’s Pared Down ‘Aida’ Soars on Vocal Performances

Union Avenue Opera’s Pared Down ‘Aida’ Soars on Vocal Performances

By CB Adams

Union Avenue Opera’s concert version of Giuseppe Verdi’s “Aida” seems to have taken its cue from George Bernard Shaw when he wrote: “An opera may be allowed to be extravagantly expensive in its ornament, but its foundation must be plain and simple.” The key words are foundation, plain and simple –  and that’s where this “Aida” shines.

Instead of the traditional fully staged production – replete with costumes, props and lighting effects – the concert format puts the singers. voices and the orchestra in the spotlight. With minimal staging, the singers focus more on their vocal delivery, leading to stronger vocal performance from the chorus to the leading characters. It’s all about the voices, and this production delivers a satisfying, intimate and powerful hybrid rendition of Verdi’s masterpiece.

And with fewer distractions from sets and costumes, the audience is freer to concentrate on the orchestration and musical nuances – both of which conductor Scott Schoonover delivers exquisitely. This concert format relies on vocal performances, and this production delivers the best in the cast and the orchestra.

“Aida” is work of great musical sophistication and this production elevates Verdi’s innovative instrumentation, such as his use of the oboe d’amore and the bass trumpet to add distinctive tonal colors that are unique to this opera.

Principals Limmie Pulliam, Todd Payne, Melody Wilson. Photo by Dan Donovan.

It also highlights his complex orchestration that blends instruments in unexpected ways to create rich textures, including the delicate string passages and the interplay between woodwinds and brass in the Prelude that set the tone for the opera’s dramatic narrative.

The pared down concert also reveals Verdi’s dynamic and rhythmic variations such as the sudden changes from pianissimo to fortissimo that transition from dramatic moments, such as the transitions between Aida’s introspective arias and the bombastic public scenes.

The role of the chorus is often overlooked or mentioned late in a review, but the chorus for this “Aida”  deserves first mention. The large ensemble is on stage throughout the performance and serves as both an imposing physical and vocal backdrop to the goings on of the main tragic love triangle between Aida, an Ethiopian princess enslaved in Egypt, Radamès, the Egyptian military commander she loves, and Amneris, the Egyptian princess who is in love with Radamès.

The chorus often punctuates the performance with a full-throated, impressive punch with an impressive contrast to the solos and quieter moments.

Impressive, too, are the secondary parts of Ramfis, the High Priest, Amonasro, King of Ethiopia and father of Aida, and Gran Sacerdotessa, sung by Jacob Lassetter, Lloyd Reshard and Danielle Yilmaz, respectively. Among these excellent performances, Yilmaz’s is especially noteworthy for the relatively small role that plays a crucial part in setting the scene for the opera’s grand ceremonial moments.

Marsha Thompson and Melody Wilson. Photo by Dan Donovan.

Yilmaz’s vocal purity and clarity, her expressive delivery and vibrant stage presence all combine to enhance the spiritual and mystical dimensions of the production. She intones her lines with a crystalline quality, providing a contrasting texture to the more robust voices of the principal characters. Her delivery of lines like “Immenso Fthà” felt otherworldly and imbued with a sense of ritualistic importance.

Bass-baritone Reshard commands the stage as Amonasro, with a powerful and still soft-edged voice that effectively conveys his anger. As Ramfis,  Lassetter delivers his character with resonant vocal authority and depth, strong dramatic presence and gravitas.

For instance, in the Act 1 temple scene, he delivered Ramfis’s invocations and blessings with solemnity and a sense of ritualistic importance, which set the spiritual tone of the scene. In the final judgment scene, his calm, authoritative demeanor contrasted with the emotional turmoil of the other characters.

In the title role, soprano Marsha Thompson delivers a rich and satisfying performance of Aida with a powerful-yet-lyrical voice that conveys the character’s deep emotional turmoil, torn between love for Radamès and loyalty to her homeland. Her nuanced portrayal (including some theatrical hand and eye movements) captures Aida’s inner strength and vulnerability, delivering her arias with tenderness and intensity, particularly in the poignant “O patria mia.”

Tenor Lemmie Pulliam displays an impressive range as Radamès. Wearing a dramatic sash, he has a commanding stage presence and vocal power that delivers a profound depth to the role. His ability to convey Radamès’s inner conflict and heroic stature with both emotional intensity and technical precision, makes his performance a standout with an effective blend of dramatic prowess and lyrical beauty.

Lloyd Reshard and Marsha Thompson/ Dan Donovan Photography.

Amneris is the archetypal jealous diva with a heart of ice, and Melody Wilson weaves that personification seamlessly with the other characters. Wilson invites the audience to love to hate her as a royal drama queen whose idea of a fun includes thwarting her rivals and flaunting her power.

Wilson brings emotional complexity to Amneris, capturing her conflicted feelings of jealousy, power, and vulnerability. This adds layers to the character, making her more than just a scheming antagonist.

Beneath these characters – physically and aurally – is the orchestra, which shines with Schoonover’s adept and subtle directing. The orchestral accompaniment often provides a subtle underscoring that enhances the emotional context without overpowering the singers.

Although there are moments when the orchestra sonically overshadowed the singers (it must be difficult not to become overly enthusiastic when performing Verdi’s music), mostly it supports and enriches the vocal lines and confidently delivers Verdi’s score.

This can be particularly noted in the quieter, more introspective moments of the opera, where the orchestra’s role is to support and enrich the vocal lines.

The opera concert format was a good choice for Union Avenue. The modestly sized venue at Union Avenue Christian Church would have been challenging to put on a full production of “Aida.” The concert format is a nice change of pace that placed a premium on the singers. performances.

The result is an intimate and powerful interpretation of the opera that is distinguished by  vocal artistry and dramatic expression with just the right amount of costuming and theatrically.

Union Avenue Opera’s “Aida” runs July 26, 28, and through Aug. 3 at Union Avenue Christian Church. Visit  https://unionavenueopera.org for ticket information.

The company of “Aida in Concert.” Photo by Dan Donovan.

Union Avenue Opera’s ‘Carmen’ Delivers Compelling Moments Tempered by Contemporary Issues

Union Avenue Opera’s ‘Carmen’ Delivers Compelling Moments Tempered by Contemporary Issues

By CB Adams

Poor Carmen. As the protagonist in George Bizet’s 1875 opera, she’s sometimes reduced to being the poster person for critical analysis of gender dynamics and relationships.

Carmen’s character is often presented as some mixture of her as a free-spirited and independent woman who is simultaneously objectified and demonized (and ultimately murdered) for her sexuality. Then there are the issues related to Romani cultural representation and exoticism.

As a result, poor “Carmen.” As long as opera companies continue to mount productions of “Carmen,” they are going to beg these issues, including the normalization of toxic relationships like the one between Carmen and Don José that is marked by possessiveness, obsession and violence.

Oh, and add to these issues the way Bizet’s vibrant tapestry of unforgettable melodies and rich orchestration has been the victim of its own success. The drama and passion of Bizet’s dynamic and emotionally resonant soundscape, with evocative themes like the “Habanera” and the “Toreador Song” and their fusion of Spanish folk influences with classical operatic elements, have been hijacked by countless films, cartoons, commercials and television shows from “Looney Tunes” to “Bad Santa,” “The Simpsons” and “Gilligan’s Island.”

A lot has happened since 1875, and Carmen’s dual portrayal can be problematic in a contemporary context that seeks to dismantle harmful stereotypes and promote respect for women’s autonomy. Yet “Carmen” continues to be one of the most popular and frequently performed operas worldwide.

Elise Quagliata as Carmen and Brendan Tuohy as Don Jose. Photo by Dan Donovan.

Its enduring appeal is reflected in the regular inclusion of “Carmen” in the repertoires of major opera houses and festivals, consistently drawing large audiences and receiving critical acclaim for its compelling music and dramatic storyline.

As someone who generally accepts John Ruskin’s notion that “art is in the expression, not the subject matter,” I can’t discount “Carmen” solely on the basis of some of its problematic attributes. Its emotional and imaginative qualities are part of opera’s DNA in particular and Western cultural heritage in general, and I believe that most opera-goers can see that the opera was of its time.

Modern productions of “Carmen” often attempt to address these issues through reinterpretation and modern settings. Directors and performers may emphasize Carmen’s agency and critique Don José’s behavior more explicitly. Some productions have even changed the ending to subvert the narrative of female victimization.

Not so with Union Avenue’s production, directed by Mark Freiman, and sung in the original French with English super-titles. This “Carmen” is a traditional interpretation that encourages a critical approach to understanding  how the characters navigate a narrative fraught with jealousy, cultural clashes and fatal consequence.

Freiman, whose previous productions of “Carmen”  have infused modern elements with fresh and contemporary elements, provides Union Avenue Opera with a more classic interpretation that remains true to the Bizet’s work and offers a restrained yet still poignant commentary on love, passion and the societal pressures that shape the characters’ destinies.

It achieves this by placing a bit more emphasis on the downfall of a straightforward Don José, torn between the sincere affection of his mother and his hometown sweetheart, Micaëla, and the seductive temptation of the morally unconventional Carmen.

Joel Balzun as Escamillo. Photo by Dan Donovan.

Elise Quagliata in the role of Carmen brings a compelling and nuanced portrayal to Bizet’s iconic character. Known for her powerful mezzo-soprano voice, Quagliata’s interpretation of Carmen emphasizes her character’s boldness and independence and captures the character’s magnetic allure and defiance against societal norms.

Quagliata has tremendous stage presence filled with charisma and restrained dramatic flair. The same could be said for Brendan Tuohy as Don José, Joel Balzun as Escamillo, Joel Rogier as Moralés and Jacob Lassetter as Zuniga, but their individual performances do not cohere into a palpable chemistry, which is too bad.  

This is one of this production’s significant weaknesses despite Freiman’s direction that explores the complexities of the characters’ interactions while attempting to clarify the psychological and emotional underpinnings of their actions. This is difficult to achieve when the main characters remain self-contained in their individual performances, not matter how well sung.

Quagliata is also this production’s choreographer. A good production of “Carmen” should enhance the storytelling and atmosphere of the opera. Quagliata’s choreography effectively conveys, with a light Spanish flair, the personalities and emotions of the characters, particularly Carmen.

In one moment, she confidently plants her leg on a chair. This is small but potent gesture. I haven’t seen a leg used to such great effect since the leg lamp scene in “A Christmas Story.” Another delightfully staged moment is the “cigarette girl” scene (played to great effect by the women of the chorus) as the factory workers puff and prance.

Marc Schapman, Jacob Lassetter, Xavier Joseph, and Elise Quaglata. Photo by Dan Donovan.

Quagliata’s choreography effectively synchronizes with Bizet’s music (performed vivaciously by the orchestra conducted by the always-excellent Scott Schoonover) and the stage design. Patrick Huber’s stage design provides an appropriate (if somewhat generic) backdrop that complements the characters’ movements across Union Avenue’s modestly sized stage.

Huber is also the lighting designer. During one of the two intermissions, the set’s two doorways were modified for the smugglers’ scene with what appeared (in the bright lights) to be vagina-like pelts. As the scene began, Huber’s atmospheric low light effectively created a subdued atmosphere – and the furry openings transformed into cave entrances. Oooh, what a little light design can do!

Tuohy presents a compelling Don José that highlights the character’s transformation from a dutiful soldier to a man consumed by obsessive love and jealousy. Tuhoy is strong but not brutish and presents his emotionally conflicted character with a palpable sense of longing and desperation.

Tuohy’s portrayal is characterized by a powerful tenor voice that effectively conveys Don José’s emotional turmoil and ultimately unacceptable violence. His stage presence and dramatic intensity bring depth to the character, even if not to the ensemble as a whole.

Meroe Khalia Adeeb as Micaela. Photo by Dan Donovan.

One of the standout performances is provided by Meroë Khalia Adeeb as Micaëla. Adeeb delivers a character that embodies innocence and fidelity while navigating the opera’s moral landscape with her steadfast love for Don José. Adeeb’s rich and resonant voice captures the character’s gentle nature and inner strength, and the rest of performance hits all the right notes: flexibility and emotional range, expressiveness and technical skill that is precise and controlled.

Her performance of Micaëla’s most famous aria, “Je dis que rien ne m’épouvante” (I say that nothing frightens me), was heartfelt, determined and poignant.

Also commendable is the performance by Xavier Joseph as the smuggler Le Dancaïre. The role is a secondary character, but Joseph delivers his character with physicality, wit and bonhomie.

And while on the topic of fun, this production includes two scenes with controlled mayhem and exuberance provided by a delightful children’s chorus.

Lassetter presents his Zuniga with a big-throated blend of authority and moral ambiguity and a performance that captures the character’s commanding presence and underlying conflict. Rogier’s Moralés is equally strong. Rogier exudes a robust and confident demeanor that emphasizes his steady, grounded nature and his role of Moralés’ as a foil to Don José.

Balzun provides an acceptable Escamillo, the bullfighter. The role of Escamillo demands a charismatic singer who embodies traditional masculinity through physicality and social admiration and serves as a foil to Don José. Balzun delivers a Escamillo who is a pompous yet effete man.

“Carmen” continues at Union Avenue Opera through July 13. For more information, visit: www.unionavenueopera.org


Youth Ensemble : Lucca Badino *, Bryce Cleveland *, Blaise Magparangalan *, Chloe Melton, Nora Moss *, Lila Treuiller *, Louis Wang *, Tristan Williams * (not in order). Photo by Dan Donovan.

Cover photo: Holly Janz, Marc Schapman, Elise Quagliata, Xavier Joseph, and Gina Galati/ Photo by Dan Donovan.

Union Avenue Delivers a Powerfully Haunting ‘Turn of the Screw’

Union Avenue Delivers a Powerfully Haunting ‘Turn of the Screw’

By CB Adams

Benjamin Britten said that “Composing is like driving down a foggy road.” He could just as easily been describing the experience of attending Union Avenue Opera’s production of his “Turn of the Screw.” Many know the story from junior high school English lit or from one of the 12 – 12! – films that have adapted the Henry James ambiguous novella about ghosts (or not) and innocents (maybe).

Union Avenue Opera’s (UAO) production of “Screw” keys off of the story’s enigmatic opacity of the goings-on at Bly, a country house in Essex and augments the story’s ambiguities with an immersive cerebral-ness. The experience begins with the two-level set (designed by Laura Skroska and lighted by Patrick Huber) that is part Hill House and part Rose Red – Shirley Jackson and Stephen King, respectively. The set has the perfect amount of goth to visually augment Britten’s tautly composed opera with libretto by Myfanwy Piper and is perfectly scaled for Union Avenue Christian Church’s compact stage.

Much has been written about the duality of Britten’s use of musical characterizations for “Screw” since its debut in 1954. This duality concerns those characters who can be interpreted as moral (the Governess, Miles, Flora and Mrs. Grose) and those that could be considered of the more ghostly or spiritual persuasion (Peter Quint and Miss Jessel). The former are surrounded by uncomplicated music and the latter with music that is amorphous and other-worldly. As the opera progresses the two styles become ever more entwined and intense – and ending with a profound feeling of disquiet.

Dress rehearsal for Union Avenue Opera’s production of The Turn of the Screw on July 5, 2023

UAO’s production of “Screw” is richly nuanced, compelling and emotionally powerful, and that’s thanks mostly to the direction of Nancy Bell and the strong cast, including Meroë Khalia Adeeb as the Governess, Sophie Yilmaz as Miles, Cecilia Hickey as Flora, Christine Brewer as Mrs. Grose, James Stevens as Peter Quint and Alexandra Martinez-Turano as Miss Jessel. Adeeb, Yilmaz and Martinez-Turano are making their UAO stage debuts in this production.

As the opera begins, a “character” named Prologue, played by James Stevens (Peter Quint later on), provides the background to the plot and sets the action in motion. On stage are blindfolded characters, and Prologue (or is he Quint?) removes the blindfolds.

As the opera “unfolds” in this moment, it seems Prologue’s removal is a visual metaphor for what is about to be revealed. Yet, the opera’s climactic, mysterious final scene lends itself to multiple interpretations, not a clear revealing. This brilliant effect is thanks to Bell’s direction.

This production’s performers are well balanced and well cast, top to bottom. Stevens in his dual roles delivers a riveting performance in both as he slithers from taunt to seduction to malevolence.  As the Governess, Adeeb’s performance stands out among the others.

She provides an impressive range of technical voice control and realistic acting during her transformation from the poised servant we meet at the beginning to the unraveled, emotionally undone  protector in the final scene.

Christine Brewer as Mrs. Grose embodied her character fully through her effective acting and her rather authoritative singing with impressive dynamic control and proper diction. Yilmaz provides a Miles with an unsettling dissonance. Her voice offers the higher pitch of the boy she portrays – a sort of reverse castrati.

Britten’s score receives a beautifully haunting rendition by the UAO orchestra, led by conductor Scott Schoonover.

Dress rehearsal for Union Avenue Opera’s production of The Turn of the Screw on July 5, 2023

Union Avenue Opera presents “Turn of the Screw” at 8 p.m. on July 7, 8, 14 and 15 at the Union Avenue Christian Church, 733 Union Boulevard. For more information, visit www.unionavenueopera.org

James Stevens as Quint

Winter Opera’s ‘La Rondine’ Takes Flight At Kirkwood PAC

Winter Opera’s ‘La Rondine’ Takes Flight At Kirkwood PAC

By C.B. Adams

I have an acquaintance for whom the terms Puccini and opera are synonymous. For him, opera and the Italians define the artform. Although I don’t agree with his limited definition, I can’t deny that the Italians in general and Giacomo Puccini in particular occupy a special space within the opera canon. That’s why Winter Opera’s production of La Rondine, (music by Puccini with librettists Alfred Maria and Heinz Reichert) was a such a solid, comfortable pleasure.

For reasons not worth reiterating, La Rondine (The Swallow) is not considered one of Puccini’s “greatest hits” but, as my acquaintance might say, “Who cares?! It’s Puccini!” I would duly note his fandom and add that we would all be the poorer if La Rondine weren’t performed periodically, despite its modestness. It’s a good Puccini primer, filled with waltzes, melodies, two arias (one perhaps more famous than the entire rest of the opera) and a duet. It further makes Puccini’s higher-profile operas even more impressive by comparison.

The creative team at Winter Opera chose well with La Rondine because it benefits from a tighter production and the stage at the Kirkwood Performing Arts Center. Smaller is better for this opera, something that scenic designer Scott Loebl and stage director Erica Gibson understood, even as swapped Puccini’s original setting from France’s Second Empire era to the “roaring” 1920s. Amy Hopkins’ costume designs were perfectly matched to the updated era, as well.

The updated setting, replete with a raised chessboard-like black and white floor, allowed Gibson to move the characters move like pawns throughout the action. Although the motivation’s of Magda, especially her decision to return to her “old life” in the conclusion of the third act, aren’t understandable or compelling by modern sensibilities, this doesn’t detract from this production. “Who cares?! It’s Puccini,” is latent throughout.

Photo by Rebecca Haas

Puccini placed the La Rondine’s famous aria, “Chi il bel sogno di Doretta,” early in Act One. The piece’s soaring phrases offer sopranos the opportunity to impress an audience. In Winter Opera’s production, soprano Karen Kanakis as Magda compellingly sang the aria with her lilting, floating top notes. The piece ends with the “What do riches matter if true happiness blossoms?” Kanakis delivers this question with  such truth and honesty that it sets up the tragedy of the finale, which turns this line from rhetorically hopeful into sadly ironic.

Matching Kanakis’ performance was tenor Nathan Schafer as Ruggero. Schafer overcame some of the weaknesses of the character through his performance’s clarity and warmth. His duets with Magda were some of the best, even as he had to animate Ruggero’s one-dimensionality (as written). Equally strong were Nicholas Huff as Prunier, Lauren Nash Silberstein as Lisette and baritone Jacob Lassetter as Rambaldo – as well as the chorus.

Bubbling beneath the Winter Opera singer was the orchestra, conducted by Scott Schoonover, artistic director of Union Avenue Opera. The modest size of the orchestra was enlarged by the restrained size and good acoustics of the Kirkwood Performing Arts Center. 

Winter Opera is off to a terrific start with La Rondine, leaving only the question of how they will meet or exceed this accomplishment with the rest of the season’s offerings – Verdi’s MacBeth in January and Sigmund Romberg’s The Desert Song in March.

Photo by Rebecca Haas

Union Avenue Ends Festival Season With Some Scrumptious Sondheim

Union Avenue Ends Festival Season With Some Scrumptious Sondheim

By CB Adams

It’s been a bit of a “Sondheim Summer” here in St. Louis, bookended by Far North Theatricals’ “Assassins,” The Muny’s “Sweeney Todd” and Union Avenue Opera’s festival-ending “A Little Night Music,” with performances remaining Aug. 26-27. Extending that bookend will be Stray Dog Theatre’s production of  “A Little Night Music” this October.

There seems to be more Sondheim in the air since his death last November, and these local stagings have provided an interesting juxtaposition considering that “Sweeney Todd” is generally considered the more operatic and “Night Music” as more operatta-ish.

No matter. As soon as the off-stage chorus, the Quintet, projected their voices onto the sumptuous Union Avenue Act I set, such nomenclatures were rendered unnecessary…and perhaps irrelevant. Afterall, the first three revivals of “Night Music” in New York were all operatic rather than theatrical, so this production is a good fit for Union Avenue’s strengths and direction.

James Stevens, Leann Scheuring, Eric J. McConnell, Jordan Wolk, Teresa Doggett. Photo by Dan Donovan

Isn’t It Bliss?

If there are still tickets left for the final performances of “A Little Night Music,” reserve your seats. That’s the quick review of this production. Don’t miss it. It is indeed bliss.

Hal Prince, producer of this musical’s debut in 1973, called it “whipped cream with knives.” If Prince meant knives as in sharp knives out, then Annamaria Pileggi’s direction has softened it to butter knives out.  It’s a pleasure and perhaps a much-needed respite to engage so fully into this nuanced romantic farce based on Ingmar Bergman’s 1955 film “Smiles of a Summer Night.”

Debby Lennon as Desiree. Photo by Dan Donovan

Isn’t It Rich?

Of Union Avenue’s three productions in this year’s festival, the sets of “Night Music” by C. Otis Sweezey are the best, especially in Act I. The back set consisted of three columnar structures that conveyed the frets of a stringed instrument entwined with swan-like figures and backed with the richest of burgundies.

These elements avoid flaunting their presence and instead provide the right sense of place and privilege of the genteel characters.

During the intermission, as Act II’s back set of trees were moved onto the stage, their colors seemed out of place for the “Weekend In the Country,” presaged by that song at the end of Act I.

But those colors were transformed by the lighting choices of Patrick Huber. Thanks to lighting, fluorescent outlines became comfortable, dusky accents for the rest of the musical.

Peter Kendall Clark and Brooklyn Snow. Photo by Dan Donovan.

Are We A Pair?

 At the risk of being unfair to a overall strong cast from the leads to the Quintet, the center of this rueful, bittersweet, Ibsenish tale from Sondheim and playwright Hugh Wheeler is the pair of Fredrik Egerman, sung powerfully by Peter Kendall Clark and Desirée Armfeldt, sung by Debby Lennon. There are multiple, circuitous story lines, but they all dodge and weave around and toward the ultimate (re)union of Fredrik and Desirée.

And at the center of their relationship is (a now-standard) “Send in the Clowns.” As a hit song by Judy Collins back in the day and as rendered into near-Muzak ubiquity, “Send in the Clowns” needs the context of the surrounding story in the musical itself to reach its fullest, layered, exquisitely painful sense of yearning. It also needs the skills and talents of Lennon to ensure it is the show-stopper it was composed to be. Lennon gave the song its due – and more. You couldn’t hear a pin drop during her performance – to use a cliché.

The other extra-noteworthy “pair” in Union Avenue’s production was Count Carl-Magnus Malcolm and grande dame Madame Armfeldt. Both are broad characters that require a careful interpretation to avoid becoming cartoonish foils. Teresa Doggett performed the wheelchair-bound Madame with a delicious – and sometimes hilarious – imperiousness that evolves into a touching sagacity. As sung by Eric J. McConnell, the peacocky Count Carl-Magus fared less well and often crossed into buffoonery.

James Stevens, Arielle Pedersen. Photo by Dan Donovan.

But Where Are the Clowns?

To borrow a line attributed to the showman’s showman P. T. Barnum, Union Avenue’s choice of “Night Music” to conclude their 2022 festival, was the perfect choice to “always leave ‘em wanting more.” Given the rich experience provided by this production, “Night Music” will leave us wanting more…well, maybe next year? The only clowns therefore are those who didn’t reserve a ticket this year.

Union Avenue Opera Union presents “A Little Night Music” August 19, 20, 26, 27 at 8 p.m. at Union Avenue Christian Church. For more information, visit www.unionavenueopera.org

Leann Scheuring, Kay Love, Eric J. McConnell. Photo by Dan Donovan.
Joel Rogier, Sarah Price, Phil Touchette, Gracy Yukiko Fisher and Gina Malone. Photo by Dan Donovan

Union Avenue Opera Offers Solid Production of ‘Eugene Onegin’

Union Avenue Opera Offers Solid Production of ‘Eugene Onegin’

By C. B. Adams
“Eugene Onegin,” the opera based on Alexander Pushkin’s verse novel of the same name, inspired another great writer, Anton Chekhov, to write a short story-cum-homage to the opera, “After the Theatre.” In it, Chekhov observed, “There was something beautiful,
touching and romantic about A loving B when B wasn’t interested in A. Onegin was attractive in not loving at all, while Tatyana was enchanting because she loved greatly. Had they loved equally and been happy they might have seemed boring.”

Good point. And, as we all know from yet another member of the Russian literati, Leo Tolstoy, “All happy families are alike, but every unhappy family is unhappy in its own way.”

This is a review of Union Avenue Opera’s production of “Eugene Onegin,” not a Russian Lit course. But, as the opera builds to its final act, one must decide whether the lead characters’ unhappiness resonates in a fulfilling way. Do we cheer Tatyana as she finally
spurns Onegin after he ungraciously spurned her two acts earlier?

Do we feel Onegin’s misery and despair at his impending loneliness? Do we cheer his comeuppance? Or do we embrace that tragic ambiguity?

It’s the players more than the libretto that help shape any (or none) of those answers. This year has been an interesting St. Louis opera season for strong women. Opera Theater of St. Louis put forth a tough-gal “Carmen,” sung by Sarah Mesko, and Union Avenue
offered a resilient Tatyana sung by the Russian-born-and-trained Zoya Gramagin, making her Union Avenue debut.

Dress rehearsal for Union Avenue Opera’s production of Eugene Onegin on July 5, 2022.

Even in Act I, when Tatyana is a young and naïve country woman writing a gushy love letter to Onegin, Gramagin used her clear soprano to imbue Tatyana with innocence and undercurrent of strength. This Tatyana was no Cinderella, and this was most evident by Act III when she is now married to a prince. Onegin finally becomes smitten and she spurns him. Of all the characters in this “Onegin,” Gramagin’s Tatyana was the only one who seemed to have truly changed, placing her at the emotional core of this production.

Balancing the youthfulness of Tatyana was baritone Robert Garner as Eugene Onegin. Garner’s voice was rich, emotive and a pleasure to experience, though it was a challenge to identify with his narcissism and dismissiveness. Some “bad guys” you learn to like
(think Walter White in “Breaking Bad”), others you just have to endure. Garner’s Onegin was handsome, rakish and self-centered – qualities that he neither shed nor eschewed.

The only reward for his inability to change seemed to be the lonely life that awaits him. Onegin may have been the last character on stage, but Tatyana had the best last word as she operatically and metaphorically dropped the mic. This being a Russian opera, with libretto by Pytor Ilyich Tchaikovsky no less, it’s appropriate to liken it to a matryoshka doll, with production elements nestled inside production elements.

Tatyana and Onegin may be the protagonists in the story, but they also require equally strong performances from the ensemble, which they certainly had in Union Avenue’s production. In fact, other than Garner’s Tatyana, tenor William Davenport as Lensky provided the
most engaging and relatable performance. His superb voice, especially during the “friendship” aria in Act II, was a highlight, and his ability to reveal Lensky’s character was well matched to Onegin’s shallowness.

Rounding out the solid cast was Melody Wilson as a Tatyana’s younger sister/bestie, Olga, and basso Isaiah Musik-Ayala as Tatyana’s princely husband, Prince Gremin, who delivered a powerful area about her. Also nestled inside this matryoshka was a solid supporting cast and chorus and the always-fine orchestra under the direction of Scott Schoonover.

Dress rehearsal for Union Avenue Opera’s production of Eugene Onegin on July 5, 2022.

Union Avenue’s modestly sized stage provides challenges for large casts – a challenge that stage director Octavio Cardenas successfully surmounted. When the stage was full to the gills, it never felt constricted or distracting, not even during a peasant dance or polonaise, choreographed by Jennifer Medina.

One of the weakest elements of this matryoshka was Patrick Huber’s scenic design that included a series of tall, birch-like trees that worked well in Act II, but less so in later acts. The costumes by Teresa Doggett were superb, but some of the props appeared a bit
tired.

“Eugene Onegin” was a fine way for Union Avenue to return to its home stage after two years in the pandemic hinterlands. And at the conclusion of the performance, with Gramagin’s Tatyana still pleasantly in mind, one might remember of something from
Boris Pasternak in another tragic Russian love story, “Doctor Zhivago,” “If it’s so painful to love and absorb electricity, how much more painful it is to be a woman, to be the electricity, to inspire love.”

Union Avenue Opera presents “Eugene Onegin” July 8, 9, 15, 16 at 8 p.m. at Union Avenue Christian Church. For more information,
visit www.unionavenueopera.org

Dress rehearsal for Union Avenue Opera’s production of Eugene Onegin on July 5, 2022.