Christine Brewer (center with hands raised) as Madame Lidoine with the nuns of Compiègne in "Dialogues of the Carmelites." This serious work by Francis Poulenc is the fourth of this year's festival season at Opera Theatre of St. Louis.
Thirty-one years ago, Opera Theatre of St. Louis pulled off a season that resounds in memory as an artistic volcano, a bonanza, an operatic gold mine, a tour de force. It followed the defining 1982 season, one crowned with Jonathan Miller’s “Così fan tutte,” a show conducted by Calvin Simmons, who died the summer following his and Dr. Miller’s triumphant achievement.
When confronted with apparently transcendent genius, the predictable mere-mortal inclination is to concentrate attention and fascination on the person anointed with this luminous intellectual and artistic blessing and to ignore, or to try to explain away, character deficiencies – minor or monstrous. Sometimes the deficiency may be as much a part of the genius’ character as the super-human talent itself, and in some cases leaves the genius Caesar-like with the good interred with his bones.
A few years – well, decades – ago, I happened across opera. On public television, I found America’s opera sweetheart, Beverly Sills, in “Daughter of the Regiment.” The performance was joyous, beautiful and fun. And the composer was Gaetano Donizetti.
Now Opera Theatre of St. Louis is presenting another Donizetti opera that is equally engaging: “The Elixir of Love.” And this one matches “Daughter” in actually fitting the oft-made promise of being a perfect first opera.
When the Sheldon Concert Hall asked Terence Blanchard to replace Latin jazz pianist Chucho Valdés for a scheduled performance this Saturday, Feb. 15, the jazz trumpeter jumped at the opportunity.
“I was sorry to hear about Chucho’s unexpected surgery that forced him to cancel his tour,” Blanchard said during a recent conversation from his home in the New Orleans area. “But I’m very happy to be coming back to St. Louis. I’ve spent quite a bit of time there over the past three years. My wife is starting to think of it as our second home.”
A celebratory concert for donors to Opera Theatre of St. Louis began with a thank you. Donations and total assets had both grown substantially.
General Director Timothy O'Leary had announced earlier on Dec. 9 that donations were up 17 percent over the previous year. For the first time in the company's history, contributions designated for productions and operating support exceeded $5 million.
Originally published on Mon April 16, 2012 6:38 pm
New York-based composer and Peabody Institute faculty member Kevin Puts has won the Pulitizer Prize for music with Silent Night, his first opera. The work received its world premiere in November in at Minnesota Opera in St. Paul.
Pulitzer officials described Silent Night as "a stirring opera that recounts the true story of a spontaneous cease-fire among Scottish, French and Germans during World War I, displaying versatility of style and cutting straight to the heart."
It's been nearly 20 years since the John Adams/Alice Goodman/Peter Sellars/Mark Morris opera The Death of Klinghoffer has been given a full U.S. stage production; the last was in San Francisco in 1992. Perhaps that should come as no surprise, given the rancor stirred by its 1991 American premiere at the Brooklyn Academy of Music. But it's back at Opera Theater of St. Louis for the next week. Its revival has tried to address some of the issues and concerns raised by the controversial premiere.