Rob Levy's Posts


Rob Levy's Photo I've hosted Juxtaposition on KDHX since 1995. Each Wednesday night at 8:00 pm (CST) I feature new music, forgotten favorites and sound collages of great music past and present. I focus on both new and old independent releases while presenting emerging artists before they get heard elsewhere. I am a freelance film reviewer and writer and also host several DJ residencies throughout the city.

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A red letter day for Eugene Onegin

Image courtesy of Opera Theatre St. Louis

Opera Theatre St. Louis’ production of Eugene Onegin is an intensely powerful production. The company has taken Tchaikovsky’s lyric opera (based on a novel in verse by Pushkin) and given us a tantalizing anti-hero in Eugene Onegin. Onegin is a great character because his many layers give him a rough edge not seen in many traditional operas.

When Eugene Onegin visits a country estate with his friend Lensky a chance meeting with the young Tatiana becomes more than he bargains for. Tatiana, a hopeless romantic, falls head over heals for Onegin and pours her heart out to him in lengthy prose. Onegin chastises her for writing such a letter and spurns her, explaining that a lesser man would manipulate her emotions against her for selfish purposes.

Lensky’s fiancé Olga is the sister of Tatiana. Lensky’s heart burns for her and he will stop at nothing to protect her. They have a classic romance that seems perfect, until Lensky invites Onegin to a ball. Onegin, not content to be one of the crowd, looks down on the proceedings and decides to get revenge on Lensky for bringing him to such a blasé event by flirting and dancing with Olga. Oblivious that this is a joke, Lensky becomes enraged and feels dishonored by his friend. The situation spirals out of control and climaxes with a duel. The following morning cooler heads do not prevail and as a matter of honor Onegin kills Lensky.

Broken and shattered by what he has done Onegin flees abroad and travels across Europe. Six years pass and he returns to St. Petersburg where his friend, Prince Gremin has invited him to a ball. He sees Tatiana again, who is now with the much older Gremin. This time it is Onegin who becomes enraptured and realizes that he has missed out on something special. Onegin turns the tables and pours out his emotions to her, pleading with her to leave Gremin. This confrontation brings things to a head as Tatiana and Onegin meet one final time.

Opera Theatre’s production is lead by a trio of incredible performers. Christopher Magiera is an astounding baritone who captures the essence of Onegin in his OTSL debut. He gives Onegin a terrific blend of aloofness and turmoil that makes him believable in the part. Although Onegin is not a very nice guy , Magiera’s performance compels us to watch.

Sean Panikkar is dynamic as Lensky. He works well with Magiera and his voice is simply fantastic. His solos are extraordinary and his raw presence onstage gives Lensky a dynamic mix of sorrow, rage and jealousy that serves as the catalyst for much of the drama in the first two acts. Panikkar’s performance builds on his scene stealing turn in his OTSL debut last year in Ghosts of Versailles.

Also debuting on stage is Dina Kuznetsova as Tatiana. She has an amazing voice and matches up well with two male heavyweights, Magiera and Panikkar. As Tatiana matures as a character Kuznetsova makes this transition believable by giving her poise and providing subtle nuances in her performance that make the character develop seamlessly. Kuznetsova gives the audience a strong willed female lead that is agonized in her heart but determined in spirit.

Opera Theatre’s production of Eugene Onegin is twisting and turning tale of rejection, longing, love and humility perfectly seasoned with an outstanding score and a minimalist set that ideally frames the drama onstage. The ensemble may be the tightest of the season thanks to the performances of the lead actors. This perfect gives the audience a complete opera where everyone is on top of their game, resulting in one of the most solid and enthralling productions of recent years.

Performances are at the Loretto-Hilton Center (130 Edgar Road)

Performance Schedule: June 10 and 25 at 8 p.m., June 27 at 7 p.m. and June 19 and 23  at 1p.m.

For more information visit Opera Theatre St. Louis.

Posted by | June 4, 2010 | Culture | Comment 

Opera Theatre of St. Louis Triumphs With The Marriage of Figaro

Opening the season with Mozart’s seminal classic The Marriage of Figaro was a bold move by Opera Theatre of St. Louis. The Marriage of Figaro is a stunning achievement of strategy, seduction and vengeance filled with doses of irony and laughter for good measure. Each layer of intrigue is contorted and shifted brilliantly into place creating an exciting dramatic crescendo in the final act.

Based on a play by Beaumarchais, the Mozart version is a sequel of sorts to Rossini’s The Barber of Seville. As the story opens, Figaro is now a servant of Count Almaviva and engaged to Susanna, the maid of the Countess Rosina. Things begin to go downhill for Figaro when The Count, who has his designs on Susana, reinstates and old custom that would allow him to sleep with her. The opera focuses on Almaviva’s manipulations to stall the nuptials. Much to the chagrin of Figaro.  Meanwhile an enraged Countess is determined to teach her husband a lesson and forms an alliance with Figaro and Susanna against the Count.

As the libretto unfolds, Almaviva’s scheming to prevent the marriage backfires, culminating with hilarious misfortune after the identity of Figaro’s parents is revealed. If that were not enough Figaro also must fight off Dr. Bartolo’s devious scheme for revenge after Figaro shattered his chances with the Countess Rosina.

One of the delights of this opera is that everyone at court seems to be gunning for Figaro. Thus Figaro sets the tempo for The Marriage of Figaro. As much as he believes he is in control of things he really is not. In fact during a day filled with madness he is merely a puppet that serves as the epicenter for parallel storylines. Fortunately for Opera Theatre Christopher Feigam’s Figaro provides the foundation for the production. He gives Figaro some depth and rounds him out. He also gives the role a perfect blend of drama and comedy. Beneath the bravado he gives Figaro a sense of vulnerability essential to the role.  Interestingly, Feigam played Figaro in last season’s OTSL production of Ghosts of Versailles.

Soprano Maria Kanyova is perfectly cast alongside Feigam as Susanna. In every one of her scenes she makes this role her own with perfect comedic timing and a great voice. Baritone Edward Parks shines in his OTSL debut as the Count.

One of the great things about Opera Theatre is that they always have amazing sets to work with that wow the audience and make them scratch their head as to how the whole thing gets put together. This rings true with Bruno Schwengl’s set. He helps set the tone of the opera by having the first half of the production feature an open stage with light colors and bright lets. He then balances this in the second half where he clutters the stage a bit and adds black to richer, darker colors and more muted lighting. The result is a stage design that organically works itself into the production.

Mozart’s composition for The Marriage of Figaro has become a classic in its own right. It oftentimes is performed as an orchestral piece separate from the opera. However to achieve the best emotional effect the music and production must be synchronized. Fortunately the Opera Theatre musicians have things well in hand.

Opera Theatre of St. Louis’ production of The Marriage of Figaro is a well crafted, perfectly executed production with high caliber performances from the company along with a gorgeous score and sumptuous costuming and set design.  Opera Theatre has mounted an incredibly refreshing production of one of the classics of opera that shuld not be missed.

Performances are at the Loretto-Hilton Center (130 Edgar Road)

Performance Schedule: June 3, 12, 23 at 8pm, June 20 at 7pm and June 16, 26 at 1pm.

For more information visit the Opera Theatre Web site.

Posted by | May 29, 2010 | Culture | Comments Off 

All Hopped Up on Music: An Interview With Tony Fletcher

Since he was a teenager, Tony Fletcher has had the music bug. He was fortunate enough to create and run a fanzine in London, then the epicenter of punk and post punk, before moving to New York where he established himself as a music journalist, DJ and band manager.

In addition to writing for several publications, Fletcher has penned biographies on the Clash, Keith Moon, REM and Echo & the Bunnymen. His latest book All Hopped Up & Ready To Go: Music From the Streets of New York 1927-77 is by far his most ambitious writing project to date.

Written with perfect pitch and pacing, the book begins with the Depression-era rise of Afro Cuban jazz and Cubop and ends with the beginnings of hip-hop and the apex of the punk rock movement. The book takes the reader on a musical journey through the boroughs, bars, backstreets, nightclubs that have made New York arguably the most vibrant and significant musical city in the world.

Tony Fletcher spoke with me via phone about tackling such a monumental slice of musical history.

RL: In your book you have covered the music scene in New York from 1927-1977, a broad swath of time. Which of those five decades that you covered do you think you have gone away the most interested in?

TF: I would say probably the earlier decades. Writing about the early days I was genuinely nervous about taking on material that I didn’t know enough about but I really wanted to tell the story. I got really fascinated particularly by the story of the Cuban crossover and just how integral New York City was. Afro Cuban jazz really had its birth in New York city and Cubop had its birth in New York city and for that matter Bebop had its birth in new York city. I was very nervous even mentioning the “jazz” word because there’s already so much about it. I think I found an angle to write about, and I came away feeling like I learned something and hopefully I’ve shared some of what I’ve learned.

RL: When you read the book you don’t get so burdened down with the back-story of jazz that you can move on.

TF: That was deliberate. It goes back to what I just said. I thought that if I explained anything about the history of jazz lots of people would jump all over me. It’s just not worth going there. By starting in 1927 we’re in the midst of this really cool jazz age. Jazz is America’s most popular music. Let’s take that as a given and see what happens next. You know one thing actually that I thought hadn’t been covered enough was the Cuban movement in jazz, people like Mario Bauza who is the first character I introduce. I’d open up books on Latin music and they really wouldn’t touch upon American jazz. I scratched my head because it is self-evident that between Dizzy Gillespie, Mario Buaza, and Charlie Parker these guys were interacting all the time. There weren’t books that covered this crossover. I’d like to believe I go at a little bit of different angle on that and that I’ve been able to tell a story that hasn’t been widely told in that regard.

RL: On your Web site you mentioned that the book took five years to write.

TF: It was a five-year project. I wouldn’t have been able to live off the advance over those five years. This has taken me longer than anything I’ve worked on.

RL: When you do a five-year project like this, do you come away at the end of the project that it has changed you as a music journalist?

TF: I don’t know to what extent it has changed my writing style. I went into it willing to put in the extra mile to try and write something more than a biography of one artist; by taking on the biography I realized I was probably taking on a mountain that I may not possibly be able to climb. So the subject matter was that much deeper then anything I’d done before. I think I came away with a greater understanding of how these musical forms interplay. All the books I have written have tended to be about scenes. The Keith Moon book came out of a scene, REM and Echo & the Bunnymen really came out of regional scenes. I find all of that stuff extremely exciting. I find the nature of music scenes to be a very exciting thing. None of them ever happen in a vacuum. There’s a reason hip-hop was a born in the South Bronx. It couldn’t be born anywhere else. It was very similar to the early days of disco. Equally similar about the vocal groups that were coming out of Harlem and the Bronx even though that was happening in other cities as well. You kind of keep tracing the story back and back. So I’d like to think I came away with a greater appreciation for the overall arc of the musical history and a little less focused on one specific group or one specific scene.

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Posted by | December 16, 2009 | Music | Comment 

Overview of the 18th Annual Whitaker St. Louis International Film Festival

Each November throngs of cinema fans gather for the annual conclave that is the St. Louis International Film Festival. The 2009 edition is monumental in scope and diversity.

There is programming for everyone — whether you are a hardcore film buff or a casual fan. In addition to over 100 feature films, shorts and documentaries, SLIFF is offering children’s programming, animation, awards, film criticism, as well as special appearances from Jason Reitman, Connie Stevens and the cast of Mystery Science Theater 3000. Tickets for films and events may be purchased at the screening venue. It is a good idea to purchase tickets in advance, as many films will sell out.

The primary venues for this year include Webster University, the Hi-Pointe Theatre, the St. Louis Art Museum, Tivoli Theatre and Plaza Frontenac.

This past Wednesday, November 4, on my show Juxtaposition on KDHX, I chatted with Chris Clark from Cinema St. Louis. Listen to and download the podcast:

Interview with Chris Clark of Cinema St. Louis

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Here are some programming highlights.

An Education

With a screenplay by author Nick Hornby and a buzz-worthy turn from star on the rise Cary Mulligan, An Education is the perfect opening night selection for the Festival. Belleville’s Peter Sarsgaard stars in this coming of age film set during the onset of swinging Sixties London.

Up In the Air

In case you hadn’t heard, George Clooney spent a lot of time here earlier this year filming this movie about a corporate downsizer whose life is being turned asunder. Director Jason Reitman’s film has generated a strong Oscar buzz on the festival circuit. St. Louisan Kevin Renick is featured on the soundtrack, and you can listen to or download my interview with Kevin and his performance of the song “Up In the Air,” recorded live at KDHX on November 4.

Kevin Renick Interview

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Kevin Renick, “Up In the Air” Live at KDHX

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The Imaginarium of Dr. Parnassuss

Heath Ledger died during principle filming. Good thing Jude Law and Johnny Depp stepped in to replace him. This mythical fantasy also features Tom Waits as the Devil. Terry Gilliam always makes interesting films and this one is not to be missed.

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Posted by | November 9, 2009 | Culture, Video/Film | 1 Comment 

Gory Gory Hallelujah! Salome at Opera Theatre of St. Louis

You can take it as gospel: Opera Theatre St. Louis’s gory and gritty production of Salome is a superbly executed tour de force.

One of the highlights of Salome is watching OTSL favorite Kelly Kaduce take the reins of the production and never let go. She commands the audience with one of the most fearless performances of the season, adapting her vocal range to convey the wide array of emotions displayed by the enchanting yet scary, Salome. The linchpin of this opera is the legendary Dance of the Seven Veils. Every interpretation of Salome defines itself by the presentation of this dance. Kaduce’s interpretation is saucy and seductive yet tasteful and transfixing. Kaduce doesn’t slow down here. As the body count rises, she again holds court over a captive audience at the end of the production when Salome undergoes a complete psychotic breakdown.

The supporting cast is not too shabby either. Michael Hayes is wonderful as Herod. Obviously, there’s little fun in playing one of the main villains of the bible, yet Hayes lives up to the challenge. He juggles the duality of the tetrarch, moving seamlessly from a lecherous tyrant to a tortured leader. Hayes’s finesse is exciting to watch. A fine OTSL debut is also turned in from by Gegory Dahl as Jokanaan. His voice is the perfect counterbalance to Kaduce’s and gives the duo a genuine chemistry onstage. Eric Margiore and Maria Zifchak round out the cast with solid performances.

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Posted by | June 22, 2009 | Culture, Music | Comment 

Girl Trouble: Review of Opera Theatre’s La Boheme

La Boheme is widely regarded as one of the most popular operas of all time. Produced in many places in many forms since its premiere in 1896, it has most recently surfaced in popular culture via the success of its theatrical reimagining as “Rent.”

La Boheme has endured because it is both a timeless tragedy of love and a story about the struggle of artists to live, breathe, work and create amidst harsh economic times.

One could argue that today’s economic woes serve as the perfect template for invigorating Puccini’s work, making it just as popular now as ever. This timing, along with the opera’s continued high standing in contemporary repertoires, makes it the perfect season opening production of Opera Theatre St. Louis.

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Posted by | June 12, 2009 | Culture | 1 Comment 

Asobi Seksu Acoustic Session On Juxtaposition

New York’s Asobi Seksu (‘casual sex’ in japanese) will be stopping by KDHX this Saturday to record a special acoustic session for Juxtaposition. It will air next Wednesday, May 13, at 8:30 pm CST.

The newly released Hush finds the band somewhat eschewing a signature, textured shoegazer sound in favor of more ethereal, layered dream-pop. They will be performing live this Saturday night at the Firebird.

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Posted by | May 6, 2009 | KDHX, Music | Comment 

Art, ANVIL & the Pixies

The First 5 Pixies records are being reissued in a fancy schmancy collector’s box set called Minotaur. The set will have no extra tracks but will certainly have some amazing artwork and packaging. Pretty cool but pricy! Check out the video for info.

Isn’t it interesting how the music industry works? Chairlift played a set before maybe 45 people at the Gargoyle last month. Now they are opening for the Killers at The Fox on May 5th. This is due in part because their debut, Does You Inspire You? has been reissued by their new label, Columbia. It’s good to see hard working bands get a payoff.

There are groovy things afoot at City Art Supply.

May 2 – May Day Celebration and opening
Artist – Josh Crow 6pm-9pm
Music – May Day Orchestra 8pm

June 6 Opening
Artist – Mr. Ben 6pm-9pm

July 3 Opening and Show
Artist – Matty Kleinberg 6pm-8pm

Music – Bill Tucker and Friends (CHI) w/ .e 9pm-11pm

Sometimes art imitates life. In the case of metals act Anvil, truer words have not been spoken. This ’80s metal band has played with some of the giants of the genre, now they are just another band on the circuit. Their triumphant rise and fall is documented in a new film, ANVIL! THE STORY OF ANVIL. The film is opening Friday at the Tivoli.

To celebrate the opening of the film, ANVIL will perform live at the Tivoli on Saturday, 4/25 after the 9PM showing. Anyone who has purchased a ticket for the 9PM showing of the film ANVIL! THE STORY OF ANVIL, will also get to remain for the concert. ANVIL will also be available after the 7PM showing for a Q & A.

It’s like Spinal Tap, but real!

Posted by | April 23, 2009 | Culture, Music | Comment 

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