If you had any doubts that the St. Louis Symphony was an orchestra of virtuosi, the opening concert of the Pulitzer Contemporary Music Festival at the Pulitzer Foundation for the Arts Thursday night would surely have dispelled them.
Congratulations are in order for the orchestra, chorus, and the wonderful cast of Opera Theatre of Saint Louis's "Alice in Wonderland", and especially for soprano Ashley Emerson as Alice.
Would we still be doing "Cosi fan Tutte" if it didn't have music by Mozart? Sure, Da Ponte’s libretto has a cynical modern edge, but its casual sexism is pretty grating to a contemporary audience.
James Bond: I admire your courage, Miss...?
Sylvia Trench: Trench. Sylvia Trench. I admire your luck, Mr...?
James Bond: Bond. James Bond.
A cabaret show based on classic TV songs and themes? Like activating the Bolonium Interface Device on “Star Trek”, it’s a crazy idea but it just might work!
If Opera Theatre of Saint Louis's "Sweeny Todd" isn't everything I could wish, it is (to quote an old joke) way ahead of whatever's in second place.
“Carmen” as film noir? With a femme fatale heroine, a doomed anti-hero, and a netherworld in which cops (well, OK, the fascist Guardia Civil) and crooks meet, the concept behind Opera Theatre’s production has genuine merit.
It was a lively and entertaining evening at Powell Hall last night with a dance-infused program that included three of Dvořák’s popular “Slavonic Dances”, Gershwin’s “Rhapsody in Blue”, Bernstein’s still-amazing “Symphonic Dances from West Side Story”, and an appropriately hallucinatory reading of Ravel’s death knell for the 19th century, “La Valse”.
Michael Feinstein’s appearance with the St. Louis Symphony on Mother’s Day had all the elements of a classic, well-crafted cabaret show.
The staging looks a bit cramped at times, especially in the big ensemble numbers, and the show itself feels a bit too long, but on the whole it truly is a jolly holiday with "Mary Poppins", thanks to solid production values and a great cast.