Opera Theatre of Saint Louis: Quotes from the Press 2009!
Quotes from the Press 2009!
"The festival atmosphere at Opera Theatre of Saint Louis – the combination of standard and exotic repertoire, the superb young ensemble and the return of favorite stars ... proved once again the glory of this wonderful summer-destination opera company."
Opera News, Judith Malafronte
“Is there a more beguiling place in the Midwest to experience high-quality opera during the summer than the Opera Theatre of St. Louis?”
Chicago Tribune, John von Rhein
“It is quite possible that Opera Theatre of Saint Louis is the leading summer opera destination in the United States… top quality musical offerings, exciting young singers well on the road to major careers, well-considered theatrical stagings that rival any major house (any), and an extra-musical ambiance that is just about unbeatable.”
Opera Today, James Sohre
“At Opera Theatre of Saint Louis, [The Ghosts of Versailles] has duplicated its initial success ...A vivid and theatrically charged evening.”
Financial Times, George Loomis
“OTSL’s undertaking [The Ghosts of Versailles] was a brilliant success, largely due to director Robinson’s splendid, emotionally compelling production, which found intimacy and theatrical truth in the dauntingly massive piece.”
Opera News, Judith Malafronte
“The Metropolitan Opera’s disappointing decision to cancel (for financial reasons) a projected revival of John Corigliano’s The Ghosts of Versailles looks all the more regrettable in the wake of Opera Theatre of Saint Louis’s captivating new staging.”
Opera (London), George Loomis
“Michael Christie leading the orchestra composed of members of the Saint Louis Symphony, gave the successful new orchestration, by John David Earnest, its due.”
The Wall Street Journal and Opera Now, Heidi Waleson
“This Ghosts was a risk worth taking. Part romp, part philosophical exegesis, it adds up to a must-see evening in the theater.”
The St. Louis Post-Dispatch, Sarah Bryan Miller
“The Ghosts of Versailles commands a special place in this season’s history and the history of the company overall. It is an achievement beyond anything the company has produced since 1982.”
St. Louis Beacon, Robert Duffy
“An exceptionally smart piece of musical theatre that provokes both laughter and reflection….a rousing success that deserves our attention….The bottom line on The Ghosts of Versailles is that it’s a stunning achievement -- not only musically and theatrically but technically as well.”
KDHX, Chuck Lavazzi
“But it was with the bloody, realistic head of Jokanaan that she (Kaduce) really soared, sustaining a detailed love scene of ghastly intimacy. At the final blackout, her triumph was complete.”
Opernwelt, Matthew Gurewitsch
"Kaduce … emerged as the Salome one dreams of: Convincingly adolescent and petulant, lithe and sexy, and a dancer of considerable skill … She never wavered or faltered, and she embraced one of opera=s most psychotic roles with true artistic courage."
Gramophone, Philip Kennicott
“Lord brings a Romantic musical temperament to the pit, and he led the Saint Louis Symphony players in glorious, plush colors and opulent climaxes without covering the singers.”
Opera News, Judith Malafronte
“Conducting members of the Saint Louis Symphony, … Stephen Lord elicited playing of passion and colour.”
Opera (London), George Loomis
“Mr. Curran pulled no punches in Ms Kaduce’s final necrophiliac scene with Johanaan’s head: It was both bloody and explicit, and hearing the text in English, as is the case with all Opera Theatre productions, added to the frisson. Conductor Stephen Lord shaped the score with precision and muscular elegance.”
The Wall Street Journal, Heidi Waleson
"This is a psychological and musical tour de force that has not lost its power to shock … Kaduce was simply stunning in the title role."
St. Louis Post-Dispatch, Sarah Bryan Miller
"Opera Theatre of Saint Louis's production of Richard Strauss's Salome is the most mind-blowing piece of theater I=ve seen in all my years of reviewing opera for RFT."
The Riverfront Times, Lew Prince
“Salome … has inherent greatness. And as conducted by Stephen Lord and directed by Seán Curran at Opera Theatre on opening night, it shone forth in terrifying grandeur as one of the most brilliant and affecting production ever to be presented by this company.”
St. Louis Beacon, Robert Duffy
"Salome combines a beautiful score, powerful performances and a harsh reality that stuns and delights at the same time … it's one of the most powerful and stunning things we've ever seen on stage … one of the best things from Opera Theatre of Saint Louis -- which is saying a lot since they do such good work year after year."
KFUO/Classic 99, Steve Allen
"This production of Salome is one of the most compelling and disturbing things you=ll ever see on stage.”
KDHX-FM, Chuck Lavazzi
"The six principal singers are young and vigorous; in the tradition of OTSL, they can act as well as they can sing … If you=ve been looking for a first opera to learn the ropes, this production makes for a fine choice … For that matter, it=d make a great first date -- and if things go well you can follow up with Rent next month."
The Riverfront Times, Lew Prince
“It’s always a delight to experience this opera [La bohème] with a cast whose ages match those of the characters, and OTSL’s ensemble lineup had all the verve and camaraderie as college dormmates.”
Opera News, Judith Malafronte
"This is not only a great opening to the 2009 season, it=s a perfect introduction to the opera in general…If you're new to the opera, don't miss it. If you're a seasoned pro, you=ll want to wrap yourself in the beauty of this show once again."
KFUO/Classic 99, Steve Allen
“Sunday evening, I went to the opera and thought how much it's changed … Opera Theatre Saint Louis is as amazing as ever. What's changed is subtler: Under that tent, everybody seemed to be having real fun, chatting easily, joking, nobody pretending any operatic knowledge they'd just copped from the libretto that afternoon. The dog who steals Act I was on his hind legs begging, and even the young people on dates seemed at ease.”
St. Louis Magazine Arts Blog, Jeannette Cooperman
Opera News, Judith Malafronte
“Is there a more beguiling place in the Midwest to experience high-quality opera during the summer than the Opera Theatre of St. Louis?”
Chicago Tribune, John von Rhein
“It is quite possible that Opera Theatre of Saint Louis is the leading summer opera destination in the United States… top quality musical offerings, exciting young singers well on the road to major careers, well-considered theatrical stagings that rival any major house (any), and an extra-musical ambiance that is just about unbeatable.”
Opera Today, James Sohre
“At Opera Theatre of Saint Louis, [The Ghosts of Versailles] has duplicated its initial success ...A vivid and theatrically charged evening.”
Financial Times, George Loomis
“OTSL’s undertaking [The Ghosts of Versailles] was a brilliant success, largely due to director Robinson’s splendid, emotionally compelling production, which found intimacy and theatrical truth in the dauntingly massive piece.”
Opera News, Judith Malafronte
“The Metropolitan Opera’s disappointing decision to cancel (for financial reasons) a projected revival of John Corigliano’s The Ghosts of Versailles looks all the more regrettable in the wake of Opera Theatre of Saint Louis’s captivating new staging.”
Opera (London), George Loomis
“Michael Christie leading the orchestra composed of members of the Saint Louis Symphony, gave the successful new orchestration, by John David Earnest, its due.”
The Wall Street Journal and Opera Now, Heidi Waleson
“This Ghosts was a risk worth taking. Part romp, part philosophical exegesis, it adds up to a must-see evening in the theater.”
The St. Louis Post-Dispatch, Sarah Bryan Miller
“The Ghosts of Versailles commands a special place in this season’s history and the history of the company overall. It is an achievement beyond anything the company has produced since 1982.”
St. Louis Beacon, Robert Duffy
“An exceptionally smart piece of musical theatre that provokes both laughter and reflection….a rousing success that deserves our attention….The bottom line on The Ghosts of Versailles is that it’s a stunning achievement -- not only musically and theatrically but technically as well.”
KDHX, Chuck Lavazzi
“But it was with the bloody, realistic head of Jokanaan that she (Kaduce) really soared, sustaining a detailed love scene of ghastly intimacy. At the final blackout, her triumph was complete.”
Opernwelt, Matthew Gurewitsch
"Kaduce … emerged as the Salome one dreams of: Convincingly adolescent and petulant, lithe and sexy, and a dancer of considerable skill … She never wavered or faltered, and she embraced one of opera=s most psychotic roles with true artistic courage."
Gramophone, Philip Kennicott
“Lord brings a Romantic musical temperament to the pit, and he led the Saint Louis Symphony players in glorious, plush colors and opulent climaxes without covering the singers.”
Opera News, Judith Malafronte
“Conducting members of the Saint Louis Symphony, … Stephen Lord elicited playing of passion and colour.”
Opera (London), George Loomis
“Mr. Curran pulled no punches in Ms Kaduce’s final necrophiliac scene with Johanaan’s head: It was both bloody and explicit, and hearing the text in English, as is the case with all Opera Theatre productions, added to the frisson. Conductor Stephen Lord shaped the score with precision and muscular elegance.”
The Wall Street Journal, Heidi Waleson
"This is a psychological and musical tour de force that has not lost its power to shock … Kaduce was simply stunning in the title role."
St. Louis Post-Dispatch, Sarah Bryan Miller
"Opera Theatre of Saint Louis's production of Richard Strauss's Salome is the most mind-blowing piece of theater I=ve seen in all my years of reviewing opera for RFT."
The Riverfront Times, Lew Prince
“Salome … has inherent greatness. And as conducted by Stephen Lord and directed by Seán Curran at Opera Theatre on opening night, it shone forth in terrifying grandeur as one of the most brilliant and affecting production ever to be presented by this company.”
St. Louis Beacon, Robert Duffy
"Salome combines a beautiful score, powerful performances and a harsh reality that stuns and delights at the same time … it's one of the most powerful and stunning things we've ever seen on stage … one of the best things from Opera Theatre of Saint Louis -- which is saying a lot since they do such good work year after year."
KFUO/Classic 99, Steve Allen
"This production of Salome is one of the most compelling and disturbing things you=ll ever see on stage.”
KDHX-FM, Chuck Lavazzi
"The six principal singers are young and vigorous; in the tradition of OTSL, they can act as well as they can sing … If you=ve been looking for a first opera to learn the ropes, this production makes for a fine choice … For that matter, it=d make a great first date -- and if things go well you can follow up with Rent next month."
The Riverfront Times, Lew Prince
“It’s always a delight to experience this opera [La bohème] with a cast whose ages match those of the characters, and OTSL’s ensemble lineup had all the verve and camaraderie as college dormmates.”
Opera News, Judith Malafronte
"This is not only a great opening to the 2009 season, it=s a perfect introduction to the opera in general…If you're new to the opera, don't miss it. If you're a seasoned pro, you=ll want to wrap yourself in the beauty of this show once again."
KFUO/Classic 99, Steve Allen
“Sunday evening, I went to the opera and thought how much it's changed … Opera Theatre Saint Louis is as amazing as ever. What's changed is subtler: Under that tent, everybody seemed to be having real fun, chatting easily, joking, nobody pretending any operatic knowledge they'd just copped from the libretto that afternoon. The dog who steals Act I was on his hind legs begging, and even the young people on dates seemed at ease.”
St. Louis Magazine Arts Blog, Jeannette Cooperman