By Lynn Venhaus

Geniuses are complicated; therefore, the life of America’s first superstar conductor and composer Leonard Bernstein is explored in an uncommon yet charismatic way in “Maestro.”

“Maestro” chronicles the complex 30-year relationship between Leonard Bernstein (Bradley Cooper) and actress Felicia Montealegre Cohn (Carey Mulligan) in an intricate portrait of art and love.

At their career-best are Bradley Cooper and Carey Mulligan who eloquently capture the passion of two people experiencing the highs and lows of an artistic life in the spotlight. They’re terrific together, and they throw themselves into these roles with a heartfelt and powerful intensity that’s mesmerizing throughout this unconventional 30-year love story.

As director, co-writer and star, Cooper masterfully conveys a larger-than-life cultural icon from his first conducting opportunity at Carnegie Hall when he was 25 to his later years after Felicia’s death in 1978. But he doesn’t gloss over his flaws, particularly as an often selfish, self-absorbed artist accustomed to attention.

The dynamic between the couple is the film’s biggest strength. And in crafting indelible portraits, they both are flawless executing the speech cadences of their characters. Mulligan, in particular, adds emotional depth to Felicia’s steely resolve and confused feelings.

Maestro. (L to R) Bradley Cooper as Leonard Bernstein (Director/Writer/Producer) and Carey Mulligan as Felicia Montealegre in Maestro. Cr. Jason McDonald/Netflix © 2023.

The movie isn’t your typical linear womb-to-tomb biopic, and Cooper made the decision to concentrate on the married couple’s mercurial yet unbreakable union that produced three children despite the tangled nature of Bernstein’s sexuality.

His open affairs with men are more implied than delved into, however, with Matt Bomer miniscule as early lover David Oppenheim and Gideon Glick as later lover Tommy Cothran. In real life, Bernstein separated from Felicia to live with Cothran, and then returned when she became terminally ill, but that’s not specifically mentioned – only surmised.

Cooper and Josh Singer, Oscar winner for “Spotlight” who worked with producer Steven Spielberg on “The Post,” focused more on the family situation, with career highlights woven into an intriguing life tapestry.

Bernstein’s zest for living was contagious, and he dreamed big. He achieved unparalleled success in music – both conducting the New York Philharmonic Orchestra and for his legendary compositions and was the first American conductor to get international acclaim.

I remember his “Young People’s Concerts” (1958-1972) on television on Sunday afternoons. He was the first conductor to share and explore classical music to a mass audience that way.

His range was vast, and he won seven Emmys, two Tonys, and 16 Grammys during his lifetime.

One drawback is that if you aren’t familiar with Bernstein’s epic body of work, you may be lost, for there are no date stamps and sometimes only a quick reference to the material. The music score features Bernstein’s most famous compositions, re-recorded for the film.

If you didn’t know about his Broadway musical theater works “On the Town” in 1944 and “West Side Story” in 1957, both choreographed by Jerome Robbins, you’ll not be further enlightened unless you do your own research, for you only hear snippets here.

His supple compositions for “West Side Story,” arguably the greatest musical theater score of all-time with lyricist Stephen Sondheim, are barely a footnote. His propulsive Oscar-nominated score for the 1954 Best Picture winner “On the Waterfront” is another masterpiece getting only a brief mention.

Some of his massive choral pieces “Candide” and “Mass” are presented in rehearsal and performance, but again, without a timeline, one may not recognize their significance. That must be frustrating to those who didn’t grow up with his music, which I did – and recognize there are gaps for a modern audience.

The film’s best scene is Bernstein vigorously conducting the London Symphony Orchestra in Mahler’s Second Symphony (“Resurrection”) performed at the Ely Cathedral in 1973. It’s an incredible show-stopper – but without knowing what or when. Still, that scene is stunning, revealing his musical virtuosity and innate theatricality for six and a half minutes – and resulted in the New York Film Festival audience bursting into thunderous applause and cheers. It was as if we witnessed Bernstein become the music.

Credit must go to conducting consultant Yannick Nézet-Séguin, whose expertise helped Cooper feel the music, and it’s thrilling. He is currently conducts the Metropolitan Opera at Lincoln Center.

The look of the film is luxe, especially the sumptuous black-and-white cinematography by Matthew Libatique that depicts a dazzling magical time for young artists in Manhattan in the ‘40s and ‘50s.

The costumes designed by Mark Bridges are also swoon-worthy, with Mulligan’s outfits not only representing Felicia’s class and grace, but also their rising fortunes. Bridges is a two-time Oscar winner for “The Artist” and “Phantom Thread,” and has a keen eye for textures and detail. The scene where Felicia wears a Chanel suit to get bad news from her doctor is a small, but memorable, character element.

Special make-up effects artist Kazu Hiro’s seamless transformation of a 48-year-old Cooper into Bernstein at different ages is stunning, with the prosthetics lifelike. He has won two previous Oscars, for “Bombshell” and “The Darkest Hour,” transforming Gary Oldman into Winston Churchill.

Production designer Kevin Thompson’s affinity for details is striking, from the concert halls to the private residences, particularly Bernstein’s’ idyllic country home in Connecticut and a lavish apartment in the historic Dakota building. Thompson’s previous work includes “Birdman or (The Unexpected Virtue of Ignorance)” and “Ad Astra.”

The sound mixing and editing is astonishing in aural quality and should be recognized with year-end awards. That level of excellence is not just reserved for big blockbuster visual effects extravaganzas.

Even by narrowing the focus, the movie still spans decades of remarkable achievements while offering a warm portrait of a comfortable family life, with the three Bernstein children surrounded by love and affection. Maya Hawke portrays eldest daughter Jamie as a teenager with questions, Sam Nivola is son Alexander and Alexa Swinton is daughter Nina.

Another key supporting performance in this tableau is Sarah Silverman as Lennie’s sister Shirley. Bernstein’s lifelong friend Aaron Copeland (Brian Klugman) doesn’t get much screen time.

The movie packs many details in its 2 hours, 9 minutes run time, and perhaps would have been clearer in a limited series, like “Fosse-Verdon.” However, a second viewing produced far more nuance and narrowed attention.

The majestic grandeur came through on a large screen, and because the scope is ambitious, I hope it is not lost on the smaller screen.

But those bravura performances will linger no matter what format.

“Maestro” is a 2023 drama, biography directed by Bradley Cooper and starring Cooper, Bradley Cooper, Carey Mulligan, Matt Bomer, Maya Hawke, Sarah Silverman, and Gideon Glick. It is rated R for language and some drug use and it’s runtime is 2 hours, 11 minutes. In select local theaters Dec. 8 (St. Louis area) and streaming on Netflix Dec. 20. Lynn’s Grade: A-

For seven years we’ve celebrated the beginning of summer in the beautiful garden at the Campbell House Museum and we hope you’ll join us for this year’s eighth annual Arias in the Afternoon on Sunday, June 9.

This year’s event will feature eight members of UAO’s talentedCandide and La bohème choruses in a musical performance to delight audiences of all ages. Join us in the garden for the musical stylings of Madeleine Buckley, Aleksandar Dragojevic, Danielle Feinstein, Grace Fisher, Michael Hawkins, Emily Heyl, Liya Khaimova, and Philip Touchette.

Take in a piece of local history as you tour the Campbell House’s magnificently restored interiors and explore their new exhibit: Robert Campbell and the Fur Trade. 

A light lunch will be provided along with complimentary wine, Virginia Campbell’s Champagne Roman Punch and ice cream from Clementine’s Creamery.

Sunday, June 9 from 1:00pm to 4:00pm[first performance at 2:00pm]Campbell House Museum1508 Locust Street | St. Louis, MO 63103

$75 Patron Tickets [includes $35 donation]$40 Regular

To make reservations, visit this link:https://unionavenueopera.secure.force.com/donate/?dfId=a0n610000076MYrAAM

Union Avenue Opera presents two company premieres in 2019

Christine Brewer returns to Union Avenue Opera for role debut as The Old Lady in Bernstein’sCandide

Union Avenue Opera announces 25th Anniversary Gala, October 10, 2019

Christine Brewer

Over 21 artists will make their Union Avenue Opera (UAO) debut this summer as the company celebrates its 25th Anniversary Season. The seven-week summer season will open Friday, July 5 with Bernstein’s hilarious, philosophical, and fast-paced take on Voltaire’s 1759 biting satire of the same name, Candideand will feature the return of Christine Brewer to the UAO stage. The season continues through August 24th with performances of Puccini’s operatic blockbuster La bohème, a tribute to UAO’s tradition of presenting operas in original languages, and the St. Louis premiere of Tom Cipullo’s Glory Denied, the true saga of Vietnam veteran Colonel Jim Thompson, the longest-held American POW in US history.

The 25th Anniversary Season will culminate with a Gala on Thursday, October 10 at the Barnett on Washington. Guests will enjoy cocktails and hors d’oeuvres followed by a masterfully crafted gourmet meal with a special musical performance by three notable UAO alum: Kenneth Overton (Stephen Kumalo, Lost in the Stars), Elise Quagliata(Sister James, Doubt), and Marsha Thompson (Abigaille, Nabucco). The evening will be hosted by Kathy Lawton Brown of Classic 107.3, The Voice for the Arts in St. Louis

“UAO started off small but mighty. I was a 22-year-old, just out of college looking for opera conducting experience and with the help of the Arts Group of Union Avenue Christian Church we set out to ‘put on a show’” recalls UAO Founding Artistic Director Scott Schoonover. “Our first budget was $5,000 which included everything! Our first auditions drew 17 people, and our orchestra was a string quartet. The cast and I helped build the sets and costumes, and we held 6 performances each with about 50 people in attendance. Minutes before the first performance, the lighting system blew, and we had to perform with just the house lights – it wasn’t fun at the time, but we laugh about it now. Each season has been a season of growth for UAO – for me personally, for our artists, our staff, our infrastructure, and our board of directors – and we are now ready to tackle Season 25.”

In total, UAO will create over 150 opportunities during the festival season both on stage, in the pit, as part of the design/production teams not to mention the nearly 100 volunteers who will give of their time and talents. All operas will be fully staged and performed in their original language with project English Supertitles on the Union Avenue Opera stage at 733 N. Union Blvd, STL 63108, and accompanied by a full orchestra, all members of the AFM Orchestra Union.

Over the past twenty-four years, UAO has grown in artist quality and excellence. Known throughout the region for presenting original language operas such as Nabucco, Rigoletto, La traviata, and Wagner’s epic four-part Ring cycle alongside newer works including Lost in the Stars, Dead Man Walking, A Streetcar Named Desire, and Doubt.

Single tickets are on sale for as low as $32 and subscription packages start at $80. Tickets may be purchased online at www.unionavenueopera.org, by phone at (314) 361-2881, and in person at Union Avenue Opera, 733 N. Union Blvd, St. Louis, MO, 63108. Student rush tickets are available at the door for $15 (cash only) with a valid student ID. There is ample free parking available.

Leonard Bernstein’s: CANDIDE

Scottish Opera Version Four Performances: July 5, 6, 12, 13 at 8:00 p.m.

Presented in English with English supertitles

War! Earthquakes! Disease! Very bad things happen to very good people (and plenty of bad ones too). When young Candide’s marriage proposal to a baron’s daughter doesn’t quite go as planned, this naïve student of optimism is thrust into an eye-opening odyssey across lands near and far, discovering the horrors of existence at every turn.Candide is part opera, part musical, and entirely irreverent. Voltaire’s philosophical spoof becomes a brilliant and breathless operetta set to a vivid score by Bernstein which abounds with spectacular music that includes a famous overture, the soprano showpiece “Glitter and Be Gay,” and the soaring finale, “Make our Garden Grow.” Through all its hysterical scouring of 18th-century wickedness and woe, Candide still finds a way to move and inspire with life-affirming lessons that, surprisingly, ring just as true today.

World-renowned opera legend, Christine Brewer, returns to the UAO stage in her role debut as The Old Lady inCandide. Schoonover will conduct while local director Annamaria Pileggi makes her UAO directorial debut. Jesse Darden and Brooklyn Snow make their UAO debuts as Candide and Cunegonde while Thomas Gunther returns as Voltaire/Pangloss following last year’s successful UAO debut as Captain Corcoran in H.M.S. Pinafore. Local actors Greg Johnston and Graham Emmons make their UAO stage debuts covering a variety of supporting characters. The chorus is composed of 16 of the area’s most talented emerging artists including Leann Schuering,Liya Khaimova, Anthony Heinemann, and Aleksandar Dragojevic. 

“I have always enjoyed and been impressed with productions I have seen at UAO and I can’t think of a better place to make my opera directorial debut!” said Pileggi. “I love the sweeping and theatrical nature of Candide. The breadth and scope of the story, along with the lushness and scale of Bernstein’s music make Candide a quintessentially live event.”

Candide – Jesse Darden*

Voltaire/Pangloss – Thomas Gunther

Maximillian – Charlie Tingen*

Cunegonde – Brooklyn Snow*

Paquette – Gina Malone

The Old Lady – Christine Brewer

Captain/Vanderdendur – Christopher Nelson*

Director – Annamaria Pileggi*

Conductor – Scott Schoonover

Scenic Designer – Otiz Sweezy*

Lighting Designer – Michael Sullivan

Costume Designer – Teresa Doggett

Technical Direction – Theatre Marine Productions

Properties Designer – Kate Slovinski

Giacomo Puccini’s: LA BOHÈME 

Four Performances: July 26, 27, August 2, 3 at 8:00 p.m.

Presented in Italian with English supertitles

Join the Bohemian Revolution in the heart of 19th-century Paris as a group of struggling artist strives to create beautiful art, find love, and ultimately live life to the fullest in this romantic operatic blockbuster. Rodolfo and his friends scrape by using their wit and charm to escape life’s harsher consequences until a chance encounter one winter night when Mimi asks Rodolfo to light her candle, changing everything and sending the pair into a deep, passionate whirlwind. At the same time, Marcello can’t resist the flirtatious charms of the feisty Musetta. Follow the triumphs and toils of this band of struggling young artists as they search for love, life, and laughter against impossible odds. For over 100 years, La bohème, Puccini’s most celebrated opera, has moved audiences to laughter and tears with its irresistible music and timeless tale. 

Ukrainian born soprano, Yulia Lysenko makes her UAO debut in the role of the ill-fated Mimi alongside Cree Carrico as Musetta in La bohème. Jesse Donner returns following his triumphant UAO debut as Ismaele in Verdi’sNabucco last summer. Andrew Wannigman (Jigger, Carousel), Nicholas Ward (Pish-Tush, The Mikado) and Scott Levin (Pooh-Bah, The Mikado) also return to UAO as Marcello, Schaunard, and Alcindoro respectively while Isaiah Musik-Ayala makes his UAO debut as Colline. Elizabeth Hastings (Cenerentola ’11) returns to conduct the 16 chorus and 8 children’s chorus members while St. Louis’ Mark Freiman (Nabucco) directs.

“For people of all ages who have never been to an opera or find it intimidating, La bohème is a great first opera” said Freiman. “The story is surprisingly simple, the music is lush and melodic, there is a lot of humor, and one can’t help but fall in love with the characters. There is nothing like seeing La bohème close-up in an intimate setting like UAO. Our production of La bohème will be traditional, but every production is different, making it fresh and exciting for the audience.”

Mimi – Yulia Lysenko*

Rodolfo – Jesse Donner

Musetta – Cree Carrico*

Marcello – Andrew Wannigman

Schaunard – Nicholas Ward

Colline – Isaiah Musik-Ayala*

Alcindoro/Benoit – Scott Levin

Customs Agent – Randell McGee

Director – Mark Freiman

Conductor – Elizabeth Hastings

Scenic and Lighting Designer – Patrick Huber

Costume Designer – Teresa Doggett

Technical Direction – Theatre Marine Productions

Properties Designer – Kate Slovinski

Tom Cipullo’s: GLORY DENIED

Based on the novel “Glory Denied” by Tom Philpott

Presented in English with English supertitles

Performances Aug. 16, 17, 23 and 24 at 8 p.m.

America’s longest-held prisoner of war dreams of coming home. But home is a place he will not recognize. Follow the gut-wrenching saga of Colonel Jim Thompson as he transitions from the jungles of Southeast Asia to the tree-lined streets of suburban America. Glory Denied speaks to the plight of so many of our veterans who nobly fought for their country but face huge challenges when it comes to re-assimilating into society—and their longed-for normal lives—after service. This true story explores the unimaginable bravery asked of soldiers and the nature of hope itself. It is a story of a nation divided and a country that changed significantly in the decade of his imprisonment. Tom Cipullo’s Glory Denied made waves in opera circles when it premiered a decade a go and continues to do so today.

The Glory Denied cast of four includes David Walton (Albert, Albert Herring) as Younger Thompson, Peter Kendall Clark in his UAO debut as Older Thompson, Karina Brazas (Yum-Yum, The Mikado) as Younger Alyce, and Gina Galati (Donna Elvira, Don Giovanni) as Older Alyce. Schoonover conducts as St. Louis native Dean Anthonymakes his UAO directorial debut.

“Glory Denied is an emotional rollercoaster” said Anthony. “What we see in Glory Denied is the cause and effect on all sides. So often, lives of POWs have been forgotten and just become a part of our past. The sacrifice and commitment of these women and men who served our country should never be forgotten. As well as the families who were back home.” 

Older Thompson – Peter Kendall Clark*

Younger Thompson – David Walton

Older Alyce – Gina Galati

Younger Alyce – Karina Brazas

Director – Dean Anthony*

Conductor – Scott Schoonover

Scenic Designer – Roger Speidel

Lighting Designer – Joe Clapper

Costume Designer – Teresa Doggett

Technical Direction – Theatre Marine Productions

Properties Designer – Kate Slovinski

*UAO stage debut

Don’t miss UAO’s Free Friday Night Lecture Series at 7:00 p.m. before the performance in the Union Avenue Fellowship Gallery presented by Dr. Glenn Bauer of Webster University (July 5, 12, 26 August 2, 16, 23). Lectures are free and open to the public.

25th ANNIVERSARY GALA

Thursday, October 10 at 6pm

The Barnett on Washington [3207 Washington Blvd]

Join us as we celebrate Union Avenue Opera’s 25th Anniversary in the festive ambiance of The Barnett on Washington. Enjoy cocktails and hors d’oeuvres followed by a masterfully crafted gourmet meal with a musical performance by Kenneth Overton (Stephen Kumalo, Lost in the Stars), Elise Quagliata (Sister James, Doubt),Marsha Thompson (Abigaille, Nabucco) and hosted by Kathy Lawton Brown, Classic 107. 3. Tickets are on sale now. Call 314-361-2881 or visit unionavenueopera.org for more information.

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About Union Avenue Opera – UAO was founded in 1994 to bring affordable, professional, original-language opera to St. Louis, a mission the company continues to pursue to this day. UAO is committed to hiring the most talented artists, directors, designers and technicians both locally and from across the United States. UAO provides promising young singers the first steppingstone of their professional career. UAO is a publicly supported 501(c)(3) nonprofit organization registered in Missouri. In 2018 UAO became an OPERA American Professional Company Member. OPERA America is the national membership organization for artists, administrators and audiences, dedicated to support the creation, presentation and enjoyment of opera.UAO offers vibrant and affordable opera experiences in original languages to audiences who reflect the breadth and diversity of the St. Louis region from the acoustically superb sanctuary of an historic church located in the urban Visitation Park neighborhood in St. Louis’ Central West End. Financial assistance has been provided by the Missouri Arts Council, a state agency, and with support from the Regional Arts Commission, and PNC Arts Alive.  Emily (DePauw) Stolarski Administrative Director | Union Avenue Opera733 N. Union Blvd | St. Louis, MO 63108 | 314-361-2881 Our 25th Anniversary SeasonCandide: Scottish Opera Version – July 5, 6, 12, 13La bohème – July 26, 27, August 2, 3Glory Denied – August 16, 17, 23, 24 The mission of Union Avenue Opera is to provide professional opportunities for gifted, emerging artists and to offer vibrant and affordable opera experiences in original languages to audiences that reflect the breadth and diversity of the St. Louis region. Believing that the arts are vital to the health and reputation of a community, Union Avenue Opera is committed to its urban setting, educational outreach and artistic integrity.

Union Avenue Opera’s University Artist Outreach program, Crescendo, will present a free recital on Sunday, March 10, at 5 p.m. The recital is the culmination for participants in UAO’s Crescendo program, a free, hands-on, performance based training program developed to further the education of local artists still young in their careers as they prepare to join the St. Louis art community.

The recital is free and open to all ages. It will be held on the Union Avenue Opera stage at 733 North Union Blvd, St. Louis, MO 63108. This is a non-ticketed event. Doors open 4:30 p.m.

In the spring of 2014, Union Avenue Opera launched their new collegiate enrichment program called Crescendo.

Participants take part in a series of masterclasses and workshops presented by UAO’s esteemed professionals in anticipation of a public recital on March 10, where they will compete for $2,500 in scholarships and spots in UAO’s 2019 productions of Candide and La Boheme.

The program is open to all voice students currently enrolled in an undergraduate program within 60 miles of St. Louis, and offers a unique opportunity for young artists to work with their contemporaries while honing their craft.

To date, 72 students have completed the Crescendo program, some as many as 4 times! As a result, these young artists have appeared in over 65 roles in 7 operas as part of UAO’s Festival Season.  This year, 24 students from seven local music programs are participating in Crescendo.

Union Avenue Opera’s Crescendo is designed for the motivated student, to provide the opportunity to hone their craft while working with UAO’s esteemed professionals.

UAO believes St. Louis has a lot to offer singers and they want to reach out to local students and make their acquaintance. In addition, participants will compete for scholarships as well as paid positions in UAO’s 2019 productions of Bernstein’s Candide, Puccini’s La bohème, and Tom Cipullo’s Glory Denied.* 

Numerous participants of the Crescendo Program have gained employment opportunities  working behind the scenes at Union Avenue Opera. Students were hired to work in the box office, run supertitles, as well as perform in productions, all of which gave them insight to a career in the performing arts.

cutline: 2018 Recital Winners: SIUE’s Sarah Paitz recipient of the John J. Prcic Memorial Scholarship, SIUE’s David Fournie winner of the Jack and Betty Swanson Scholarship, Webster University’s Abby Benson winner of the John Lessor Scholarship, and Artistic Director Scott Schoonover. Kari Frey Photography.

Meet the 2019 Crescendo Staff

Program Coordinator – Debra Hillabrand

Christine Armistead, Director of Vocal Activities, Washington UniversityJon Garrett, Adjunct Professor, Staff Accompanist and Music Director, St. Louis University; Adjunct Professor of Voice, Staff Accompanist and Music Director, Lindenwood University, Adjunct Professor, St. Charles Community CollegeSandra Geary, Piano Faculty, Washington UniversityMartha Hart, Associate Professor of Voice, Webster UniversityEric KuhnStella Markou, Director of  Vocal Studies, University of Missouri-St. LouisNancy Mayo, Piano Faculty, Webster UniversityJennifer MedinaAlice Nelson, Director of the Webster Opera Studio, Webster UniversityAnna Pileggi, Professor of the Practice in Drama, Washington UniversityNoël Prince, Voice Faculty, Washington UniversityMarc Schapman, Director of SIUE Opera Theatre, Southern Illinois University EdwardsvilleScott Schoonover, Artistic Director and Founder, Union Avenue Opera Stephanie Tennill, Assistant Professor of Music, Saint Louis University

 

Questions?Email Program Coordinator, Debra Hillabrand, at crescendo@unionavenueopera.org