David Robertson, photographer Deborah O’Grady, and the St. Louis Symphony give a 20 minute introduction–followed by an intermission–prior to the performance of Messiaen’s Des canyons aux étoiles… (From the Canyons to the Stars…) this Saturday. For the 7 o’clock Pre-Concert Conversation, you may hear more music by this singular 20th century composer.
St. Louis Symphony violinist Helen Kim and pianist Nina Ferrigno will perform Messiaen’s Thème et Variations, an early work from the 1930s. Symphony flutist Jennifer Nitchman and Ferrigno will perform Messiaen’s Le Merle noir, one of the composer’s middle period and birdsong-related works. Robertson will use these examples of Messiaen’s earlier work to discuss the composer’s musical evolution, the journey that led to rapturous From the Canyons to the Stars….
Thursday night is the first On Stage at Powell concert of the season. That’s where you get to sit on stage with the musicians, making for an especially intimate concert experience and an easy concert series to name.
A Symphony string quartet made up of violinists Ann Fink and Helen Kim, violist Chris Tantillo and cellist Bjorn Ranheim play works by Haydn and Samuel Adams. Since Adams is the living composer, and in town, we’re putting him to use. He’ll be on stage to talk about both the Haydn quartet and his own, giving insights into how they relate. Adam Crane will be on hand to interview Adams, and I’ll be bringing around the microphone so audience members can ask questions and share responses.
Thursday, September 24 at 7pm. It’s free. It’s On Stage at Powell.
A visit to the dress rehearsal of Barber of Seville got me to thinking about perspective. Rossini’s entertaining romp is the season opener for Opera Theatre of Saint Louis. The folks making the music from the pit are members of the St. Louis Symphony. (The Symphony is roughly divided in half through opera season, the Red and the Green, and the two groups rotate between operas and Live at Powell Hall concerts–see previous “Red and Green” blog posts over the last ten years or so for more in-depth explanations.)
This Barber is delightfully colorful with touches of absurdist comedy akin to the Marx Brothers, Monty Python, and the camp classics of Pedro Almodovar–the opera does take place in Seville, after all.
But as to perspective, all the stage bits, Figaro’s deep blue long-coat, the row of cocks at the base of a curtain, a swaying rump–the musicians see none of it. So, since no one I talked with sounded in the mood for a photo during rehearsal break, I thought, how about the backs of heads as metaphor for the musician’s experience in the opera pit? The audience sees the show; the musicians see their music and the conductor’s baton. The face; the faceless.
And let’s make a game of it. Let’s see how well you know your Symphony musicians. I provide the list of five. You match with photos.
1) Helen Kim 2) Xiaoxiao Qiang 3) Eva Kozma 4) Born Ranheim 5) Shawn Weil