Union Avenue Opera is a small company with big aspirations. When it encounters obstacles, it does not back off. It looks for ways around them.

One obstacle is the size of its performance space. The stage and the orchestra pit do not have enough room for the grandest works in the operatic repertory. A decade ago, Union Avenue rose above these limitations by presenting Wagner’s Ring of the Nibelung in a reduced version created in England for a touring company. I do not expect to see another Ring cycle in St. Louis.

This year, Union Avenue found a way of presenting one of the grandest operas of all, Verdi’s Aida. Instead of mounting a full production, the company staged a concert version. The 30-member chorus was on risers and filled the recessed portion of the stage. The principals occupied the area in front of the chorus, sitting in chairs or exiting when they were not part of the action. The 22-member orchestra was in its usual place in the pit.

The performers were in concert attire, but they fully inhabited their roles. The excellent cast gave compelling interpretations. Marsha Thompson sang the title role with great beauty and stirring emotion. Limmie Pulliam’s ringing tenor was a perfect fit for the Egyptian commander, Radamès. Melody Wilson captured the indignation of the spurned Egyptian princess, Amneris.

Todd Payne was a sonorous King of Egypt. Lloyd Reshard was a fiery Amonasro. Jacob Lassetter mastered the role of the High Priest, Ramfis, on short notice. Two performers stepped out of the chorus to make fine impressions:  R. Nathan Brown as the messenger and Danielle Yilmaz as the high priestess.

Scott Schoonover conducted with a keen understanding of the score’s musical and dramatic values. The orchestra and ensemble performed very well throughout. The orchestra rose to the occasion in the triumphal scene, as did the chorus when a thrilling sound was required.

Union Avenue’s supertitles always include the characters’ names before their first lines. This courtesy was especially useful in the absence of costumes that would help identify the characters. The supertitle translation designer was Philip Touchette.

The last production of Aida in St. Louis was by the Metropolitan Opera, which brought the work here on tour six times between 1896 and 1961. Local productions were mounted in 1917 on the site that would become The Muny and in 1928 on The Muny’s stage. Another full staging here seems unlikely, so Union Avenue’s concert version was a most welcome gift to St. Louis operagoers.

—Gerry Kowarsky

Photo by Dan Donovan Photography
From the left, Anna Blair (chorus), Lloyd Reshard (Amonasro), Marsha Thompson (Aida), and Kay Love (chorus).