Displaying items by tag: Chicago Philharmonic

Blade Runner Live? Don’t worry, it’s not a musical adaptation of Ridley Scott’s 1982 sci-fi classic. It’s the inaugural film in The Auditorium Theater’s new series, Auditorium Philms, in which five films will be live scored by the Chicago Philharmonic. Performances are scheduled throughout the year and include a special 35th anniversary presentation of Tim Burton’s Batman Returns as well as Francis Ford Copolla’s 1992 version of Dracula.

Likely inspired by the success of Chicago Symphony Orchestra’s live scored film events, The Auditorium’s new series offers a unique way to enjoy classical music performance. In many ways, Hollywood film composers have kept the spirit of classical music alive, or at the very least made orchestra music more accessible to the masses. And who doesn’t sometimes put on their favorite film scores to get some work done?

The Chicago Philharmonic brings a small troupe of performers to the grand stage of The Auditorium, but however small they’re just as mighty. The score leaps off the stage and into the highest rafters of the enormous, gilded hall. Huge shows of percussion give an audience the feeling that the score is as big of a character as either Harrison Ford or Daryl Hannah. A musician also doubles as the vocalist, bringing a three dimensional element to the action-packed score.

Auditorium Philms creates a new hybrid movie theater-going experience. They’re blending the traditional theatre model (including a short intermission) with the “Imax” type rollercoaster ride audiences seem to clamor for with every passing superhero movie. The pandemic further cemented people’s love for not just film, but for also the sense of community that certain films create. Think ComicCon.  Blade Runner, Batman, etc there’s a fan-base that loves to cosplay and generally get to know each other. This series will provide a perfect place for film, theatre and music lovers to “nerd out” among like-minded folks.

Auditorium Philms run throughout 2024, check out the schedule here.

All apologies to the teachers and professors who groomed me to be a ceaseless reader and sporadic writer — I never finished Anna Karenina. But while I never plowed through all 900 pages of Tolstoy’s novel, moments from the book have stayed with me. One of them is just a line, one seemingly effortless line among pages full of them, and what a line it is: “All the variety, all the charm, all the beauty of life is made up of light and shadow.”

As I reflect on the variety, the charm, and the beauty I was privileged to behold at the Joffrey Ballet’s world premiere of Yuri Possokhov’s production of his countryman’s classic, I realize I witnessed a whole world of light and shadow being created right there on the Auditorium Theatre’s stage.

The creation of that entire world was, most obviously, performed by Possokhov’s choreography carried out by the Joffrey’s outstanding company, of course. Victoria Jaiani’s Anna navigates said world in both light and shadow — beautiful but damaged, faced with reality but delirious. Her husband Karenin, towers over the stage, as portrayed by the magnificent Fabrice Calmels, as a stately, stern husband and father and statesman. Just as stately, while also boyish and beautiful, Alberto Velazquez’s Vronsky lures the audience just as he lures poor Anna. And parallel to the love triangle and tragedy that envelope those three is the love story between Yoshihisa Arai’s Levin and Anais Bueno’s Kitty. If the former affair gives us the shadow, then the latter relationship brings it into the light.

These lights and shadows do not flicker before us thanks solely to the dancers, however. No, the spectacle of sight and sound beyond the dancing are every bit as stunning. Tom Pye’s sets and David Finn’s lighting navigates from dusky railyards to sunny Tuscany, from opium dreams to canapé flings. Of the many delights dished out by the Joffrey’s Nutcracker, perhaps my favorite was its use of projections, and Finn Ross’ projections for 'Anna Karenina' equal those, coloring the story and conjuring spirits.

But from curtain to curtain, the visual thrills are always complemented and often eclipsed by Ilya Demutsky’s original score directed by Scott Speck. The Chicago Philharmonic’s accompaniment, shifting seamlessly from elegance to dissonance, while always both classic and contemporary, is joined by Lindsay Metzger’s mezzo-soprano — who literally joins the show by the end — to craft this world of light and shadow in multiple dimensions that quicken multiple sensations.

So join the Joffrey Ballet at the Auditorium Theatre for Anna Karenina through February 24, as all of these world-class talents work together to shade and illuminate, to craft and create the variety and the charm and the beauty one would expect from a hefty literary classic written a century-and-a-half ago and half a world away.