Displaying items by tag: Lyric Opera of Chicago

Wolfgang Amadeus Mozart’s Idomeneo at the Lyric Opera of Chicago is opera as it should be, transcending all expectations. Don’t miss it! Indeed, we wonder why this uncommonly extraordinary performance did not open the Lyric Opera of Chicago season. Happily, after going dark for more than a week, forcing the initial performance scheduled for October 13 to be cancelled, the unfortunate dispute between the Musicians’ Union representing the Orchestra of the Lyric Opera of Chicago and management was successfully resolved, and Idomeneo was presented Thursday evening. The entire cast, without exception, sang splendidly, deftly handling the technically demanding florid passages and challenging long phrases, while creating real and distinct characters that earned our sympathy (thank the gods). On all counts, it was a glorious occasion.

Mozart began writing operas at the age of eleven, and had completed a dozen, or so, before he began work on Idomeneo in 1780, at the ripe old age of twenty-five. Considered to be his first “mature” opera, it is written in the “Opera Seria” style, literally “Serious opera”, a musical drama with a series of recitatives and set pieces in the early 18th century Baroque manner based upon Classical Greek or Roman themes, a form he would not return to until his final opera La Clemenza di Tito ten years later. This exquisite music, if not as well-known as his later masterpieces, is the cornerstone upon which all opera coming after it has been built, leaving no doubt of Mozart’s greatness. For that reason alone, go!

The orchestra, conducted by Sir Andrew Davis, was enthusiastically cheered before and after each curtain with shouts of support for the union from the audience. They played with a full, luxurious sound that remained within the stately structure of the classical period, and brought out all the color, nuance and innovation that raises Mozart above his peers. For that reason alone, go!

The production designed and directed by the late great Jean-Pierre Ponnelle (which by now, is probably older than the singers on the stage, yet still looks as fresh as it did when it was premiered in Köln in 1971) is in and of itself a timeless work of art. Visually pleasing, and beautifully lit by lighting designer Chris Maravich (thank the gods), Ponnelle’s setting evokes the time and place of the opera, while still allowing the audience to extend the themes in their imaginations to encompass all time and place. Ancient Grecian columns frame the stage and the mighty upstage center mask of Neptune, the real antagonist of the drama. Neptune, representing the unpredictable oceans of which he is king, is always present, either as a specter behind painted scrims, fully visible in his terrifying aspect, or even hidden from view. Above all, as it should, this stage set brilliantly serves the drama. For that reason alone, go!

The action takes place on the island of Crete after the decade long Trojan War. On his long way home, Idomeneo, King of Crete, has been caught in a raging storm at sea. He begs Neptune to spare him and in return, promises to sacrifice the first person he encounters upon shore. As operatic luck would have it, it turns out to be his own son, Idamante. Of course, father and son haven’t seen each other in years and don’t instantly recognize each other. Nevertheless, Neptune is going to expect the sacrifice Idomeneo promised.

For a story based in mythology and ancient history, it’s not hard to follow, even by opera standards. A father, who happens to be a king, loves his son and doesn’t want to lose him. We get that. That son, Idamante, has fallen in love with the Trojan Princess Ilia, being held prisoner in Crete. That happens. Princess Elettra, daughter of the Greek King, with whom Crete is allied, thinks Idamante should marry her, not the daughter of the enemy. Nothing out of the ordinary going on here. The excellent supertitles by Francis Rizzo are not at all stuffy, but explain the action and feelings understandably without dumbing it down (thank the gods). For fuller enjoyment you may want to check your crib notes from Greek mythology and the history of the Trojan War, but it’s not necessary. As in so many great stories, the large scale events provide the context for the more intimate human emotions.

Mr. Ponnelle’s original stage direction was faithfully re-set by David Knuess, who assisted Ponnelle when the production was mounted at the Metropolitan Opera in 1982 and Salzburg in 1983. Ponnelle’s consummate stagecraft subtly ensures that our attention is always drawn to the heart of the drama. Contrary to the habits of those who think they are following in the footsteps of the visionary director, absolutely nothing ever moves without a reason. No meaningless business or distracting bits. We were granted the luxury of having the singers just stand still and sing, allowing their voices to be most expressive (thank the gods)! It was one of the most moving performances seen and heard in years. For that reason alone, go!

The title role could have been written for Matthew Polanzani, who hails from Evanston and enjoys a deservedly respected career on the international stage. A true Mozartian, this role is perfect for him, his voice being better suited to this repertoire than Bel Canto or Romantic styles. His singing was superb and he gave a completely satisfying dramatic reading of the tormented father and king. For that reason alone, go!

With striking stage presence and a voice with the palette of a Monet painting, Angela Brower, reminiscent of the incomparable Frederica Von Stade, is a tremendous artist. In the role of Idamante, created for a castrato, re-worked for a tenor, but now most successfully performed by a mezzo-soprano, she gave us several of the evening’s most memorable vocal moments. Even when not uttering a sound she was riveting: Idamante’s shock and horrific pain at being rejected by his father was heartbreaking and later, during Ilia’s aria “Zeffiretti lusinghieri”, a scene that could be corny if not played just right, Idamante is visible at extreme upstage center receiving the unseen caresses carried from afar by the breezes. It took the breath away from even the most jaded of opera goers. His acceptance of his fate, and his willingness to give his life for the well-being of the community made a profound impact. For that reason alone, go!

As Ilia, Chicago native and former Chicago Opera Theater, Merola Opera, and LA Opera Young Artist, Janai Brugger was exquisite. The warm glow and golden tones of her shimmering lyric soprano lent itself to an ingenuous portrayal of the princess torn between love for her family and country and her love for Idamante. Whenever she graced the stage, she infused it with the power of hope. Ultimately, when the happiness she deserved was bestowed upon her, we shed tears of joy! After the season opener of the unfortunate La Bohème, we feared that we had become incapable of crying. For that reason alone, go!

The remarkable Erin Wall, marathon runner and soprano with a voice like diamonds set in platinum, was a sympathetic and vulnerable Elettra. She portrayed not an un-hinged shrew, but a high-strung princess used to getting her own way. In spite of Wall’s ongoing battle against cancer, her voice was never more beautiful (thank the gods!). In her rage arias her voice was spectacular and provided a perfect dramatic foil to her rival, Ilia, difficult even for someone with 100% perfect health. Wall’s Elettra was not motivated by mere jealousy of a romantic rival, but was driven to despair by the unthinkable and perhaps racist idea that Idamante would fall for an inferior Trojan woman. This assault on her sense of the proper order of things was so powerful that it resulted in a believably frenzied spontaneous death, a feat most singers are not capable of pulling off with dramatic success. To top it off, she looked fabulous in a stunning, if somewhat unwieldy, 18th Century gown with panniers which on the freeway would require red flags and a “WIDE LOAD” sign. For that reason alone, go!

David Portillo provided a solid and stable presence as Arbace, Idomeneo’s confidante. Arbace’s aria is unforgiving and demanding, yet Portillo sang superbly with musicianship, virtuosity and an urgent pathos reflecting his patriotism and loyalty to his king.

In addition to the Ryan Center alumni: Mr. Polenzani, Ms. Wall and Mr. Portillo, the uniformly excellent cast included current members of the program including Josh Lovell and Alan Higgs as two Trojan Men, Whitney Morrison and Kayleigh Decker as two Women of Crete. Each made worthy contributions and showed promise for the future, most notably Ms. Morrison. The voice of Neptune was chillingly sung by David Weigel (no spoilers, but gasps were heard) and Noah Baetge was fully credible as the High Priest. In these roles, as well as the principle roles, opera cognoscenti will enjoy recognizing the nascent characters which will eventually populate Mozart’s later works. Credit must be given to the Ryan Center for their advocacy of young talent, and to the Lyric for giving them the opportunity on the stage of, on this night, a major international opera house. It should be noted that the employment of young artists may represent a significant cost saving to LOC, yet these young artists gave us greater satisfaction than many “world class” artists would have provided (thank the gods).

Under the direction of Michael Black, the Lyric Opera Chorus sang magnificently in the big moralizing choruses that ended each act, and most impressively in the delicate “Placido è il mar” in Act II. They played their part well representing the people of Crete as a traditional Greek Chorus, reacting as one with stylized movements that were both emotionally affecting and that effectively served both the music and drama.

With respect to the recent contract dispute, it should be said that over past seasons we have had issues with a few programming decisions, issues with some singers’ performances, and issues with too many of the productions. However, we have never, ever had an issue with this orchestra. It is, especially under the baton of Sir Andrew, of the highest caliber, truly world-class, an over-worked phrase we try not to use. Their excellence stands as testimony to the unquestionable necessity of a top rank orchestra to the existence of a top rank opera house. They deserve a contract commensurate with their standing.

Bottom line: Idomeneo should not be missed. A young couple attending their first opera ever said they were enthralled, and that they were definitely coming back for more (thank the gods). Did we say you should go? Indeed, Go! Go! Go to Idomeneo.

Performances continue October 21, 24, and 28 and November 2. You might be able to get tickets at the door, but that would be a shame, because these performances should be sold out. Nevertheless, tickets are available on line at www.lyricopera.org or call 312-827-5600.

Lyric Opera of Chicago opened its 2018-19 season with Puccini’s beloved “La Boheme” last Saturday evening. Essential to any Puccini production, more than most other composers, is a faithful rendition of the specific intentions of the composer, whose theatrical instincts were equal to if not better than his musical gifts. This production succeeded musically, but utterly failed dramatically to bring out the humanity in this work that makes it so well loved.

Thankfully, Conductor Domingo Hindoyan, in his Lyric Opera debut, understands how Puccini goes. In his comments in the program, he states clearly that, “The word ‘freedom’ is relative, because it should be a sensation within a rigorous respect for the score”. If only opera administrators would hold stage directors to the same standard as the conductors. This production, shared with the Royal Opera House Covent Garden and Teatro Real Madrid, directed by Richard Jones, designed by Stewart Laing, with lighting design by Mimi Jordan Sherin, disappointed over and over again in so many ways, large and small.

It was a shame, since there was much to appreciate. The Lyric Opera Orchestra sounded marvelous under the idiomatic and nuanced baton of Maestro Hindoyan. His sensitive support of the singers brought out the treasures in the score, revealing the joie de vivre of the Bohemians, supplying tight crispness to the opening of Act Two, poignant desperation in Act Three, and ephemeral orchestral textures underlying Mimi’s last moments.

Zachary Nelson’s full and velvety baritone was unfailingly well projected. As the painter Marcello, he came very close to a sense of who the character was, but never expressed the depth of pain caused by his obsessive love of Musetta, or the tenderness of his friendship with Rodolfo. As the poet Rodolfo, tenor Michael Fabbiano’s brilliant and warm voice was expressive and a joy to hear. However, perhaps due to opening night jitters, or a lack of meaningful stage direction, his highest notes were tentative and the softer passages were weak. Maria Agresta looked the part of the fragile seamstress. Her piano singing in the Act One aria bloomed as beautifully as the flowers she described. Yet, later in the opera, her voice was less attractive, her vowels lost color and sounded flat, not in pitch, but as if she came from Italy via Wisconsin. The talented and charismatic Danielle de Niese tossed off the role of Musetta with aplomb, despite the directorial excesses imposed upon her. De Niese is a tremendously gifted comic actress; with a lesser artist, Musetta’s staging would have been a travesty. Ryan Center Artist Riccardo Jose Rivera possesses a fine lyric baritone voice, but seemed uncomfortable with the physicality of the role of Schaunard. He was allowed to wander aimlessly and flail about. The monkeying around at the end of Act Two with the on-stage band was absurd. Blame should fall on the director though, not on this promising singer. Bass Adrien Sâmpetrean’s lower range lacked the depth and color expected for Colline. His interpretation of the cynical philosopher also seemed somewhat shallow and ordinary. By hanging his beloved overcoat on a nail to sing his touching farewell aria, he separated himself from it, and the tenderness of the moment was lost. Well known for his finely crafted characterizations, Jake Gardner was the class act of the evening, in fine voice, finding humor, but never resorting to buffoonery in the dual roles of the landlord Benoit, and Musetta’s sugar-daddy, Alcindoro. However, he was not done any favors as Benoit by being staged facing directly up stage, forcing him to turn around to face the audience every time he had to sing. Similarly, as Alcindoro, Mr. Gardner was buried by Mr. Jones’ staging in a melee of waiters and patrons in the Café Momus, obscuring the ironic humor of the moment.

The costumes by Stewart Laing were quirkily adequate. His set was horrible. Act One did not resemble a quaint Parisian garret apartment, but rather a newly constructed barn in Dixon, Illinois. The lighting in Acts One, Two and Four, was stark and bleakly colorless, evocative of neither the time of year, time of day, nor the congenial poverty in which the four Bohemians lived, laughed, and loved. In the relentless intensity of the lighting, the singers’ faces were either washed out or hidden in shadows created by the barn rafters. In Act Two, the supertitles were nearly unreadable due to the glaring lighting. However, in Act Three, the lighting was so gloomy that it had the same obscuring effect on the singers. It didn’t matter much, though. There really wasn’t anything to see.

Good translations are a blessing, and the accurately natural supertitles by Kenneth Chalmers were truly excellent. However, these titles also served to highlight the director’s many mistakes, too numerous to detail in full. After Mimi’s fake looking faint, and even more fake looking recovery (she popped up like a jack-in-the-box), when she drops her key, Rodolfo says, “Buio pesto” (“it’s pitch dark”) in the glaring light. The lost key is picked up by Rodolfo who, instead of hiding it, shows it to Mimi and plays keep-away, although he later says, “Al buio non si trova” (“In the dark we won’t find it”). Huh? Standing in brilliant white light, he inexplicably tells her that soon there will be moonlight, and then they will have enough light to look for the key again. This touching scene in which Mimi and Rodolfo fall in love was diminished by this directorial sloppiness, but is unfailingly right when it is done the way Puccini intended.

The set changes in the pauses between acts with the curtain up were extremely awkward. If you are going to change the set before our eyes, it should provide a magical transition from one setting to another which enhances the pace of the drama. These bumbling and ponderous changes felt more like a first walk-through rehearsal in a warehouse where the sets were still under construction and the technical demands haven’t been entirely resolved.

The Act Two set, with a suddenly faithful representation of the beautiful covered passages in Paris, was attractive and could have worked, but it was so far down stage, it cramped everyone, soloists and chorus, into a nineteenth century mosh pit. The jolly chaos of Christmas Eve never settled down enough to be able to find the main characters among the crowd, and since there was no room for the children to cavort, they formed a formal chorus line. Consequently, their mother’s anger at their unruliness made no sense. Typical of directors who don’t trust the material or understand the music, the stage was filled with frenetic and meaningless carrying-on. Oh sure, that may be more true to life, but it was distracting. It might be forgiven, but when things needed to be real, they usually weren’t.

Segue in another awkward transition from the street scene to the interior of the Café Momus, full of distracting and upstaging patrons and waiters. When the audience can’t find the principal singers in this scene, something is rotten in Paris.

Enter Musetta. She sees her former lover Marcello at the adjoining table and, being bored with her current old and stuffy patron, decides to win Marcello back. This can be played a lot of ways, but sloppy drunk isn’t one of them. The famous waltz song is already sexy and provocative. Musetta definitely does not become sexier by making her drunk, and the goofy-happy-dance when singing “Felice mi fa” was like a scene from a sit-com. Throw in a few cheap tricks for laughs and shock value and the reunion of the two lovers, which normally is so warmly welcomed that the music is covered up for a page or so by applause, was a messy let-down.

The snow which fell almost all night long was pretty, but other than that, the Third Act was ugly. The tavern looked more like the guard house at the Barrièr d’Enfer, which must have been off stage, as it could not be seen. But the back of the garret/barn apartment was strangely visible, as were overhead lights which shined in the audience’s eyes, again making the production look as though it was still in rehearsal. Every touching moment in this act was sabotaged by the stage direction, such as when Mimi and Rodolfo agree they must break-up, but that they will wait for spring. Mimi sings, “Vorrei che eterno durasse il verno” (“I wish winter would last forever”) in a moment which is often more heart-rending than Mimi’s death in Act Four. Inexplicably, Mimi aimlessly walked away from Rodolfo while singing this. No matter, they were upstaged anyway by Musetta, pondering her next move after having been thrown out by Marcello.

Back in the barn - err - garret for the final act, it is supposed to be a bright sunny day outside, so the blazing light didn’t seem quite so out of place. Rodolfo and Marcello’s duet reminiscing about their lost loves was almost touching. The two sounded good together, and taking places at opposite sides of the barn underscored their feelings of loss and loneliness. For once, by not imposing his “concept”, Mr. Jones managed not to ruin a beautifully sung moment.

However, Mr. Jones couldn’t resist keeping his hands off that which followed. Puccini specifies a spoof of classical dancing and a mock sword fight among the four Bohemians. It is almost always hilariously funny, but if you have a better idea than the always entertaining dancing and mock sword fight, bring it on! Doodling undecipherable graffiti on the walls was not one. Similarly, swinging around on the stove pipe of a wood burning stove is never a good idea. If you’ve ever seen one, you’d know that the pipe would be likely to fall into pieces, you would be covered in soot and it might even be dangerously hot, especially if it had just contained a fire, as in Act I. Propping a pillow against the sharp corner of the stove to serve as Mimi’s deathbed in Act IV was the limit. Maybe the director was making some sort of statement. Who cares? Get a bed or a chaise up there so that Mimi and Rodolfo don’t have to flop and flail about on the floor like a couple of fish out of water. The scene was just plain ugly.

The heart of any opera is when the music tells the story more plainly than the words. This must never be ignored. At the moment when Rodolfo and Mimi are finally left alone together and the tender reprise of “O soave funciulla” swells to the sweet cadence, “Ah! tu sol comandi amor”, this director had the lovers on opposite sides of the stage and absolutely nothing was going on between them. Yes, most directors do it very traditionally, but that’s because it works, and Mimi and Rodolfo hold each other again, just as they did the night they first met.

Similarly, the exact moment when Mimi dies is clearly expressed in the music. Mr. Jones decided that this was completely unnecessary and then chose to ignore Puccini’s following directions. Schaunard was nowhere near Mimi to notice that she was dead, so how could he tell Marcello? Yet Rodolfo was seated on the stove right next to her head and didn’t notice. It is possible that there are people in the world that can’t handle the death of a friend, or of a friend’s lover, but when Rodolfo discovered that Mimi is dead, it is beyond imagination why Schaunard and Colline bolted out the room in terror.

There wasn’t a moist eye in the house.

Performances continue through October 20, 2018, and again January 10 through 25, 2019. Call the Lyric at 312.827.5600 or visit www.lyricopera.org for tickets, if you are curious about this strange production. But please don’t bring your friends who have never seen an opera before.

It’s been three days since seeing Jesus Christ Superstar at Lyric Opera’s Civic Center and I still find myself going from character to character in the kitchen, in the car, while I’m working, while doing chores around the house and, moments ago, in the elevator. I may not be able to hit the brassy baritone notes sang by Cavin Cornwall as Caiaphas (or any of the character’s notes for that matter) but I give it my best shot because it’s just one of those shows – the songs stick – as they should. After all, we are talking about what many consider Andrew Lloyd Weber’s greatest work and perhaps one of the most masterful musicals of our time. We are talking about a musical that does not have a single weak number.

Having seen several variations of Jesus Christ Superstar from it’s very early runs in the 1970’s with Ted Neeley, many as he aged (the last while in his mid-sixties), and with a handful with others in the role of Jesus, Lyric Opera’s stage adaptation stays true to form – and then some. Cast members donned in hoods spread out across the main floor of the theatre before running to the stage during the opening overture. The set and costumes take us to a somewhat post-apocalyptic era, and though unnecessary as the musical is ever so effective taking place in biblical times, we still get the point.

With clever and ever-so-fitting lyrics by Tim Rice and an unbeatable soundtrack by Lloyd Weber, Jesus Christ Superstar takes us through Jesus’ rise in popularity as the promised messiah for his people over his last days. At the same time the pharisees show alarm and fear as Jesus is as a threat to their teachings – a threat that must be destroyed. While taking us through the last supper and eventually the crucifixion, the musical closely examines the love/hate relationship between Jesus and Judas, and the inner conflicts had by the latter. We also get a look at Rice and Weber’s perception of Mary Magdalene’s bond with Jesus, as she takes on a motherly approach in “Everything’s Alright” and that of almost a confused lover in “I Don’t Know How to Love Him”.

Jo Lampert as Mary Magdalene soothes Jesus (Heath Saunders)

Over eighty artists take the stage to perform with the thirty-seven musicians strategically placed in plain view on the set. The talent in this production is nothing short of spectacular, the choreography original and fun, particularly in that of the pharisees in the number “This Jesus Must Die,” adding a unique element of menace. The standouts in this show are many. Ryan Shaw delivers big as Judas holding true to the role’s intention immediately impressing from his opening number “Heaven on Their Minds” while Jo Lampert as Mary Magdalene shows great vocal command as she goes from gentle and soothing to prevailing power.

Ted Neeley who portrayed Jesus in the 1973 film, touring the role prior and still doing so to this day, along with Deep Purple’s Ian Gillan who was the voice of Jesus on the original album recording, set a precedent that, if not met, can lead to disappointment by the production’s most loyal fans. Gillan and Neeley set the bar high. The two were so successful in adding a rock and roll element to Jesus - screams and all - so that many in the role to follow were doomed to fail. This is not the case in Lyric’s current production. Heath Saunders exemplifies what the Jesus Christ Superstar loyal want to see in the role of Jesus. Diehards of the production call for a rock and roll Jesus and Saunders gives them just that. While stunning the crowd with his wide vocal range and hitting the highs where we’ve come to expect the highs, Saunders also gives us a Jesus who is sensitive, caring and embodies that of a teacher.

After tearing it up as Judas in Paramount’s 2017 production of Jesus Christ Superstar and taking on an ensemble role in the recent NBC televised special, Mikal Kilgore returns to the classic musical, this time as Simon Zealotes. Kilgore again puts forth an untouched performance, only leaving the audience with the regret his lead numbers are limited. Michael Cunio as Pilate Shaun Fleming as Herod are equally impressive as they pass the buck on who will be responsible for Jesus punishment that is called for by the people. Rounding out the sensational cast are Joseph Anthony Byrd as Annas and Cavin Cornwall as Caiaphas whose performances as the sinister pharisees are also on point.

Shaun Fleming as Herod

Jesus Christ Superstar is one of the great modern-day musicals and Lyric Opera of Chicago is one of Chicago’s premiere venues. Their pairing makes a lot of sense. Lyric spares no expenses presenting an all-around magnificent cast, a collection of Chicago’s finest musicians, superb direction and choreography and a set and lighting design that includes a 37-foot cross illuminated with 101 lights and seven full-sized trees that stand in the background overlooking all the action.

Categorically recommended.

Jesus Christ Superstar is being performed at Lyric Opera of Chicago through May 20th. For tickets and/or more show information, visit www.lyricopera.org.

"Faust" is revered as the world's most popular opera. It was the first opera performed at the Met in New York in 1863. This iconic French opera took Charles Gounod several years and several drafts to complete. Since its debut in Paris in 1859, "Faust" has continued to seduce audiences. Lyric Opera continues the tradition with a thrilling new production by Kevin Newberry.

From the poem by Goethe, "Faust" tells the story of an old man who wakes one morning with nothing left to live for. His youth is gone and the pleasures of life no longer interest him. Faust tries suicide but is rescued by Mephistopheles (the devil), who offers him eternal youth in exchange for his soul. Mephistopheles is sung by Christian Van Horn. He's got the youthful energy and allure of the devil as he pounces about in a very orange suit.

Faust is promised a beautiful maiden, Marguerite (Ailyn Perez). She's crippled and her brother Valentin worries for her as he heads off to a vague battle (there is almost always a distant war in an opera). Faust instantly falls in love with Margueite who is exquisitely sung by Ailyn Perez, she is making her full Lyric debut in this production. French singer Benjamin Bernheim eloquently sings the title character. He brings a necessary sex appeal to the young Faust role. After the relationship is consumated, Faust splits. Drama ensues.

Gounod's brilliant music soars in this highly stylized production. David Adam Moore's unsettling projections throughout have an eerie Tim Burton quality to them. The convention really works here. Along with Gounod's cinematic score, there's an added sensory detail that never fails to captivate.

"Faust" is above all things, an incredibly accessible opera. The contract between mortal and devil is always intriguing. Gounod's music is as relevant as today as it was in the 1860s. You can hear traces of it in film scores and musical theater orchestras. There's a little something here for everyone, it's a cheeky horror story, a love story, a story of redemption, a musical and a little je ne said quoi.

Staging like this brings "Faust" into the twenty-first century, which is essential to the survival of opera in the modern era. Never a dull moment in the nearly four hour run time. Opera has a way of lulling even the most ardent enthusiast to sleep after a glass of chardonnay during the intermission. "Faust" is riveting in all five acts. Those familiar with the classic work will be impressed by the new lens with which Kevin Newberry shows it through.

Through March 19 at Lyric Opera Chicago. 20 N Upper Wacker Drive. 312-332-2244

“No woman ever died for love” says Despina in Mozart’s charming little opera ‘Cosi fan tutte’. There may not be any deaths from love but, maybe a few tickled funny bones in this revival going on now at the Lyric Opera of Chicago. Originally conceived by John Cox about ten years ago, this version of ‘Cosi fan tutte’ moves the setting to WWI, or 1914. This seasons’ production is largely the same with direction by Bruno Ravella.

‘Cosi fan tutte’ is a lighter work by opera standards. It’s basically a rom-com sung in Italian. Written in 1790, Mozart would only see this opera performed five times in his life, as he died the following year. Mozart operas are typically upbeat with plenty of repeated phrasing. There’s no shortage of beauty pouring out of the pit conducted by James Gaffigan. This is a very accessible piece in both music and performances.

The plot is fairly uncomplicated. Two men Ferrando (Andrew Stenson) and Guglielmo (Joshua Hopkins) question the fidelity of their fiances Fiordiligi (Ana Maria Martinez) and Dorabella (Marianne Crebassa). With the help of Don Alfonso (Alessandro Corbelli) and sexy maid Despina (Elena Tsallagova), the two men pretend to go off to war. They return to their future wives in disguise and each attempts to seduce the other’s fiancé. If it sounds familiar, it is. This opera is loosely inspired by Shakespeare’s ‘Twelfth Night’.

Few people attend an opera for the dramatic chops of the performers. Opera is about beautiful music first and foremost. That said, these two fantastic sopranos are also gifted comedic actresses. The over-the-top emotions of these two characters makes for some really great physical humor. The projected dialogue is almost as ridiculous as the plot itself. Martinez takes up the pious role, making her seduction all the more fun to watch. Crebassa is the goofball and her performance radiates joy even as she’s cheating on her fiance. Though, it’s really Tsallagova who runs away with the laughs in her performance as Despina. This is also her US debut. A talent we’ll hopefully see more of in coming seasons.

As always, the set and costumes are sumptuous. Setting this piece in 1914 gives costume and set designer Robert Perdziola a lot to work with. It’s not terribly often you seen somewhat modern fashion at the Lyric. There are some lovely flapper-flavored looks going on. Nothing quite compares to the second act opening though. A background of venetian boats adorned with twinkling lights opens up to reveal the imposter suitors sailing in to claim their respective victories. The visual against the lovely Mozart music is one of the most arresting moments of the evening.

‘Cosi fan tutte’ is not an opera you’ll find on any before-you-die lists, but it’s an opera worth seeing. While it’s not the shortest show of Lyric’s season, clocking in at just under four hours, it’s definitely the easiest to get into. The music is for everyone, and will leave you feeling warm and tingly.

Through March 16th at Lyric Opera of Chicago. 20 N Wacker Drive. 312-827-5600

There are fewer things in theatre more exciting the curtain going up on the first act of an opera. Often there’s no ceremony or pre-recorded note from management. The lights dim and the overture begins. How enchanting to take your first look at the sumptuous sets and costumes Lyric Opera has created for this production. Pilgrim-chic you might call it. Tradition and form make opera a unique theatrical experience. On a snowy Sunday afternoon, the curtain came up on Bellini’s ‘I Puritani’, signaling to its audience, get comfortable.

Eric Einhorn’s production of Bellini’s drama runs just under four hours with two intermissions. The first act is the longest at eighty minutes. ‘I Puritani’ concerns a Puritan hamlet in which a young princess Elvira (Albina Shagimuratova) chooses another suitor, Arturo, over the pre-arranged marriage to Riccardo (Anthony Clark Evans). Just before the wedding, Arturo obliges himself to save condemned Queen Enrichetta (Lauren Decker). While he’s smuggling her out of the country, word returns to Elvira that her fiancé has run off with another woman. She is devastated and the army pursues him.

Yeah, that’s the plot. Nearly four hours to convey that relatively simple story along with Bellini’s beautiful score. This is why opera is special, because for four hours, we really don’t care what the plot is. For centuries opera was performed without the super script translations, leaving the audience to presume based on summaries in their playbills. Projected translations are used sparingly in this production of ‘I Puritani’ – maybe because the plot is so uncomplicated, they’re not necessary. In any case, they’re certainly not missed and would likely be distracting. What should be paid attention to are these beautiful singers and the gorgeous orchestra.

A significant difference between musical theatre and opera is that the leads are not expected to be great actors. Voice is most important in these roles, especially in Bellini’s works. He believed that a beautiful voice is what stirs audience emotions. He’s not wrong. Though, Russian soprano Albina Shagimuratova is a good actress. She’s not heard until the second scene, but her performance is easily the most accessible aspect of this production. Her heartbreak is palpable in voice and gesture regardless of language. Act II is worth the entire afternoon.

As always, the costumes and sets are overwhelmingly beautiful. Haunting imagery is captured by the large cast numbers and soaring melodies. ‘I Puritani’ may lose the attention of its audience during the lengthy solos, but will quickly recapture focus when the whole ensemble fills the stage. Just as exciting as the curtain going up, is the curtain coming down. Opera enthusiasts scream “brava” and beg for more curtain calls, a truly opera-specific tradition. In opera, the energy of the experience sustains the art itself.

Through February 28 at Lyric Opera of Chicago. 20 N Wacker Drive. 312-827-5600

The Pearl Fishers has been called Bizet’s most beautiful opera. Lyric’s electric production is certainly one of the most beautiful visually as well. 

The continuously melodious score also represents a departure from more familiar opera, with just one principal female role, Leila (soprano Marina Rebeka) and with the strongest duets sung by the male roles, Zurga (baritone Mariusz Kwiecien) and Nadir (tenor Matthew Silvestrelli, a home grown talent from Lyric’s own Ryan school).

This production of The Pearl Fishers is also striking for its primitivist scene designs, expressive lighting, and dance sequences that provide a fresh and contemporary take on the mythical setting of the story. This season’s move of the Joffrey Ballet into the role of Lyric’s in-house dance troupe provides an added creative dynamic for each production.

The choreography in The Pearl Fishers – and every Lyric show for that matter - probably deserves a separate review under the Dance sections. It is quite sensational, adding a flavor all its own, especially in the seamless combination with the performer’s dress. The animal dancers have a kind of Julie Taymor Lion King thing going, and this is courtesy of the break out talent of Sandra Rhodes.

Production and costume designs are by Rhodes. Done for the San Diego Opera Company and Michigan Opera Company, both are visual triumphs, and technical achievements. Rhodes must dress regal principal singers, an active corps of supernumerary fisherman and villagers, and a ballet troupe in fashion that advances the narrative, but will not come undone in energetic dance interludes. It’s the ultimate active ware. 

Bizet, known widely today for his later opera Carmen, was just 24 when The Pearl Fishers premiered in 1838. It is the story of a fishing village set in “ancient” Ceylon (today’s Sir Lanka), within a Hindu temple grounds as a center of much of the action.

As to theology, history, and culture, the opera has the story all wrong. At the time Europeans were entranced with the exotic Orient – but it was also terra incognita. (One Sri Lankan academe notes the opera originally was set in Mexico, the contemporary heart of global pearl production, until someone pointed out to Bizet that it was not in the Orient.) There was no Wikipedia back then.

Nevertheless, in the Hindu temple at Lyric we find Buddhist monks and an annual ritual in which a vestal virgin must abstain from romance overnight at the temple, or she will be sacrificed. (She gets a precious pearl if she is well behaved.) A high priest is also chief justice over all such executions. The God Brahma is also involved. 

The plot revolves around two young men, Zurga and Nadir, who previously competed for Leila, but now have pledged undying friendship, both forswearing her in the interest of preserving their friendship. 

Darndest thing! Leila is this year’s vestal candidate. And so we have a scene in which the tenor creeps into the temple to seduce her – with lots of “I must have you” tenor-ing, and even more “no you must go or you will be killed” soprano-ing.

Of course, the high priest Nourabad (bass Andrea Silvestrelli) catches them, and we’ll let you go to the opera to find out what happens. The Lyric calls the relationship between the guys a bromance, and the intensity of their fealty made me research whether Georges Bizet was gay (he was married with a daughter). Suffice it to say "gay" still means "happy" in the world of opera. 

The Lyric Opera’s production of The Pearl Fishers comes highly recommended for what opera productions should be, and you have three more opportunities on December 4, 7 and 10.

“I’ve always favored unbridled passions,” sings Wotan in the Lyric Opera’s new production of Richard Wagner’s “Die Walküre” This is the second installment in Wagner’s epic 4-opera cycle “Das Rheingold” Lyric produced the first opera last season and will sequentially include the next two operas in their forthcoming seasons. In 2020, there will be a special presentation of all four productions.

Five hours is a long time to spend in a theater. Wagner is especially challenging for those not particularly versed in classical music. That said, this gorgeous production by David Pountney is well worth the time. If you’re wondering if you needed to see the first opera to understand the second, you absolutely do not. “Die Walküre” is a standalone with a clear conclusion. Most will at least be familiar with “The Ride of the Valkyries”

“Die Walküre” is sung entirely in German with projected subtitles. Try to imagine a time in which there were no subtitles. The plot is very weird, perhaps it was best to only assume what’s going on. Essentially, this is an opera about incest and that seems pretty racy for its 1870 premiere. The music is incredible though, which likely contributed to its cannon status.

The first act is surely what to come for, coincidentally it’s also the shortest. In the first act we meet the incestuous lovers Siegmund (Brandon Jovanovich) and Sieglund (Elisabet Strid). Siegmund rescues Sieglund from an unhappy marriage and wards off her husband with a magical sword only he’s able to pluck from a tree stump. He then impregnates his sister wife, despite that they know they’re related. Insert shrug emoji here. Staging in the first act is pretty sexual for a 19th Century opera. Siegmund’s sword is an obvious phallic symbol and Pountney’s blocking leaves little to the imagination. The blatant eroticism helps spice up the melodrama.

Logically, this affair angers the gods and they send favored Valkyrie Brünnhilde to kill Siegmund. Reknown soprano Christine Goerke reprises the role of Brünnhilde, which she’s previously sung for a few other companies. For those unfamiliar with this opera, it would seem like a bit of a surprise that the story really ends up being about Brünnhilde and her relationship with her father Wotan (Eric Owens). The two shine together in the final act, despite the nearly agonizing repetition of dialogue.

This is an exciting and beautiful production. The aesthetic is almost like an old movie set. The horses upon which the Valkyries fly are hand operated by the ensemble. It makes you wonder, how did Wagner envision this special effect at the time he wrote it? Each scene is darkly lit and costumes are trimmed in red. The time period seems to be undecided as costumes appear to span the decades.

With only seven performances, this special production is a must-see for local opera enthusiasts. For those unfamiliar with opera, attend without trepidation. The production may run just a little under five hours (with two 30-minute intermissions), but the evening seems to fly by.

Through November 30th at Lyric Opera of Chicago. 20 N Wacker Drive. 312-332-2244

Court jester Rigoletto prefers to hide his misery behind jokes and mockery of others. But it’s not the only thing he hides; his beloved daughter Gilda lives with him unbeknownst to the world; he selfishly keeps her locked away in fear of losing his only joy.

This famous Juiseppe Verdi’s three-act opera is new to Chicago. Directed by E. Loren Meeker, this production brings many great stars to the Lyric Opera’s stage. Quinn Kelsey’s powerful baritone skillfully conveys a wide spectrum of emotions: anger at the world and his character’s disfigurement, despise for the world, yet tender love for his daughter. A Ryan Opera Center alumnus and 2015 winner of the Metropolitan Opera Beverly Sills award, Kelsey’s solemn looks combined with the brassy voice is the perfect fit for the role of the hardened hunchback fighting for his happiness. But the real magic happens when Rigoletto and Gilda first appear together in Act I. The Italian soprano Rosa Feola is divine; the beautiful quality of her voice brings something special to every scene she is in. But it’s the supreme blend of the two voices of the father/daughter duets that create divine auditory harmony. Feola’s character Gilda is innocent and loving; isolated and hidden away in the house by her father, she’s desperate to love romantically. So, when she is encountered by the Duke of Mantua pretending to be a penniless student, she falls in love immediately and fatally.

Tenor Matthew Polennzani is spectacular as Rigoletto’s handsome master, Duke of Mantua. Encouraged by his sharp-tongued court jester, he lusts after every pretty woman in town. Pleasing his master by making fun of the courtiers whose wives and daughters Duke wants to seduce, Rigoletto has no real friends yet many enemies. One of such courtiers, Count Monterone, whose daughter the Duke of Mantua deflowered, gets angry at Rigoletto and places a curse on him. Superstitious Rigoletto takes the curse very seriously; pre-occupied with the old man’s words, he can think of nothing else. The opera’s original title was La maledizione (The Curse); based on Victor Hugo’s play Le Roi s’amuse, Italian libretto by Francesco Maria Piave.

Elegant and rather minimalist, the cleverly designed set has modern feel to it. Set designer Michael Yeargan created clean lines of buildings unburdened by embellishments or much color. Reflective floor surfaces in Acts II and III run into the back wall transforming half the stage into an endlessly large body of water. Seamlessly moving walls and buildings quietly encroach onto Rigolettos’ world as events make turn for the worst.

While we expect operas to be very colorful and the performers extravagantly dressed, the costumes of the current production are disappointedly modest and monochromatic, less Rigolettos’ bright outfit (costume designer Constance Hoffman); it’s sometimes challenging to distinguish characters from one another, especially from far away.

When lonely Gilda is encountered by the Duke of Mantua pretending to be a penniless student, she falls in love with the charming, albeit deceitful, Duke immediately and fatally. The Duke has Gilda abducted and subsequently dishonored. Ashamed, she confesses to Rigoletto, and her vengeful father hires an Assassin in order to kill the Duke. Ukrainian born very capable bass Alexander Tsymbalyuk, though lacking certain viciousness one would expect from an assassin, is nevertheless very good; and together with mezzo-soprano Zanda Svede who plays his accomplice sister Maddalena in the opera, they make a splendid team. Duke of Mantua’s life is spared when Gilda, dressed in mans clothing, sacrifices her life for love. Rigoletto is devastated and realizes that the ‘curse” came true.

Orchestra led by Conductor Marco Armilliato provides live score.

Playing through November 3rd - for more show information visit www.lyricopera.org.

The first time I went to the opera was in elementary school to see La Triviata. It was a school sponsored field trip that took kids to Los Angeles to see the opera, the symphony, museums, and the ballet, exposing them to the arts at an early age. Though I had no idea what was being said, or what I was really watching, I loved it, and not just because I wasn’t in class on a school day. The orchestra, the singers, the theater itself, it was all so grand for a child. Though I didn’t have the same reaction to the Lyric Opera on Friday, it was nonetheless that childhood experience that helped to shape my appreciation and love for the opera.

The Lyric Opera of Chicago opened its 2017 season with Orphée et Eurydice. The plot centers on Orphée (Dmitry Korchak), whose singing was so beautiful that it could charm the fierce guardians of the Underworld. Encouraged by the god of love, Amour (Lauren Snouffer), Orphée travels to Hades to bring his dead wife, Eurydice (Andriana Chuchman), back to earth. This opera was a powerhouse of talent with 60 members of the Lyric Opera Chorus, 47 members of the Lyric Opera Orchestra, and 43 dancers of The Joffrey Ballet all working to put on this production; not to mention the ushers, the ticket agents, the janitors, and more, just to stage this opera with a run time of a little more than 2 hours.

There wasn’t much to this opera lyric-wise. There are many repetitious lines to accompany the score, but very little substance despite being such an enthralling mythological story line. What made this opera worth seeing was the Joffrey Ballet. Their performance was one of the best I have seen from the company. They added movement and beauty to the opera, bringing visual clarity to the mythical worlds of Hades and Elysium. Overall, it was a spectacular engagement of the fine arts. A performance that should be enjoyed by the masses.

Unfortunately, the opera is inherently old and doesn’t attract the masses. It’s target audience is old. The theater it performs in is old. The Lyric Opera is currently fundraising in order to renovate its theater, but it hasn’t had much luck. Tickets prices are exorbitant and the people who can afford to go are old. Like any passing of the guard, the opera needs to focus on reaching out to the next generation of opera-lovers, otherwise their primary patrons will be gone within the next decade or so with few people left to appreciate, or afford, the opera. And that’s why exposure at a young age is so vital. You’ll be hard pressed to find many millennials who say “I love the opera” or even “I’m going to the opera!” Just in my immediate circle of friends and co-workers, very few people had even seen the opera. What the Lyrics Opera should do is work with local school districts; bus kids in from all area of the city and the surrounding area to see performances throughout their season. They should offer discount nights in order to attract new audiences, or play the show live in the park for discounted tickets or free; anything to increase opera’s fan base and expose the art to different audiences the most important of those being youths. I was lucky as a child to have had the opportunity to see the opera, and I’ve been lucky to have gotten to see shows as an adult. I only hope the Lyric Opera of Chicago does community outreach like this, or increases its outreach or I fear, like Eurydice, it will die, only there might not be an Orphée around to save it.

Remaining performance dates for Orphée et Eurydice are Oct. 12th and 15th at 2pm. For tickets and information call (312) 827-5600 or go to lyricopera.org/orphee.