It was a night of celebration, reflection, and breathtaking talent at the Civic Opera House. Fifty years of song echoed through the hall, but it was the future of opera that took center stage. On Friday, April 25, Ryan Opera Center celebrated their 50th Anniversary Season with 11 opera singers in ‘Rising Stars in Concert’. The concert hosted by the Lyric Opera House served as a moving tribute to the Center’s mission of keeping opera vibrant in Chicago and nurturing the next generation of opera artists.

The evening began with a short video sharing the Ryan Opera’s history with testimonies from alumni about their experience. For context, the Ryan Opera Center was founded in Chicago in 1974 and has been central to Lyric Opera’s commitment to cultivating rising talent. With approximately 300 alumni, many of whom have gone on to international acclaim, the program is known for its intensive training, expert mentorship, and world-class performance opportunities. Reaching the 50-year mark is no small feat, it’s a sign not just standing the test of time, but of the Ryan Opera Center’s continued excellence and impact in the opera world.

The concert, conducted by Lyric’s Music Director Enrique Mazzola and directed by Paul Curran carried on into Part I, Orpheus in the Underworld. An operatic comedy by Jacques Offenbach that humorously reimagines the Greek myth of Orpheus, who journeys to the underworld to rescue his wife Eurydice. The “Rising Stars in Concert” was a more simplified version of the comic opera as the singers were not in costume and the set was mainly a massive bed and Greek pillars in the background. Despite the lack of set design and costumes, the singers entertained the crowd with powerful singing and captivating acting. 

Director Paul Curran.

In the first half of the show, as Orpheus and Eurydice's conflict unfolded, I was especially impressed by Emily Richter’s portrayal of Eurydice. Her soprano voice was not only beautiful but had incredible projection, filling the space effortlessly. Beyond her vocal talent, Richter brought an impressive flair for acting, making her portrayal of the disloyal wife entertaining.

In between each act, the show was narrated by different members in the ensemble in English. Helping the crowd with the movements of the story, while also providing a few jokes to keep us laughing. Various props were used in effort to bring the concert to life, including devil horns for Hades, picket signs with jokes, and teddy bears held by the Greek gods as they slept in the massive bed on center stage.

Following a 20-minute intermission, Part II of the concert transitioned into a varied program of operatic and non-operatic selections. Most of which were solo singer performances accompanied by the orchestra. Adia Evans, a soprano, sang a beautiful opera song from Hérodiade called “Vision Fugitive” by Jules Massenet in French. Evans showcased impressive vocal projection, sustaining long phrases between breaths with a rich, beautiful tone.

Another standout artist was Christopher Humbert Jr., a Bass-Baritone who sang Charles Gounod’s “Le veau d’or” from the five-act opera called Faust. Humbert made a dynamic entrance, cueing the music with a snap before launching into song with his deep, animated voice that immediately drew in the crowd. He brought extra energy by encouraging the ensemble to join him, and his performance stood out for its vocal power and crystal-clear enunciation.

One of the final solo performances stood out for its departure from traditional opera. Baritone Finn Sagal delivered a beautiful rendition of “Que Reste-t-il de Nos Amours?” (“I Wish You Love”) by Léo Chauliac. Entering with a microphone in hand and accompanied by a pianist, Sagal captured the audience with his melodic, Sinatra-style vocals infused with operatic nuance. His heartfelt performance brought out genuine emotion and highlighted the versatility of opera singers, setting him apart from the rest of the ensemble.

The show concluded with the completion of Part II of the Orepheus in the Underworld opera performance with Enrique Mazzola’s brilliant leadership as the musical conductor. Mazzola led the music for Orpheus in the Underworld with great finesse, earning enthusiastic cheers from the audience as he stepped into the orchestra pit. In the second half of the concert, Chi-Yuan Lin took the baton, conducting a wide range of operatic and non-operatic selections. As only the second artist appointed to the Ryan Opera Center’s conductor position, Lin impressed with her precise and supportive accompaniment, skillfully guiding the ensemble through each performance

Throughout the lively evening, the Civic Opera House was nearly full, with concertgoers and proud family members of the ensemble filling the seats. The auditorium rang with enthusiastic cheers between performances, and bursts of laughter echoed often, thanks to the show’s playful humor and lighthearted moments. The night ended on a high note with a well-deserved standing ovation and thunderous applause from the crowd.

The 'Rising Stars in Concert' delivered three hours of musical entertainment, which, while a bit lengthy, felt appropriate given the significance of celebrating the Ryan Opera Center’s monumental 50th anniversary. The performance offered a glimpse into the bright future of opera, showcasing the immense talent of up-and-coming singers. As someone not deeply versed in the opera world, I was thoroughly impressed by the powerful voices and extraordinary musical gifts of the ensemble.

If you are interested in listening to or watching the show, ‘Rising Stars in Concert’ has been recorded and will be broadcast on 98.7 WFMT and streaming on wfmt.com on Sunday, May 18, 2025 at 5:00 p.m. CT.