Displaying items by tag: orchestra

Due to overwhelming demand, The Lord of the Rings: The Fellowship of the Ring — In Concert has added a third performance on Saturday evening, March 14, 2026, at Chicago's landmark Auditorium. Celebrating the film's 25th anniversary, the live cinematic concert returns to the Chicago area for the first time in eight years following its last performances at the Ravinia Festival. Howard Shore's Academy and Grammy Award-winning score will be presented live in concert, accompanying the complete epic motion picture projected beneath a 60-foot screen. The performance features 238 musicians, including a full symphony orchestra, chorus, and soloists. Confirmed to be onstage to bring Tolkien's story to life are conductor Maestro Ben Phelps, Soloist Imogen Parry, FILMharmonique Orchestra, and Uniting Voices Choruses. Performances now take place Friday, March 13, and Saturday, March 14, 2026, including the newly added Saturday evening performance.

Presented by CAMI Music, The Lord of the Rings: The Fellowship of the Ring — In Concert follows more than 15 years of sold-out performances worldwide and offers audiences a rare opportunity to experience Tolkien's world on a grand, immersive scale.

The live performances of Howard Shore's score are unmatched in the movie-going experience. The iconic score has been voted No. 1 in the Classic FM Movie Music Hall of Fame in 2023, 2024, and 2025.

"There's probably never been as ambitious a film score as Howard Shore's 10-hour epic for the Lord of the Rings series," wrote Stephen Brookes for The Washington Post. "Lush, beautiful and full of intriguing surprises, it's no wonder that it's become one of the most popular film scores ever written."

The epic film trilogy The Lord of the Rings — The Fellowship of the Ring (2001), The Two Towers (2002), and The Return of the King (2003), directed by Peter Jackson and based on the beloved J.R.R. Tolkien novels, became an international phenomenon, winning a total of 17 Academy Awards.

Howard Shore received Academy Awards for Original Score for The Fellowship of the Ring and The Return of the King, as well as Original Song for "Into the West." Howard Shore commented on the return to Chicago: "The Lord of the Rings has been translated into 40 languages and has attracted a global fan base, but the fan community doesn't often have the opportunity to come together in person and coalesce around a performance at this high level. There is something unique and powerful that happens — a synergy is created in bringing together the music live on a large scale, with the films, in a magnificent house."

PERFORMANCE SCHEDULE

Friday, March 13, 2026 — 7:30 p.m.
Saturday, March 14, 2026 — 2:00 p.m.
Saturday, March 14, 2026 — 7:30 p.m. (Newly added performance)

ABOUT THE AUDITORIUM

The Auditorium, located at 50 E. Ida B. Wells Drive in Chicago, is an Illinois not-for-profit organization committed to presenting the finest in international, cultural, community, and educational programming to all of Chicago and beyond as The Theatre for the People. The organization is also committed to the continued restoration and preservation of this National Historic Landmark that originally opened in 1889. For more information on The Auditorium please visit  AuditoriumTheatre.org.

HOWARD SHORE, COMPOSER

Howard Shore is one of today's premier composers whose music is performed in concert halls around the world by the most prestigious orchestras and conductors. Shore's work with Peter Jackson on The Lord of the Rings earned him three Academy Awards, four Grammys, and two Golden Globes as well as numerous critic and festival awards. He has scored over 100 films including seventeen films by David Cronenberg and six by Martin Scorsese. His concert works include a symphony, an opera, a Latin mass, three concertos, two song cycles and more. He is an Officier de l'ordre des Arts et des Lettres de la France, the recipient of Canada's Governor General's Performing Arts Award and is an officer of the Order of Canada.

ABOUT CAMI MUSIC

Merging the worlds of live event production and artist management, Columbia Artists Music LLC (CAMI Music) has swiftly become an international leader in the performing arts. CAMI Music specializes in the general management and touring of prominent musicians and performing artists, as well as providing production and consultation services for large-scale events and festivals worldwide. Recognizing the global stature of the performing arts, CAMI Music has allied many of its Artists and Events with distinguished global brands through endorsement and sponsorship opportunities.

Established in 2004 by Ronald A. Wilford, Founder, and CEO of Columbia Artists Management, and Jean-Jacques Cesbron, then EVP of Columbia Artists Management, CAMI Music is an independently owned and operated management company. CAMI Music's dedicated booking department specializes in the fulfillment of the roster's touring specifications while satisfying the demand for performances around the world.

It’s hard to believe that is was just fifty years ago, the United States of America successfully sent astronauts to the moon – a first in world history. Something that we now take for granted, we sometimes forget the incredible journey it took to get there. We sometimes forget about the trek in space itself and the bravery in each astronaut, but also the teams of engineers, the trials and errors and the importance that America be the first to put a man on the moon. To celebrate this amazing accomplishment, the Melbourne Symphony Orchestra (MSO) performed “The Greatest Hits of the Galaxy” at Symphony Hall. It was the first of, hopefully, many more performances in Chicago by this gifted orchestra.

Fiercely conducted by Benjamin Northey, the orchestra beautifully played several of our favorite space movie classics including a handful of John Williams’ Star Wars scores, the unforgettable theme from E.T. and even the opening song for Lost in Space. While the orchestra’s flawless music circulated throughout the venue, projections were displayed on the theater’s walls and ceiling that would, with the slightest bit of imagination, take us on a space journey of our own. At the same time, video was displayed on a large screen above the orchestra that would also match the music being played sometimes showing imagery of zooming through the universe, sometimes displaying video of the actual space travel of the historic plight to the moon and, towards the end, a tribute to all the teams that have participated in space travel.

Hosting this spectacular event was George Takei, best known for Hikaru Sulu, helmsman of the USS Enterprise in Star Trek. Takei came out to introduce each number, joke with the audience and relive some of his own fascinating stories. He also introduced special guests that included jazz legend (from Chicago) Kurt Elling, superstar trumpeter James Morrison and astronaut Charlie Duke. Elling, who has performed with MSO in Australia, wowed the crowd with his rendition “Come Fly with Me” before ending the evening with James Morrison and MSO with a touching version of “What a Wonderful World” that would have made Louis Armstrong very proud. (Elling will be performing at Symphony Center May 1s 2020).

The night was full of highlights. Each number was a highlight as was each appearance by George Takei, James Morrison and Kurt Elling. But perhaps the biggest moment was when Charlie Duke took the stage and the crowd took to their feet with a long, heartfelt ovation. Duke, the youngest astronaut to have walked on the moon, piloted the Apollo 16 in 1972 and has spent 265 hours in space. The banter between Takei and Duke was priceless and they talked about the influence that Star Trek had on future space travelers and, of course, what is was like to actually walk on the moon and other interesting tidbits of his 11-day space journey. “I didn’t want to come back,” Duke laughed. Duke also stated that he believes we are on the cusp of space tourism. “Well, I hope they hurry,” joked Takei. “I want to go there for real.”

After watching the painstaking details of getting a man to the moon and the time and dangers involved, Takei humored, "Wow. It seems like so much work. All we had to do was beam up and beam down."

“The Galaxy’s Greatest Hits” was truly an out-of-the-world experience and a one-of-a-kind production that will be etched in the memory of each attendee.

Mozart’s Requiem

Music of the Baroque Chorus and Orchestra

Jane Glover, conductor

William Jon Gray, chorus director

Saturday, September 15, 2018, 7:30 PM at the Harris Theater for Music and Dance, Chicago, and Sunday, September 16, 3:00 PM at the North Shore Center for the Performing Arts, Skokie

                                                                                                                                                                                                                                                                 Photo by Elliot Mandel

A Regal Beginning and a Divine Ending

By the OperaSwains

A capacity audience warmly welcomed the Music of the Baroque Chorus and Orchestra and A-List cast of soloists on the opening night of its 2018-19 season at the Harris Theater, led by Maestra Jane Glover, in an impeccably well-crafted performance of one of classical music’s crown jewels, Mozart’s glorious Requiem Mass in D minor, K 626.

The program began with three anthems by George Frederic Handel written in 1727, more than a dozen years before composing his great “Messiah”, as Handel was becoming established as the preeminent British composer of his time, for the Coronation of the Hanoverian King George II and Queen Caroline.

In a brief, inspiring podium speech, Ms. Glover sparked a human touch to the evening by inviting us to imagine ourselves in Westminster Abbey for that regal occasion among the soaring arches and stately long nave which has been the scene of countless Crown events, setting the scene for us to be part of something important.  As the music began quietly and swelled, she had us.

The pageantry of “Zadok the King” was followed by the more intimate “My Heat is Inditing” (from Middle English - not a typo), with “The King Shall Rejoice” concluding the set.

The talented ensemble played cleanly and with spirit; their understanding and love of the baroque style apparent throughout.  The chorus, ably prepared by William Jon Gray, sang with musical clarity, if not clarity of diction.  The stellar tenor section was especially impressive in astonishingly accurate coloratura passages – Bravi, gentlemen!  The sopranos were silvery, at times ethereal, while the altos provided soothing warmth.  However, we wished for substantially more weight from the basses, often swamped by the low strings.  Less emphasis on the modern obsession with “blending” and greater emphasis on pure vowels would not only improve diction, but also give the chorus a fuller, more complete adult sound.

Following intermission, the chorus and a full Mozart orchestra returned for the Requiem with soprano Amanda Majeski, mezzo soprano Daniela Mack, tenor Joan Hacker and Bass-Baritone Eric Owens.  A few more choristers would have been welcome, because at times they were overwhelmed by the orchestra.

If the term OMG! wasn’t already a part of our current lexicon, it would be necessary to invent it for Mr. Owens’ performance. OMG!! He possesses the gravitas and commitment of a truly great singer. Listening to Mr. Owens is like hearing the voice of humanity, or perhaps, tasting a 50 year old Scotch. The wondrous, trumpet-like sound of his “Tuba mirum spargens sonum” spreading through the hall was one of those rare heart-stopping moments in a live performance that will not be forgotten. To ice the cake, Mr. Owens is capable of a delicately tender pianissimo usually unavailable to other voices of his dramatic weight. We can’t wait for “Siegfried” at the Lyric!

Tenor Jonas Hacker’s burnished, clarion tenor brought much more to the role than what is generally expected from a “Mozart tenor”.  It may be that standing next to Mr. Owens, he was inspired to greater heights, as his engaged and direct singing just became better and better throughout his performance. We hope to hear much more from him in the future.

No such luck on the other side of the stage; Ms. Mack’s rich, clear voice met the demands of the alto role, but the part doesn’t give an opportunity for the singer to make much of a mark.  However, she did look fabulous in her red and gold brocade strapless gown, and one could easily imagine her as a spunky Rosina or a smokin’ hot Carmen.

Beautiful voices, as the great vocal coach Peyton Hibbitt used to say, are a dime a dozen, but an artist is someone who engages the audience and communicates something.  Anything.  At the very least, the intent of the composer and the librettist.  Ms. Majeski brought nothing but her beautiful instrument to the soprano soli. 

Ms. Glover has a great command of the dynamic possibilities of an orchestra, exquisitely rendered by the gifted musicians.  The performance was enthusiastically received, albeit with the perfunctory, up-trickling, standing ovation (Ladies and gentlemen, if you can’t help yourself from instantly jumping to your feet when the piece ends, don’t bother standing until you are ready to leave…).  Nevertheless, we all were grateful for an excellent performance by this gem of the Chicago musical scene.  Get your tickets now for the remaining performances of the season, which includes Bach’s Christmas Oratorio and Coffee Cantata, among many other treasures.

For tickets call (312) 551-1414

www.Baroque.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.