Renée Fleming and Thomas Hampson/Photo: Todd Rosenberg
Franz Lehár’s beloved, wildly successful operetta “The Merry Widow” will woo and then suspend in delicious wistfulness even the staunchest objector to its inclusion in the repertoire of a major opera company. With its melancholy yet hopeful waltz, ample opportunities for mazurkas, can-cans and polkas as well as a generous role for a cherished leading lady of a soprano-bent, “The Merry Widow” will, by the third act, require that handkerchiefs be located. Read the rest of this entry »
Tomasz Konieczny, Stefan Vinke/Photo: Cory Weaver
The Lyric Opera of Chicago launched its season with two confections—cakes appeared on stage in both—and now moves on to meat. If “Le Nozze di Figaro” and “Cenerentola” focused on the strictures of class structure, “Wozzeck” deposits Lyric’s audiences into the madness of war, and the way it destroys body, heart and that elusive imperative, the soul. Read the rest of this entry »
Isabel Leonard, Lawrence Brownlee, Alessandro Corbelli, Vito Priante/Photo: Todd Rosenberg
Last Sunday’s afternoon matinee of Gioachino Rossini’s “Cinderella” (“La Cenerentola”) at the Lyric Opera set me musing. Why would Lyric director Anthony Freud schedule a romantic feminist dramma giocoso, a chamber opera, in his cavernous 3,563-seat house? My answer: Freud aimed at the eight-to-twelve-year-old North Shore demographic, privileged kids whose parents think nothing of plunking down $950 for four main-floor seats. Read the rest of this entry »
Christiane Karg, Rachel Frenkel, Adam Plachetka/Photo: Michael Brosilow
With a splash of commedia dell’arte, a spoonful of Restoration comedy, and pounds of clowning, director Barbara Gaines has exploded the up-and-downstairs Mozartian confection of two marriages hanging in a balance of power, and “Le nozze di Figaro” may never be the same. Lyric Opera of Chicago opens its 2015/16 season with one of opera-goers’ most beloved chestnuts; Gaines has roasted it, and served it up for the masses. Read the rest of this entry »
Ava Pine & Christine Arand/Photo: Justin Barbin
Chicago’s opera enthusiasts must be collectively humming as the 2015/2016 opera season explodes on the scene with two Mozart operas, “Lucio Silla” at Chicago Opera Theater, and “Le nozze di Figaro” at Lyric Opera of Chicago. “Lucio Silla” is a seldom-heard work of a sixteen year-old boy genius; Lyric shifts focus to Mozart at the height of his operatic, compositional powers. Read the rest of this entry »
Arlen Parsa/Photo: AndinaLives.com
It is actually not easy putting on an opera. That is what producer and best great-grandson-ever Arlen Parsa said when he took the stage at the end of his triumphant production “Andina.” Performed concert style and in Spanish with English subtitles, “Andina” is a very approachable opera written by Eustasio Rosales. The plot, a love triangle involving Don Carlos, a possibly sinister wealthy outsider, and his attempts at wooing the beautiful Rosa away from her mountain home and Juan, her childhood love, is simple. The backstory to the production, however, is anything but. Read the rest of this entry »
Timothy Madden and William Ottow/Photo: Daniel Johanson
By Aaron Hunt
Chicago Summer Opera advertises itself as another of our city’s startup, storefront, non-profit operatic enterprises; its title promises a spoonful of gastronomical respite as Chicago’s opera gluttons starve their way through Chicago’s heat and humidity to the cooling, autumnal beginnings of the seasons of Lyric Opera of Chicago and Chicago Opera Theater. Its offerings must be considered in those terms.
Yet, a closer look at Chicago Summer Opera’s mission statement proves that it is primarily a training ground for young artists. In fact, Chicago Summer Opera’s singers are all “aspiring” opera singers, with no one among their ranks having made an “important” operatic debut, and further examination finds that, with the exception of some performers who may have been granted a scholarship, these young singers are paying tuition for classes in repertoire, acting, audition technique and diction. Each singer is promised a role in one performance of one of the company’s operas at the completion of their season’s tutelage. In the industry, this financial arrangement is called “pay for play,” and incurs all the potential positives and negatives implied. Read the rest of this entry »
I went to Palatine Friday night to hear Rossini’s “Barber of Seville.” Telling myself I had no expectations, I had been hoping for at least a fifteen-piece orchestra of solid musicians. That hope was futile.
The orchestra consisted of one decrepit upright piano played by Jason Carlson, a young Northwestern University faculty member. Unfortunately, Carlson had neglected to do a sound check from the back reaches of the auditorium with singers, while one of his students played the piano. Consequently, the singers were often drowned out by the piano reverberating off the front of the stage.
While the singers were competent Rossini executants they could not contend with the banging and jangling of that infernal upright at the front of the proscenium. It was not exactly Carlson’s fault, but rather the responsibility of director Molly Lyons, who is ex cathedra responsible for tutti. Read the rest of this entry »
David Govertsen, Mary Lutz Govertsen/Photo: Anne Slovin
Who knew the composer Gian Carlo Menotti was a serious, prophetic social critic? Not I. I remember watching his charming fantasy, “Amahl and the Night Visitors,” on black-and-white television as a boy in the 1950s. For decades I avoided looking into his one-act comic operetta, “The Telephone.” Perhaps I should have gotten off the esthetic high horse I was riding to investigate it. Menotti saw—in 1947!—that Americans were device-ridden, tyrannized by the telephone. He showed us obsessed, distracted, driven, controlled by the phone to the point that mutual consideration and conversation, formerly the chief charms of sociability, had died.
Menotti felt the telephone had killed the continuity of existence. Life was now a series of interruptions. Leisure, too, was dead. Politeness, decorum, manners, formality suffered. Casual was king. Yes, it was funny, but it was tragic, too. And Menotti lived long enough to see our sidewalks full of zombies seemingly talking to themselves, eyes fixed downward on a small object in the palm of their hand fifteen inches from their face. Read the rest of this entry »
Ricky Ian Gordon
By Dennis Polkow
Composer Ricky Ian Gordon has written instrumental music over the years, but “there’s no getting around it,” he admits, “I’m most excited by the voice. My mother was a singer, I was her accompanist and a lot of what making music is about to me is my relationship with my mother. Also, when I was eight years old, I became obsessed with opera. But then, I was also obsessed with Joni Mitchell and the Beatles: I was obsessed with words through music. I’m less inclined to go to a symphonic concert than I am to go to the opera. I’m a man of the theater.”
Gordon was writing musical theater pieces early on, “When I thought that musical theater was going in a particular direction. At one point when I was a kid, ‘The Consul’ was done on Broadway. ‘Porgy and Bess’ was done on Broadway—not the recent version that Audra McDonald did, but the actual opera was done on Broadway. Stephen Sondheim’s shows had full orchestras when they originally premiered and were very musically sophisticated. If you listen to Audra McDonald’s first CD, ‘Way Back to Paradise,’ I think it gives you a sense of where we as composers thought the musical theater was going. But that didn’t happen.” Read the rest of this entry »