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Articles by Lawrence B. Johnson

Soprano Susanna Phillips, Lyric Opera alum, returns to Chicago to sing at Grant Park fest

Jun 20, 2017 – 10:56 pm
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Interview: Despite sounding hoarse over the phone because of a cold, Susanna Phillips gushed enthusiasm about making her debut at the Grant Park Music Festival on June 21 in a concert conducted by festival music director Carlos Kalmar. She’s just as enthusiastic about the unusual repertoire she’ll be performing, Aaron Copland’s “Eight Poems of Emily Dickinson.”

Summer is icumen in: Classical concerts fill Ravinia Festival stages, alfresco and indoors

Jun 20, 2017 – 9:55 am
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Preview: A bountiful smorgasbord of classical music enriches the summer fare at the 2017 Ravinia Festival. The Chicago Symphony Orchestra puts in a stint with an array of guest conductors and soloists at the festival pavilion, while on a smaller scale indoor venues will see a parade of string quartets and pianists. We offer a comprehensive look-ahead at Ravinia’s classical presentation.

In rainy weather, Grant Park Festival shines when orchestra, chorus, soloists go seafaring

Jun 19, 2017 – 4:08 pm
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Review: Music director Carlos Kalmar’s always imaginative – and often quite bold – programming for the Grant Park Music Festival hit an early peak June 16 and 17 in his choice of Ralph Vaughan Williams’ prodigious “Sea Symphony.” This 70-minute masterpiece for orchestra, chorus, soprano and baritone uses texts from Walt Whitman’s poem “Leaves of Grass” to create an epic duality: a great paean to the sea and a metaphor for the grandeur and the possibilities of human life.

American Players set to dedicate a new stage after $8 million renovation of outdoor venue

Jun 17, 2017 – 11:55 am
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Preview: At the outset of its 38th season, American Players Theatre has the look of a company starting afresh. Its 2017 summer at Spring Green, Wis., about 30 miles west of Madison, opens on a brand-new stage, the centerpiece of an $8 million renovation of both production and public facilities. “Our theater was literally falling down,” says APT artistic director Brenda DeVita. “This renewal has given us, and our audience, a theater that is better is so many ways.”

‘Pass Over’ at Steppenwolf: Two black guys hanging out on a corner, waiting for to go

Jun 14, 2017 – 10:08 pm
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Review: We are political creatures. We all have our world-view, our personal dispositions, our social sympathies and antipathies. That applies as well to creations for the stage. It is an ineluctable truth that all theater is political, even if some plays are more specifically agenda-driven than others. That said, I have short patience with the more overt, I might say hell-bent, forms of agenda theater. They tend not to be very good drama. Jessica Blank and Erik Jensen’s “The Exonerated” springs to mind. Antoinette Nwandu’s play “Pass Over,” in its world premiere run, is no simple rant but does come with its own set of problems. ★★

‘Relativity’ at Northlight: In pursuit of Einstein, and confronting the hard reality of genius

Jun 13, 2017 – 4:01 pm
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Review: The nature of genius, its obsession and its isolation, lies at the core of Mark St. Germain’s taut, indeed irreducible play “Relativity,” a fictional perspective on Albert Einstein that bears the resonance of reality at Northlight Theatre — thanks to a stellar turn by Mike Nussbaum as the larger-than-life theoretical physicist. ★★★★

Pianist Gerstein measures himself against pair of Olympians, and displays solid gold mettle

Jun 12, 2017 – 9:52 pm
Kirill Gerstein
Photo: Marco Borggreve

Review: As prodigious as it was unusual, pianist Kirill Gerstein’s recital June 11 at Orchestra Hall bundled the double rarity of Brahms’ ambitious early Sonata No. 2 in F-sharp minor and the full dozen of Liszt’s spectacular “Transcendental” Etudes. To the teenage Brahms’ brash grand sonata Gerstein, now age 37, brought a young man’s bravura spirit, and in Liszt’s monumental Etudes he showed a leonine profile of strength, agility and grace.

Austrians arm in arm: Manfred Honeck brings multidimensional Mozart to four CSO concerts

Jun 6, 2017 – 9:47 pm
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Preview: Manfred Honeck, music director of the Pittsburgh Symphony, returns to the Chicago Symphony Orchestra to lead concerts June 8-13 that might be characterized as a theme with variations. The theme is Mozart; the variations are, well, comprehensive. “To celebrate Mozart in just one concert program is never easy,” says the maestro, in his ninth year with Pittsburgh at age 58. “How do you make choices among so many masterpieces?”

‘Time Stands Still’ at AstonRep: War and souls in shattered images, captured in close-up lens

Jun 2, 2017 – 10:24 pm
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Review: She’s a photojournalist maimed in battle, back home and barely on the mend. He’s a fellow correspondent torn with guilt for not being there when it happened. And their mutual editor is going through a May-December thing with a cutie in AstonRep’s excellent take on David Margulies wry tale of life’s reeling course. ★★★★

‘Harvey’ at Court: In wacky account, message of a good soul, invisible rabbit is plain to see

May 30, 2017 – 7:32 am
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Review: In these parlous times, it’s good to remember that Mary Chase’s radiant moral comedy “Harvey” won the 1945 Pulitzer Prize for Drama. As Elwood P. Dowd, the protagonist who pals around with a 6-foot-tall invisible white rabbit, might say: I’d like to see a prize awarded to Court Theatre for its lovely staging of the play. ★★★★★

‘Objects in the Mirror’ at Goodman: Escaping calamity in Africa, surviving the folly of youth

May 25, 2017 – 8:55 pm
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Review: Playwright Charles Smith’s “Objects in the Mirror” is a gritty, honest and provocatively open-ended story about coming of age. Mesmerizing, if no less exasperating, it is served with resonant conviction in a world premiere production at Goodman Theatre. ★★★★

‘Linda Vista’ at Steppenwolf: Letts’ new play frames photographer who can’t get selfie right

May 21, 2017 – 5:12 pm
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Review: Wheeler, the only name he goes by, is a smart guy, a good photographer and his own worst enemy. He’s the case study in self-destruction at the center of Tracy Letts’ new play “Linda Vista,” now headed into the final week of a crackling production directed by Dexter Bullard at Steppenwolf Theatre. Wheeler – played with barbed comic timing and ruinous ferocity by Ian Barford – imagines himself astride the world, or indeed like Jupiter above it, taking the measure of all the things and people in it and finding that people mostly don’t measure up. ★★★★

In a journey across Brahms’ symphonies, Muti found both lyric dramatist, master classicist

May 16, 2017 – 7:46 am
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Review: Riccardo Muti still has one program to go in this, his seventh season as music director of the Chicago Symphony Orchestra. We might think of the impending finale – a mixed bag of orchestral music, choruses and arias from Italian opera in concerts June 22-25 – as a grand encore to the conductor’s roundly rewarding season of appearances with the CSO. Or perhaps as a festive postlude to his splendid traversal of Brahms’ symphonies over the last two weeks.

Baton (and lantern) in hand, Muti commences rediscovery survey of the Brahms symphonies

May 9, 2017 – 1:52 pm
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Review: Ordinarily, the idea of hearing Brahms’ four ultra-familiar symphonies performed consecutively over two weekends might seem, well, unimaginative. Brahms in the care of CSO music director Riccardo Muti suddenly transforms the routine into a journey of discovery greatly to be anticipated. And illuminating it was when Muti led Brahms’ First and Second Symphonies on May 4 at Orchestra Hall to commence a cycle that winds up May 11-13 when the CSO turns to Symphonies 3 and 4.

Pianist Murray Perahia forges an alluring path from bright Bach through a Beethoven thicket

May 8, 2017 – 2:25 pm
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Review: Musical virtuosity is the sum of diverse parts, only the most obvious of which is great technical prowess. Pianist Murray Perahia’s recital May 7 at Orchestra Hall offered a veritable punch list of the qualities that add up to consummate musicianship. Its was a stylistic sweep from the last of Bach’s six “French” Suites through Schubert’s Four “Impromptus,” D. 935, to Beethoven’s monumental Sonata in B-flat, Op. 106 (“Hammerklavier”).

As CSO concertmaster Chen takes spotlight, band behind him is like blue-blooded family

Apr 20, 2017 – 10:44 am
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Interview: Every time violinist Robert Chen, concertmaster of the Chicago Symphony Orchestra, steps in front of his colleagues as soloist, he knows one thing very well: A solid troupe has his back. Chen will be in that happy place April 20, 22 and 23 at Orchestra Hall when he plays Bartók’s early Violin Concerto No. 1 with guest conductor Neeme Järvi. The program will get an additional performance April 21 in Wheaton.

Dutoit sees a wide spiritual gamut before him in Easter weekend with Chicago Symphony

Apr 11, 2017 – 1:51 pm
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Preview: Musical reflections on Easter, transcendent and intimate and existential, form conductor Charles Dutoit’s multilayered theme for his concerts April 13-15 with the Chicago Symphony Orchestra. The gentler parts are well known; for many listeners, however, the other part, a spiritual warp of upheaval and terror born of World War II, may come as revelation in startling terms.

With Haitink sidelined, James Conlon steps in and leads CSO, singers in Mahler to remember

Apr 2, 2017 – 10:42 am
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Review: When the Chicago Symphony Orchestra released its program schedule for the current season, among the brightest highlights – one of those don’t-miss concerts – was Mahler’s “Das Lied von der Erde,” to be led by Bernard Haitink, who at age 88 is unsurpassed among Mahler conductors today. Then, just days before the performance weekend, March 30-April 1, Haitink canceled due to illness. But when James Conlon, former music director of the Ravinia Festival, answered the call, “Das Lied” found its full voice.

Facing the music, if not her public, violinist Anne-Sophie Mutter delivers a stellar recital

Mar 30, 2017 – 3:33 pm
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Review: Very curious, violinist Anne-Sophie Mutter’s recital March 29 at Orchestra Hall with her longtime collaborator, pianist Lambert Orkis. The programming was imaginative, the performances elegant, forceful, seamlessly integrated. What was so odd was Mutter’s choice not to play out to the house, but rather to offer at best a profile as she leaned into the piano and in at least one instance read from a score propped up next to Orkis’ own music.

‘Venus in Fur’ – oops, ‘The Scene’ at Writers: Coulda, maybe shoulda, been the other play

Mar 29, 2017 – 3:40 pm
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Review: A ditzy girl, who turns out to be a veritable demon, brings a self-absorbed guy crashing down. He doesn’t see it coming, never has a prayer. Ah, you know that play? Right. It’s David Ives’ “Venus in Fur,” of course. Well, it’s back with us again, more or less, in Theresa Rebeck’s “The Scene” at Writers Theatre. When I say more or less, I mean there’s more involved – actors, situations, sex – but the sum amounts to less of consequence or, along the way, dramatic merit. ★★

Daniil Trifonov’s knockout recital points up high value of Symphony Center piano series

Mar 27, 2017 – 4:59 pm
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Review: Daniil Trifonov’s prodigious recital March 26 at Orchestra Hall provided a ringing reminder of what a treasure the Symphony Center Presents annual piano series is. To have 10 such virtuosi parade across that stage over the course of a season is a gift not to be taken lightly. Still, that said, Trifonov’s heady program was exceptional even for the world-class keyboard lineup that populates the SCP series.

Postmortem opera: ‘Charlie Parker’s Yardbird’ catches bop star musing on life – after death

Mar 26, 2017 – 12:10 am
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Review: I can only assume that tenor Lawrence Brownlee’s next operatic role will be Muhammad Ali. It took Brownlee all of five minutes as legendary jazz saxophonist Charlie Parker to own that tragic character – to reveal a deeply flawed figure as one who was determined to be his own man, a brilliant, scarred fighter who proved to the world that he was the greatest. The Lyric Opera of Chicago production of “Charlie Parker’s Yardbird,” by Daniel Schnyder and Bridgette A. Wimberly, runs through March 26 at the Harris Theater. ★★★★

Verdi’s Requiem, as bold act by Nazi-era Jews, comes to Chicago in multimedia concert event

Mar 21, 2017 – 3:44 pm
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Preview: “Defiant Requiem: Verdi at Terezín,” a multimedia creation with orchestra, chorus, vocal soloists, narrators and film clips, will be presented under author-conductor Murry Sidlin on March 23 at Orchestra Hall. Sidlin developed the project to memorialize Jews who learned and performed Verdi’s Requiem in figurative protest against their Nazi oppressors at the Terezin concentration camp.

‘Carmen’ (redux) at the Lyric: Leads change, young conductor steps in – and the heat’s on

Mar 20, 2017 – 9:24 pm
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Review: Lest any insatiable lover of Bizet’s opera “Carmen” be put off by the idea of a “second cast,” as the Lyric Opera of Chicago has now changed the leads in its continuing production, let me put this as plainly as possible: The mid-run advent of mezzo-soprano Anita Rachvelishvili in the title role, with tenor Brandon Jovanovich now portraying the tragically smitten Don José, isn’t just hot stuff; it is scorched earth. ★★★★

In a many-splendored program, Muti and CSO match world premiere, Uchida’s Beethoven

Mar 20, 2017 – 5:48 am
3/16/17 8:35:06 PM -- Chicago, IL, USA

Chicago Symphony Orchestra
Riccardo Muti Conductor
Mitsuko Uchida piano

Rossini Overture to La scala di seta
Beethoven Piano Concerto No. 3
S. Adams many words of love

[World Premiere, CSO Commission]
 © Todd Rosenberg Photography 2017

Review: With music director Riccardo Muti back on the podium, the Chicago Symphony Orchestra delivered a bravura world premiere with Samuel Adams’ “many words of love,” framed by an elegant and emotionally charged performance of Beethoven’s Third Piano Concerto with soloist Mitsuko Uchida and a vivacious account of Schumann’s Fourth Symphony, which remarkably enough the CSO had not played since 2003.

‘Earthquakes in London’ at Steep: Our roiling planet may soon resemble a fractured family

Mar 15, 2017 – 9:02 am
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Review: Mike Bartlett’s “Earthquakes in London,” at Steep Theatre, is an intriguing excursion that conflates garden variety family dysfunction with nothing less than the end of days. The show closes March 18, and it’s worth catching – not for its perfection (it is imperfect), but for its rigorous melding of intricate, credible characters and a provocative foray into magical realism. ★★★

Placido Domingo’s gala return to Lyric Opera rekindles long love affair across the footlights

Mar 12, 2017 – 10:49 pm
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Review: There was palpable energy at the Civic Opera House on March 9 when the Lyric Opera of Chicago presented “Celebrating Placido,” an evening of music and mirth with the remarkable Placido Domingo, who at age 76 still engenders that singular frisson felt upon hearing his first phrases as only the greatest vocalists are able to do.

Converging on a cosmic plane, CSO and Ma find star stuff in Salonen’s new Cello Concerto

Mar 10, 2017 – 5:48 pm
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Review: As the audience packed into Orchestra Hall whooped its enthusiasm for Esa-Pekka Salonen’s new Cello Concerto, just given its world premiere by soloist Yo-Yo Ma and the Chicago Symphony Orchestra with Salonen conducting, the two stars of the moment gleefully pointed fingers at each other as if to say, “You’re the man,” and, “Oh no, you’re the man.” They were both right.

‘Uncle Vanya’ at Goodman: Seeking purpose, or a numbing refill when the glass is drained

Mar 8, 2017 – 10:23 pm
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Review: Chekhov’s “Uncle Vanya,” an existential snapshot of lost souls at a signless crossroads, exemplifies theater as an ensemble endeavor. In Annie Baker’s modernized, razor-sharp adaptation of the play, complemented by a directorial tour de force from Robert Falls, Goodman Theatre brings the spirit of dramatic teamwork to vibrant life. ★★★★★

Esa-Pekka Salonen, conductor and composer, again casts his lights on Chicago Symphony

Mar 7, 2017 – 3:48 pm
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Review: Predictable highlights of any Chicago Symphony Orchestra season are the programs with perennial guest conductor Esa-Pekka Salonen. When the brilliant Finnish maestro is on the podium, the fare is always special. Now Salonen is finishing up an extended weekend run of Stravinsky’s “Le sacre du printemps” on March 7, before moving right into the world premiere of the conductor-composer’s own Cello Concerto, with soloist Yo-Ya Ma, March 9-11.