Articles in Classical + Opera
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.
Interview: Riccardo Muti has been conducting the symphonies of Brahms for 45 years, but to his current total immersion project with the Chicago Symphony he brings the excitement of a perpetual student. In a conversation with Chicago On the Aisle, after performing the First and Second Symphonies and with the Third and Fourth scheduled through May 13, the Chicago Symphony Orchestra’s music director said he was thrilled with the way things were going and conveyed the exhilaration of discoveries that have put into focus his remarkable experiences with Brahms as a young man.
Review: For more than a century, people have been arguing about the ending of George Bernard Shaw’s “Pygmalion,” the play behind Lerner and Loewe’s beloved musical “My Fair Lady.” Now the Lyric Opera of Chicago jumps into this amusing fray, but don’t expect the matter to be cleared up. When it comes to the cockney guttersnipe Eliza Doolittle and the phonetics professor who successfully passes her off as an aristocrat, the romantic stakes are still dizzy with spin. ★★★★
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.
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”).
Review: In conventional classical-music concerts, it’s easy to get so swept up in elements like melody, harmony and rhythm that we overlook the essence of the individual sounds involved. In other words, we see the forest but not the trees. In a concert April 23 at the Museum of Contemporary Art Chicago, the focus was very much on the trees. Titled “Whisper(s),” it featured magical “quiet sounds” like the gentle gurgling of water bubbles and the almost imperceptible ping of a plucked cactus needle.
Review: The Philip Glass-Rudolph Wurlitzer opera “The Perfect American” focuses on the last months of Walt Disney’s life as he agonizes over his impending death and looks back at his career and childhood, especially memories of his hometown, an idyllic Marceline, Mo., which clearly was the inspiration for Main Street U.S.A. at Disneyland. In a production at the Harris Theater, it isn’t hard to see why Chicago Opera Theater was drawn to the work. ★★★
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.
This Just In: The following is a news release written by an arts organization, submitted to Chicago On the Aisle.
Celebrate with Philip Glass and COT! COT’s End of Season Gala involves surprise guest Philip Glass!
April 12, 2016 …
Review: Musical artistry at 360º was on display April 9 at the Lyric Opera of Chicago in a joint recital by tenor Lawrence Brownlee and bass-baritone Eric Owens, with the marvelously adroit Craig Terry at the piano. Through a rousing program, the two singers showed their vast, enthusiastic and refreshingly diverse audience a broad and deeply felt repertoire of spirituals, traditional songs and Broadway favorites as well as the opera for which they are celebrated.
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.
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.
Report: They were everywhere onstage all season, and seven are taking their final bows. It’s time to cut the cake for the gifted young artists who are emerging from the Lyric Opera of Chicago’s high-level Ryan Opera Center multi-year training program. They are venturing forth, some with bookings already in hand.
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.
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.
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. ★★★★
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.
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. ★★★★
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.
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.
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.
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.
Review: Love took a glorious beating in the final grand opera of the Lyric Opera of Chicago’s season, but then it has been pretty much that way since October. Prince Tamino and Princess Pamina lived happily ever after, but otherwise things ended badly for the aspiring lovers of 2016-17. Now the Lyric gives us Tchaikovsky’s cynical anti-hero Eugene Onegin, brought to life in a devastating package of elegance and self-deluding condescension by baritone Mariusz Kwiecień. ★★★★
Review: Even for Riccardo Muti, it was an extraordinary night at the symphony. The maestro’s latest musico-dramatic assemblage, Prokofiev’s “Ivan the Terrible,” received its Chicago Symphony premiere featuring longtime Muti friend Gérard Depardieu as Russia’s ruthless Tsar Ivan IV. The performance was nothing short of operatic in the majesty of its vision, the grandeur of its pageantry and the grip of its blood-red emotional palette.
Interview: Enough with comedy. This singer, now featured in “Norma” at the Lyric Opera, and soon to kick back with other rising stars at a “Beyond the Aria” event at the Harris Theater, believes the world is poised for a major revival of coloratura-tinged drama, bel canto’s serious side. Her inspirations include opera’s Marilyn Horne, but she admires those legendary Broadway belters, too.
Review: There is much to recommend the new Lyric Opera production of Bizet’s “Carmen,” a joint venture with the Houston Grand Opera. Topping the list is mezzo-soprano Ekaterina Gubanova’s scorching performance in her role debut as the Gypsy femme fatale. But in the final act, where amid much splendor one anticipates a hair-raising pay-off, director-choreographer Rob Ashford loses his way. ★★★
Review: It was an itty-bitty iteration of the Chicago Symphony Orchestra that took the stage Feb. 9 – a double handful of strings plus a harpsichord and the solo violin of conductor Fabio Biondi. Together with mezzo-soprano Vivica Genaux, this sufficient and most excellent force served up a splendid evening of fare from the High Baroque.
Review: In the second stop of a five-city American tour that started at Lincoln Center last week and ends in Boston on Sunday, the Budapest Festival Orchestra and its conductor Ivàn Fischer offered a thrilling all-Beethoven program at Orchestra Hall that featured the Fifth Symphony and reaffirmed the freshness and sense of discovery that mark Beethoven’s buoyant early style.
Review: Chicago Symphony audiences at Orchestra Hall may be late making the acquaintance of British conductor Bramwell Tovey, but the winter-spring portion of the current season has suddenly become a concentrated getting-to-know-you period. And if one might judge from his Feb. 3 CSO debut, the assured maestro offers a new friendship worth cultivating. Tovey, who is also a pianist and composer, will return in double duty as conductor and soloist with the CSO for a newly announced pair of all-Gershwin concerts March 24-25.
Review: There is no Verdi at the Lyric Opera of Chicago this season, but there is plenty of Italian spectacle from the generation prior. Donizetti’s crazed “Lucia di Lammermoor” bowed earlier this season, and now comes Bellini’s “Norma,” the bel canto saga of a Druid high priestess betrayed in love. Sondra Radvanovsky stars in a majestic turn. ★★★★