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‘Rigoletto’ at the Lyric Opera: Not for the eye, but it’s a triple treat vocally, and that’s no jest
Review: Thanks to the vocally resplendent and emotionally engaged performances by baritone Quinn Kelsey as the hateful and paranoid court jester Rigoletto, soprano Rosa Feola as his sheltered and naïve daughter Gilda and tenor Matthew Polenzani as the sexually predatory Duke of Mantua, the Lyric Opera of Chicago’s take on Verdi’s “Rigoletto” pays significant rewards as psychological drama. But this bleak, objectified production created 20 years ago for the San Francisco Opera with sets by Michael Yeargan – and directed here by E. Loren Meeker – all but nullifies the work as theater. ★★★
Lyric Opera hit ‘Orphée,’ with Joffrey Ballet, will be aired on ‘Great Performances’ in 2018
This Just In: The following is a news release written by an arts organization, submitted to Chicago On the Aisle.
Lyric Opera of Chicago is pleased to announce that Thirteen Productions LLC for WNET New York has …
Lyric Opera, in stylish step with Joffrey Ballet, dances into new season with Gluck’s ‘Orphée’
Review: My first reaction to the sublime Elysium Fields scene in “Orphée et Eurydice,” as conceived by John Neumeier for the Chicago Lyric Opera, was that I was actually looking at Gluck’s music — that I was “seeing” the sound, so perfectly twinned were the diaphanous movements of the dancers to the serene music representing spirits in afterlife. My second reaction was that Neumeier knows his Freud. With plenty of insight and practical know-how, he has crafted a brilliant contemporary scheme for this 1774 Paris version of Gluck’s opera, which draws from the ancient myth of Orphée’s rescue attempt in the underworld. ★★★★★
Joffrey Ballet will be resident dance company at Lyric Opera House beginning in 2020-21
This Just In: The following is a news release written by an arts organization, submitted to Chicago On the Aisle.
Lyric Opera of Chicago and the Joffrey Ballet announced that Joffrey will become the resident dance …
Lyric Opera’s Ryan training center adds six young singers to its ensemble for 2018-19
This Just In: The following is a news release written by an arts organization, submitted to Chicago On the Aisle.
Dan Novak, director of the Patrick G. and Shirley W. Ryan Opera Center, the professional artist development program at Lyric Opera of Chicago, …
Muti to open Chicago Symphony season with concerts spotlighting Mutter and a premiere
This Just In: The following is a news release written by an arts organization, submitted to Chicago On the Aisle.
Music Director Riccardo Muti returns to Chicago in September for his first Chicago Symphony Orchestra residency …
‘Madagascar’ at Chicago Shakespeare: Kids give high praise to musical bestiary – silence
Review: There is currently a zoo on Navy Pier, and a jungle too, thanks to the Chicago Shakespeare Theater’s production of “Madagascar: A Musical Adventure.” This is not one of those shows that are also fun for kids. “Madagascar” exists only for kids. If you have children in your life, from toddler to 8 or so, do bring them to this colorful, toe-tapping animal extravaganza. The lack of squirming and whining in the theater indicated a mesmerized target audience. ★★★★
In a journey across Brahms’ symphonies, Muti found both lyric dramatist, master classicist
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.
In a spin at Lyric, ‘My Fair Lady’ still leaves romance in lurch, but the show’s irresistible
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. ★★★★
‘The Perfect American’ at Chicago Opera: Portrait of Walt Disney, animated but imperfect
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. ★★★
From Lyric Opera stage, pair of stars launch into a swinging orbit around the world of song
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.
Lyric Opera’s ‘Rising Stars’ concert reflects program designed to help young talent shine
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.
Postmortem opera: ‘Charlie Parker’s Yardbird’ catches bop star musing on life – after death
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. ★★★★
‘Carmen’ (redux) at the Lyric: Leads change, young conductor steps in – and the heat’s on
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. ★★★★
Placido Domingo’s gala return to Lyric Opera rekindles long love affair across the footlights
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.
‘Eugene Onegin’ at Lyric Opera: As anti-hero, Mariusz Kwiecień summons a tragic elegance
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. ★★★★
‘Carmen’ at Lyric Opera: Allure’s everywhere, then bizarre finale lets the tragic line fall slack
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. ★★★
‘Norma’ at Lyric Opera: Radvanovsky’s fiery priestess sets the tone for blazing melodrama
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. ★★★★
Lyric’s ‘Flute’ is a time-bending gift from ’50s, backyard fun boxed in spirit of Disney magic
Review: The ultimate holiday gift for arts lovers this season is Lyric Opera of Chicago’s rambunctiously retro world premiere production of Mozart’s “The Magic Flute,” set triumphantly in the world headquarters of the baby boom. Which is to say, a backyard of the ’50s and ’60s, as seen through the eyes of a child. This nostalgic feat is an exceptional musical delight and a fine show for families of all ages. What makes this show giftable is its extended January run. ★★★★
In season of grandeur and magic, Lyric Opera scores with simple charm of ‘Don Quichotte’
Review: Ambitious out of the gate, the 2016-17 Lyric Opera of Chicago season gave us Part I of Wagner’s “Ring” cycle, with Rhinemaidens, giants and a dragon. In December the company will offer Mozart’s “The Magic Flute,” with trials of fire and water, a feathered bird-catcher and another dragon. In between we have seen high-flying coloratura (“Lucia di Lammermoor”) and a new high-tech stage toy in Berlioz’ “Les Troyens.” Time now for some simple old-school tradition? Whyever not? The Lyric’s presentation of Massenet’s “Don Quichotte” is pure operatic comfort food. ★★★★
‘Les Troyens’ at Lyric Opera: An epic romance told in vibrant music (against a bleak setting)
Review: Berlioz’s grandiose opera “Les Troyens” is a tale of two cities. The ambitious new production mounted by the Lyric Opera of Chicago, the company’s first presentation of this prodigiously demanding work, is an epic venture with two outcomes. Musically, it is resplendent, a huge success by a stellar cast under the leadership of Andrew Davis; conceptually, which is really to say visually, this “Troyens” – The Trojans — struggles to bear its own leaden weight. ★★★
Chicago Symphony Chorus glories in Brahms’ ‘German Requiem’ under van Zweden’s baton
Review: Brahms’ “German Requiem” is a gentle monument, expressive in equal parts of humility, reassurance and peace. Such were the components of a radiant performance by the Chicago Symphony Orchestra and Chorus, with soprano Christiane Karg and baritone Michael Nagy, conducted by Jaap van Zweden on Nov. 11 at Orchestra Hall.
Purcell’s ‘Fairy Queen’ updated, crossed over and turned into crazy fun by Chicago Opera
Review: Who is that with the pink head, leathery strawberry feet and an oversized gut, whimpering and bellowing and moaning? Why, it’s Puck, the sleazy Las Vegas club owner in Chicago Opera Theater’s “The Fairy Queen.” COT’s take on Purcell is a reworking of Shakespeare by artistic director Andreas Mitisek and the performance troupe Culture Clash. It’s contemporary, ridiculous and fun.★★★
CHICAGO WINE JOURNAL: Globe-trotting maestro natural ambassador for Vino Nobile
Mulling Wine: Italian conductor Enrique Mazzola is the unlikely international ambassador for the 70-plus producers of Vino Nobile di Montepulciano in Tuscany. It’s a natural role, the maestro says, because — like any ambassador — he’s always taking his advocacy on the road.
This is going to sound mad, but for Lyric star scary-difficult role of Donizetti’s Lucia is easy
Report: One of the great dramatic coloraturas of our day will go mad for the last time at Lyric Opera of Chicago on Nov. 6. But it’s impossible to believe that Russian singer Albina Shagimuratova won’t be back. The bond she forged with Lyric Opera general director Anthony Freud a decade ago is strong. Shagimuratova is at the top of her game now. But when she first sang for Anthony Freud, she was in her mid-twenties, fresh from the Moscow State Conservatory. She didn’t know the first thing about building a career.
Chicago Philharmonic summons dark spirits with high-spirited ‘Haunted Hearts’ concert
Review: The Chicago Philharmonic’s “Haunted Hearts” Halloween weekend concert was a clever, idiosyncratic program with both frightful and delightful works, ranging from horror masterpieces like Bernard Herrmann’s score to “Psycho” to the standout piece, C. P. E. Bach’s Fifth Symphony. Four “haunted” pieces formed the middle of the concert, all sharing some relation to film.
Second City and Lyric Opera send up Wagner with ‘Longer, Louder’ (funnier) take on ‘Ring’
Review: The setting is Transylvania. Oh, wait a minute. I mean Schaumburg, and Bayreuth. I was confusing “Longer, Louder Wagner!,” the wild and crazy Second City-Lyric Opera of Chicago send-up of Wagner’s “Ring” operas, with the Mel Brooks-Gene Wilder film “Young Frankenstein.” Silly me. And yet…he is alive! ★★★
Amid tragic power of Lyric Opera’s ‘Lucia,’ Shagimuratova touches the soul of bel canto
Review: For Donizetti’s bel canto masterpiece “Lucia di Lammermoor,” the Lyric Opera of Chicago has chosen well to wrap the dazzling young Russian soprano Albina Shagimuratova in the vintage production of British director Graham Vick. Despite its age, there’s something very modern about Lucia’s murderous disintegration in Vick’s not-to-miss installment at the Lyric. The role of the innocent and doomed Scottish lass Lucia features one of the greatest mad scenes in all of opera. ★★★★
Ear Taxi festival roars onto Chicago’s music scene, bringing six-day blitz of fresh sounds
Review: An extraordinary six-day event celebrating the “now” side of classical music, Ear Taxi: Chicago Festival of New Music, opened Oct. 5, turning the spotlight on Chicago as a hotbed of musical creativity. The binge brings together 88 composers and more than 300 musicians and features a mind-blowing 54 world premieres.
‘Das Rheingold’ at Lyric Opera: A new ‘Ring’ venture begins with sly winks, great singing
Review: If the Lyric Opera of Chicago’s enchanting production of “Das Rheingold” proves to be, like the opera itself, an augury of things to come, we’re in for a magical ride across the company’s four-year project to re-create Wagner’s epic tetralogy “The Ring of the Nibelung.” ★★★★
