Articles by Lawrence B. Johnson
Review: Haymarket Opera Company’s delightful production of Joseph Bologne’s “L’Amant anonyme,” in the perfectly proportioned Jarvis Opera Hall that has become its new home at DePaul University, brought to mind a night at the jewel-box opera at Versailles, outside Paris. Not so ornate as Versailles perhaps, no cozy little boxes from which to view the proceedings. But I suspect Bologne would have relished revisiting this 18th-century comedy – and hearing it sung, and spoken, in such excellent French that he might have thought himself transported back to that time and place. ★★★★
Review: Like the invited guests at the Chicago Symphony Orchestra’s open morning rehearsal on June 16, Lina González-Granados took a seat at Orchestra Hall to watch CSO music director Riccardo Muti lead the troops through Brahms’ Symphony No. 1 in C minor. After a break, the orchestra would be joined onstage by violinist Anne-Sophie Mutter, one of the most celebrated musicians in the world, for a run-through of the Beethoven Violin Concerto, the other work on that evening’s concert program, with Muti on the podium. But that’s not exactly what happened. Muti had tested positive for Covid and was done for the day. González-Granados, his resident conducting apprentice, sprang into action, taking over the rehearsal and scoring an impressive success in the evening concert.
Report: Riccardo Muti, music director of the Chicago Symphony Orchestra, has tested positive for Covid-19 and has canceled his scheduled concerts with the orchestra June 16-18 at Orchestra Hall, the CSO announced. Stepping in for Muti will be the Chicago Symphony’s Sir Georg Solti conducting apprentice, Lina González-Granados, who will lead the originally scheduled program of Brahms’ Symphony No. 1 and the Beethoven Violin Concerto with soloist Anne-Sophie Mutter.
Reviews: Plays for two actors, known in the theater world as two-handers, make special and perhaps obvious demands on the players, the director and certainly the playwright. Placing the whole burden of a play’s instigation, elaboration and denouement on two speakers is to set a high bar for success, as demonstrated by Gracie Gardner’s “Athena” at Writers Theater and Lloyd Suh’s “The Chinese Lady” at TimeLine Theatre. The former stumbles when it abandons language for physicality; the latter veers from charm and wit into polemic, wit driven out by cant. “Athena” ★★ “The Chinese Lady” ★★
Review: There has been a steady stream of English renderings of “The Seagull” since the comedy – Chekhov’s own term – first saw light in 1896. Now Steppenwolf Theatre adds to that catalog with an adaptation created by ensemble member Yasen Peyankov, the opening flourish for the company’s splendid new in-the-round Ensemble Theater in its grand new building next door to the old one on North Halsted. I came away from this “Seagull” – Peyankov has dropped “The” – with mixed impressions from every perspective. ★★
Review: Miguel and his brother Julio are in a bad place, two Latinos on a desperate run from pursuers who want to catch them before they can make it across the border to Mexico and safety. The hunters on their trail may be federal agents, or they could be hired guns, or perhaps even white vigilantes out to expunge the countryside of any and all Latinos. That part is not entirely clear in Exal Iraheta’s gripping play “Last Hermanos.” It really doesn’t matter. Somebody is closing in on the brothers, and their flight has stalled. ★★★★
Commentary: It felt very much like Old Home Weekend at Orchestra Hall when violinist Stephanie Jeong, associate concertmaster of the Chicago Symphony Orchestra, stepped into the spotlight for three concerts, then ceded center stage to one of the world’s preeminent pianists, Yevgeny Kissin, who has become not just a Chicago favorite but something closer to an adopted son.
Review: ‘Tis neither fish nor fowl, Shakespeare’s comical-radical and highly problematical play “All’s Well That Ends Well.” Like its main characters, the plot is tormented. Small wonder “All’s Well” has been lumped together with “Measure for Measure,” “Timon of Athens,” “The Merchant of Venice” and a couple of others as “problem” plays. When the rhetorical dust settles and the curtain falls, we’re not quite sure what to feel. But Chicago Shakespeare’s production of “All’s Well” goes a long way toward focusing our ultimate reaction by sharpening the comedy. It’s a very funny show. ★★★★
Commentary: Riccardo Muti’s penultimate podium stint with the Chicago Symphony Orchestra for this season produced a stirring testimonial to the place of Black composers in the overdue reordering of life in America’s concert halls. On view was the work of three impressive artists: the historical figures Florence Price and William Grant Still and the CSO’s masterful composer in residence, Jessie Montgomery.
Review: Director Tasia A. Jones likens Lynn Nottage’s play “Intimate Apparel” to old photographs of ordinary people, Black people, who once lived and loved, who were needful of love, who had hopes and dreams. People who lived and died and disappeared, but whose lives mattered. I might add to that plainly spoken insight the flaws and folly of those folks, as well as their basic goodness. Such are the multifaceted, profoundly human images that register in Northlight Theatre’s magnificent framing of “Intimate Apparel,” as finely crafted a show as I’ve seen on that stage.★★★★★
Review: Gustav Mahler liked to say that in his symphonies he created whole worlds. Immoderate as that may sound, it’s at least true that his Sixth Symphony filled the whole stage at Orchestra Hall when the Chicago Symphony Orchestra performed the work April 22 with conductor Jaap van Zweden. Indeed, the sprawling 80-minute Sixth Symphony, the only work on the program, filled the whole weekend — with four performances rather than the typical three for CSO subscription programs. Like his works, Mahler’s popularity is vast.
Commentary: Mark the name of Finnish conductor Klaus Mäkelä, and draw a heavy red circle around the weekend of Feb. 16-18, 2023, when he returns for his second appearance with the Chicago Symphony Orchestra. As his CSO debut April 14 displayed generously, this 26-year-old conductor is special. His exquisite reading of Stravinsky’s complete ballet “The Firebird” was like Page 1 news. By the end of that 45-minute demonstration of brilliance, maturity and imagination, I was sold. I was also at the back of a long line of admirers.
Review: A half-dozen descriptors leap to mind as I attempt to describe the musical “Six.” Supercharged, smart, funny, provocative, keen-edged, scintillating, seriously insightful. Oh, wait, that’s more than six. But then “Six” is more than the six characters – the wives of England’s 16th-century King Henry VIII – who give the show its title. It’s greater than the sum of its parts: an infectious show with a youthful vibe that even I, some decades beyond its target audience, would readily go back to enjoy again. ★★★★★
Review: Yuja Wang is a pianistic tiger, a technical wizard and, not least, an indefatigable and audience-savvy performer who can leave 2,000 listeners in a collective meltdown. But if that were the sum of one’s account of her recital April 10 at Orchestra Hall, it would be lacking by half. This remarkable and indeed complete pianist also possesses an unfailing poetic sensibility, a precisely gauged and unerring touch at any speed and a sure grasp of structure. Her formidable program, capped by eight encores, was an immersive delight.
Review: It was supposed to have happened some time ago, a time that dissolved into the miasma of Covid, before the curtain came down most unceremoniously on conductor Andrew Davis’ 20-year stint as music director of Lyric Opera of Chicago. This was to have been his fitting exit, his personal coda — a performance under his leadership of Beethoven’s Symphony No. 9 in D minor with the Lyric Opera Orchestra and Chorus. Finally, it all came to fruition April 1 at the Lyric Opera House, a titanic account of the Beethoven Ninth before a large and deeply appreciative audience.
Review: On its fragile surface, Eleanor Burgess’ “Wife of a Salesman” appears to be a clever and moderately provocative riff on Arthur Miller’s “Death of a Salesman.” It isn’t exactly a sequel to Miller’s play, but more of an interlude, a sort of off-stage, between scenes flight of fancy: What might have gone down if Willy Loman’s long-suffering wife had confronted some dame with whom he was consorting on his road trips? ★★★
Report: The Chicago Symphony Orchestra’s season plans for 2022-23, announced March 29, bring the twice-deferred conclusion to the Riccardo Muti era at Orchestra Hall. The Italian conductor, who will be about a month shy of his 82nd birthday when his tenure ends in June 2023, will go out in grand fashion with Beethoven’s epic “Missa Solemnis.” Beyond its Beethoven finale and a generous offering of audience favorites under the music director’s baton, the new season also promises the world premiere of a still-untitled work by CSO composer-in-residence Jessie Montgomery, plus several other firsts.
Commentary: The Chicago Symphony Orchestra under full sonorous sail is now, as it has been throughout my lifetime, something to behold. You might say we’re in the CSO’s season of high tide. Just ahead music director Riccardo Muti conducts Bruckner’s Second Symphony, and Jaap van Zweden, music director of the New York Philharmonic, comes in for the Mahler Sixth, an evening in itself. We got a regal reminder of just what this orchestra can summon – its Solti legacy, as I think of it – last week when Herbert Blomstedt conducted a spectacular account of Bruckner’s Symphony No. 4 in E-flat (“Romantic”).
Review: To say the musical “Hadestown” puts a bleak, dark modern spin on the ancient Greek myth of Orpheus and Eurydice would be quite an understatement. This gritty and cynical, albeit musically ample, show, winding up a tour stop here under the aegis of Broadway in Chicago, sends mixed – if not muddled – messages about human nature while also recentering the story’s tragedy. Thkough “Hadestown” is packed with vivid characters and provocatively edgy songs, taken as a whole, as an existential screed, it doesn’t bear very close scrutiny. ★★★
Review: In the art of conducting, stylistic sensibility is an ineffable attribute, elusive but also telling. Its absence tends to be conspicuous, and its presence can transform mere correctness into something singular and marvelous — something like the Estonian-American conductor Paavo Järvi conjured in Berlioz’s “Symphonie fantastique” with the Chicago Symphony Orchestra on March 5 at Orchestra Hall.
Review: In these distressing times…Who knows, maybe a year from now, my first impulse in writing a review of a pianist’s stunningly great performance will not be to begin with the words in these distressing times. But there it is, and here we are, and the Russian-born pianist Daniil Trifonov’s recital March 6 at Orchestra Hall felt like a gift, a balm, an occasion to rejoice at the wonder of human creativity and its presentation from such masterful hands.
Review: It’s a down-and-out 1930s hotel populated by a weary and worn-out clientele. The hotel doesn’t have a name, nor do its occupants. Black or white, they’re all in the same familiar boat, adrift late into a never-ending day, just living the song they know so well. These are the denizens of “Blues in the Night,” a sort of jukebox revue staged with existential grit by Porchlight Music Theatre. ★★★★
Review: Janet and Annelle, grown daughters of a former slave recently deceased, have traveled from Boston to their birth home in Philadephia to attend to the estate of their late mother, ‘whose remarkable history they are about to discover in an old trunk packed with her diaries. Those vivid accounts of life in the last years of slavery are matched in directness, intelligence and grace by the brilliance of the play that enfolds them, Tyla Abercrumbie’s magnificent “Relentless,” which is winding up its world premiere run at TimeLine Theatre.★★★★★
Review: August Wilson was in Chicago in 2003 for the run-up to Goodman Theatre’s world premiere production of “Gem of the Ocean,” the bedrock story of Wilson’s Century Cycle, a dramatized arc of the African American experience decade by decade through the 20th century. I suspect the playwright, who died in 2005 at age 60, would be profoundly content with Goodman’s revival, a keen-eyed and pitch-sensitive perspective on “Gem of the Ocean” directed by Chuck Smith. ★★★★★
Review: The experiences could not have been more dissimilar in two late-January Baroque concerts, one by the Chicago Symphony Orchestra conducted by Riccardo Muti and the other by the Cleveland-based band Apollo’s Fire, which specializes in early 18th-century music, with its founder and longtime leader Jeannette Sorrell. While the playing was polished in both cases, the two approaches reflected radically different concepts of style.
Review: It wasn’t a pops concert. We know that because the Chicago Symphony Orchestra doesn’t play pops concerts. But music director Riccardo Muti does have quite a history of leading New Year’s Day concerts with the Vienna Philharmonic, and the program Jan. 20 at Orchestra Hall looked a lot like one of those. So let’s call it that – a somewhat displaced New Year’s concert by the CSO and a conductor who was full of celebratory shenanigans.
Review: In the original plan for this season, the Chicago Symphony Orchestra and music director Riccardo Muti were supposed to be touring Asia about now. But somewhere in the muddle of Covid and politics, that trek was canceled. So the band and its director ended up with three extra weeks at Orchestra Hall. To begin this unexpected residency, Muti and company served up a sensational Beethoven concert Jan. 13.
Review: Reveling in fresh air while wearing a mask against the wrath of Omicron may seem like a paradox. But there’s really nothing else to be said about the Chicago Symphony Orchestra’s exhilarating concert of Gershwin and Ravel with conductor André de Ridder and pianist Inon Barnatan on Jan. 6 at Orchestra Hall. It was a delightful, delicious reminder of our human spirit and our collective determination to outlast the bug. This first CSO performance of 2022 was needed.
Report: Dale Clevenger, one of the most accomplished and esteemed French horn players of the last half-century and principal of the Chicago Symphony Orchestra from 1966 until 2013, died Jan. 5 in Italy, He was 81. Hailed by critics and audiences worldwide, Clevenger also was lionized by French norn players everywhere for his sound, technique, finesse and fearless music-making.
Review: As we make the turn into 2022, or the second half of a performing arts season still playing out under the threat of Covid’s resurgence, I find myself still resonating to the mid-December production of Handel’s “Messiah” by the Chicago Symphony Orchestra and Chorus led by Nicholas McGegan. That brilliant achievement and exhilarating experience came at the end of a bumpy series of autumn concerts at Orchestra Hall.