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In a grand night of singing, Lyric Opera fetes Renée Fleming – with help from starry friends

Mar 25, 2019 – 9:21 pm
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Review: Her colleagues sang tributes, the next generation of opera stars chipped in with the exuberance of youth and the audience rocked the house on soprano Renée Fleming’s night – a very vocal celebration of that superstar’s multifaceted 25-year association with the Lyric Opera of Chicago. The concert March 23 at the Lyric Opera House acknowledged the many ways the singer has contributed to the company as vocal star, consultant and mentor over the last quarter-century.

Lyric Opera’s small-scaled ‘American Dream’ reflects supersized bid to stretch the art form

Mar 24, 2019 – 6:36 pm
3/14/19 11:10:42 AM -- Lyric Opera Chicago
Lyric Unlimited
AN AMERICAN DREAM
Music by Jack Perla
Libretto by Jessica Murphy Moo

So Young Park, Setsuko Kobayashi
Ao Li, Makoto Kobayashi
Nina Yoshida Nelsen, Hiroko Kobayashi
Christopher Magiera, Jim Crowley
Catherine Martin, Eva Crowley

Matthew Ozawa Director


© Todd Rosenberg Photography 2019

Commentary: The pool of grand opera subscribers  may be slowly shrinking nationally, but one can’t help feeling optimistic about Lyric Opera of Chicago’s long-term prospects as the company continues to refine and redefine itself. The Opera’s nimble branch – Lyric Unlimited – attracted two crowds of 1,100 each to the Harris Theater on March 15 and 17 for its latest chamber opera presentation, “An American Dream.” A loudly enthusiastic audience was the latest evidence of the hard work that Lyric has put into its own expanded vision.

Starry cast will honor soprano Renée Fleming as Lyric notes 25th anniversary of her debut

Mar 19, 2019 – 9:04 pm
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Preview: Megastar soprano Renée Fleming, affectionately known in the opera world as “the diva next door,” remembers very well her debut 25 years ago at Lyric Opera of Chicago in the title role of Carlisle Floyd’s “Susannah.” But that event is only the touchstone of Lyric’s glittering 25th anniversary concert March 23, which really celebrates a quarter-century of close partnership between the opera company and Fleming as singer, consultant and mentor.

Striking CSO musicians to give free concerts; Barenboim, Pelosi send messages of support

Mar 11, 2019 – 8:50 pm
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Updated March 20: The striking musicians of the Chicago Symphony Orchestra will give two free performances they have dubbed “From the Heart of the Orchestra – Free Concerts for Chicago.” The two programs, announced as the first events in a projected series of free presentations, will feature a small ensemble playing chamber music March 22 and the full orchestra in works by Beethoven and Mozart on March 25. The musicians also made public letters of support from former CSO music director Daniel Barenboim and Nancy Pelosi, speaker of the U.S. House of Representatives. 

Handel’s ‘Ariodante’ at Lyric Opera: Another star felled by illness; enter heroine (as hero)

Mar 4, 2019 – 11:00 pm
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Review: Spring – and the warmer, more healthful weather it augurs – can’t come too soon for Lyric Opera of Chicago. As of this writing, two title-role singers are indisposed. At least one of them, soprano Albina Shagimuratova, made it through opening night as Violetta in Verdi’s “La traviata.” But the second star to withdraw, mezzo-soprano Alice Coote, wasn’t even up for the March 2 opening of Handel’s “Ariodante.” Julie Anne Miller was pressed into service on opening night as Ariodante, a huge “trouser” role aglitter with coloratura fireworks but also touched by music of profound reflection. Miller proved to be more and more impressive as the night wore on. ★★★★

Pianist Beatrice Rana makes impressive debut with display of technical prowess, fluent style

Feb 25, 2019 – 6:11 pm
Featured image Marie Staggat

Review: I confess I knew nothing about the 26-year-old Italian pianist Beatrice Rana before she made a phenomenal Symphony Center debut on Feb. 24. What initially lured me to her program was her choice of repertoire, including Chopin’s Etudes, Op. 25, and Ravel’s “Mirroirs.” In both her technical and interpretive skill, Rana proved to be extraordinary artist – one who held the audience at rapt attention.

In remembrance of Italian massacre in WWII, Muti and CSO turn to an American’s lament

Feb 24, 2019 – 11:51 am
Roma-fosseardeatine feature image (Wiki)

Review: The Ninth Symphony of American composer William Schuman, which Chicago Symphony music director Riccardo Muti conducted for the first time, commemorates a painful moment in modern Italian history – the systematic murder of 335 Italian civilians, with one shot each to the back of the head, by German soldiers in the last weeks of World War II.

‘The Scarlet Ibis’ at Chicago Opera Theater: Conflict of brotherly love, honed to lyric pitch

Feb 23, 2019 – 11:29 am
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Review: Brotherly conflict is at the heart of composer Stefan Weisman’s extraordinary operatic adaptation of “The Scarlet Ibis,” a celebrated short story by James Hurst. The 95-minute opera reveals layers of meaning and symbolism and blurs intense naturalism with a kind of dreamy magical realism. The staging by Chicago Opera Theater manages to be at once touching and tender, tough and unflinching: a revelation of the work’s power and depth. ★★★★★

‘La traviata’ at Lyric Opera of Chicago: Beneath layers of familiarity, a pristine jewel

Feb 18, 2019 – 9:15 pm
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Review: Every opera that gains such enduring popularity as to acquire the epithet warhorse was once, well, a colt – exhilarating in its spunky freshness, its beauty undimmed by long familiarity and habitual service. The real marvel of Lyric Opera’s current staging of Verdi’s “La traviata” lies not just in its lustrous surfaces but rather in its surprising depth, in its true and affecting recovery of a splendor beyond – or, more to the point, before – habit. ★★★★★

‘Anna Karenina’ at Joffrey Ballet: Epic tragedy, elegantly translated into masterpiece of dance

Feb 18, 2019 – 9:58 am
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Review: The Joffrey Ballet’s world premiere production of “Anna Karenina” is astonishing and thrilling on so many levels, from its concise distillation of Tolstoy’s prodigious novel, choreography that captures the story’s tragic essence and inspired multimedia effects to a superlative musical score. But this remarkable achievement is first and foremost tremendous theater. ★★★★★

In Chicago visit, Royal Concertgebouw unfurls colors, legacy in a grand tour of ‘Heldenleben’

Feb 14, 2019 – 1:50 pm
Koninklijk Concertgebouworkest staatsieportret

Review: One of the world’s preeminent orchestras, the Amsterdam-based Concertgebouw is accustomed to touring, tallying 40 concerts away from home each year. But the brief U.S. tour included Chicago among only four cities treated to its renowned specialities. Richard Strauss’ highly personal 1897 fantasy for enormous orchestral forces “Ein Heldenleben” (A Hero’s Life) exploded with sound reverberating from the depths, gloried in woodwind sparkle and boasted the awesome grandeur of the Concertgebouw’s brass and battery.

Nina Stemme, Lyric’s high-powered Elektra, recalls her cosmic trek from the world of Mimi

Feb 8, 2019 – 3:19 pm
NinaStemme_ELEKTRA_Lyric OpChicago 2019 (Cory Weaver)

Interview: By this point in soprano Nina Stemme’s operatic journey, the high-intensity role of Richard Strauss’ “Elektra” has emerged as a signature piece. Indeed, the Swedish singer and reigning Wagnerian soprano, who currently performs the distraught and vengeful Elektra in her debut with the Lyric Opera of Chicago, all but owns the part. She is the foremost Elektra in the world today, and she embraces the staggeringly difficult role as “the greatest joy” to sing.

Strauss’ ‘Elektra’ at Lyric Opera: Nina Stemme triumphs as vengeful princess with a ready ax

Feb 6, 2019 – 9:30 am
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Review: The great power of Richard Strauss’ “Elektra” lies in the transmogrification of a timeless tragedy through harrowing vocal music reinforced by an orchestral score so vivid, so nearly verbal, that it might stand alone as a symphonic drama. The magnificence of Lyric Opera of Chicago’s current production resides in the depth of its humanity – that depth sounded by tremendous vocal performances and orchestral playing, under Donald Runnicles, that is absolutely graphic. ★★★★

In CSO’s new season, Muti and galaxy of stars offer a prodigious tribute to Beethoven at 250

Jan 29, 2019 – 11:55 pm
1/26/12 8:30:51 PM -- Chicago Symphony Orchestra Riccardo Muti Music Director. Schubert  Symphony No. 3 in D Major  . © Todd Rosenberg Photography 2012

Report: A monumental tribute to the 250th anniversary of Beethoven’s birth highlights the Chicago Symphony Orchestra’s 2019-20 season, its 10th under the stewardship of music director Riccardo Muti. In a season-long Beethoven immersion, Muti will conduct all nine symphonies and six different pianists will make their way collectively through the 32 sonatas. Muti will also preside over four world and U.S. premieres.

Lyric announces plans to crown ‘Ring’ cycle, begin Verdi series and tap into ‘42nd Street’

Jan 24, 2019 – 6:53 pm
Götterdämmerung_feature image (LyricOperachicago)

Preview: The consummation of a four-year project to produce Wagner’s “Ring” cycle and the beginning of a “five- or six-year” exploration of early Verdi highlight plans for the Lyric Opera of Chicago’s 2019-20 season, which also marks the 20th anniversary of Andrew Davis’ tenure as music director. After annual creations of Wagner’s “Das Rheingold,” “Die Walküre” and “Siegfried,” the Lyric will cap the “Ring” cycle with “Götterdämmerung” in April 2020, then pull the whole enterprise together with three turns through the complete tetralogy.

Cellist Yo-Yo Ma to play complete Bach suites in free event presented by Chicago Symphony

Jan 10, 2019 – 12:29 pm
6/14/18 8:33:14 PM -- Chicago, IL USA

Chicago Symphony Orchestra
Riccardo Muti, Conductor
Yo-Yo Ma Cello

Shostakovich Festive Overture
Shostakovich Cello Concerto No. 2
Prokofiev Symphony No. 3

© Todd Rosenberg Photography 2018

This Just In: The following is a news release written by an arts organization, submitted to and edited by Chicago On the Aisle.
Cellist Yo-Yo Ma will perform Bach’s suites for unaccompanied cello in a free …

Old friend MTT leads CSO in a Russian thrilla, and an impressive Brit makes podium debut

Dec 15, 2018 – 10:41 pm
MTT CSO Todd Rosenberg 2018

Review: A banner in the rotunda of Symphony Center proclaims coming concerts of “HOLIDAY CHEER,” in just such sizable letters, but the last two weeks of the Chicago Symphony’s classical subscription concerts – first under British conductor Edward Gardner and then Michael Tilson Thomas – have exuded a festive air of their own.

‘Il trovatore’ at the Lyric Opera of Chicago: Vital foursome re-energizes a Verdi classic

Nov 21, 2018 – 2:28 pm
Il trovatore feature image (Lyric Opera of Chicago)

Review: When people talk about high-energy spectacle and romantic intensity in Italian opera, “Il Trovatore” is the classic Exhibit A. An instant hit when it opened in Rome, it’s still a winner. Lyric’s three-way production with the San Francisco Opera and the Met is a concept that remains dynamic and fresh, from the flash and wham of gypsy smithies hammering away at their swords in the extravagant Anvil Chorus, to the tragic love triangle that complicates a civil war unfolding. ★★★★

In jewel-box setting, Chicago Opera Theater polishes rare Tchaikovsky treasure ‘Iolanta’

Nov 16, 2018 – 5:35 pm
COT 'Iolanta' 14 feature image Michael Brosilow

Review: It’s not often that you can pull a forgotten gem out of the trunk, showcase it in a tasteful setting, and reveal it for the magnificently neglected thing that it is. Chicago Opera Theater has succeeded in doing us that favor with Tchaikovsky’s dreamy, naturalistic 1892 opera “Iolanta” – the composer’s last – performed by able forces at the Studebaker, a lovingly refurbished 740-seat jewel-box on Michigan Avenue that also dates from that same last decade of the 19th century. ★★★

Maestro, father, grandfather: Muti dedicates CSO’s Verdi Requiem to massacre victims

Nov 10, 2018 – 2:00 pm
CSO181108_192 Feature image (Todd Rosenberg)

Review: In the aftermath of a California gunman’s rampage, the Chicago Symphony Orchestra and Chorus delivered heart-stirring performance, resplendent with awe and penitence, delicately threaded with human doubt, and led by the world’s finest living interpreter of this work.

‘Siegfried’ at Lyric Opera: Amid witty optics, short-pants hero meets gravitas of Eric Owens

Nov 6, 2018 – 2:14 pm
Siegfried Lyric Chicago 2018 (Todd Rosenberg)

Review: The first sign of the enemy in “Siegfried” was a shiny-red three-toed claw, beckoning from under Lyric Opera curtain, as if to say, “I’m Fafner the Dragon, and I’m ready to rumble.” The crowd rippled with mirth and stayed on top of the details in Wagner’s lively saga about the great god Wotan, played by bass-baritone Eric Owens, and the brash young Siegfried, whose help is needed if Wotan’s plan to save the gods has half a chance. ★★★

After 12-year absence from CSO, Barenboim returns with ‘My Homeland’ – but not his own

Nov 3, 2018 – 1:52 pm

Review: No living conductor, not even music director Riccardo Muti, enjoys a longer association with the Chicago Symphony Orchestra than Daniel Barenboim. It was 48 years ago this month that the Israeli musical polymath, then all of 28, led the CSO for the first time. Barenboim would become the CSO’s music director in 1991 and hold that post until 2006. On Nov. 1, for the first time in the 12 years since he stepped down, Barenboim returned to conduct the CSO in the six symphonic poems of Smetana’s “Má vlast” (My Homeland), a reading more attuned to virtuosic effect than to the work’s essential Bohemian nationalism.

Haitink takes a misstep on the CSO podium, but not in grand turn through Bruckner Sixth

Oct 26, 2018 – 1:43 pm
Bernard Haitink (Clive Barda)

Review: Amid a roaring ovation for his eloquent account of Bruckner’s Sixth Symphony with the Chicago Symphony Orchestra, 89-year-old Bernard Haitink lost his footing on the step at the side of the podium and doubled over onto the Orchestra Hall stage. In an instant, the audience’s elation turned to a mass gasp of horror. But minutes later, the venerable maestro was gesturing to the relieved players and cheering public to assure them that all was well.

Premiere of Mantovani’s eclectic ‘Threnos’ accents CSO memorial fare with Marin Alsop

Oct 21, 2018 – 9:34 pm
10/18/18 8:20:39 PM
Chicago Symphony Orchestra

Marin Alsop conductor
Daniil Trifonov piano
Bruno Mantovani composer



Mantovani Threnos [World Premiere, CSO Commission]
Prokofiev Piano Concerto No. 3
Bridge Lament
Copland Symphony No. 3

© Todd Rosenberg Photography 2018

Review: Years, anniversaries, and commemorations arguably form the backbone of contemporary classical concert programming, and this year’s centenary of the end of the First World War is exemplary. Conductor Marin Alsop’s program with the Chicago Symphony Orchestra on Oct. 19 at Orchestra Hall featured works by American, Russian, and British musicians written in response to the First and Second World Wars and their aftermath, plus a major world premiere from the French composer Bruno Mantovani, commissioned by the CSO and Jennifer Pritzker, founder of Chicago’s Pritzker Military Museum & Library.

‘Idomeneo’ at Lyric Opera: Strike gives way to stellar Mozart and new reign of euphoria

Oct 19, 2018 – 6:35 pm
Feat IDOMENEO_0V8A6337-Cropped_c.Kyle Flubacker

Review: Neptune scowled, but grand opera is back on the boards at the Lyric Opera House, and you could all but taste relief in the torrent of applause as the curtain went up on the season’s first post-strike performance of Mozart’s early masterpiece “Idomeneo.” Jean-Pierre Ponelle’s iconic production greeted the crowd. ★★★★

Strike settled, Lyric Opera set to raise curtain on Mozart’s ‘Idomeneo’ and Part 3 of ‘Ring’

Oct 15, 2018 – 4:20 pm
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Report: After the brief, harrowing intermission of a strike by its orchestra, the Lyric Opera of Chicago is back in business. Members of the Chicago Federation of Musicians ratified a new contract Oct. 14, ending a five-day walkout and clearing the way for the Lyric to declare Oct. 18 as the deferred opening night of Mozart’s “Idomeneo.” The Lyric Opera House actually re-opens its doors Oct. 17 with a performance of Puccini’s “La bohème,” which launched the current season.

Lyric Opera, striking orchestra reach accord, ending walkout; musicians ratify agreement

Oct 13, 2018 – 7:36 pm
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Update: Lyric Opera of Chicago and the Chicago Federation of Musicians Local #10-208 (CFM) have reached a multi-year labor agreement extending through the 2020/21 season. On Oct. 14, the Chicago Federation of Musicians voted to ratify the tentative agreement reached one day earlier. No further details or comments were available. The musicians went on strike Oct. 9 in response to cuts in compensation and work weeks sought by management.

Orozco-Estrada leads CSO through nature’s realm in pageant of Mahler Third Symphony

Oct 13, 2018 – 4:45 pm
CSO Orozco-Estrada_Andres_feature image (Werner_Kmetitsch)

Review: While the sounds of birds chirping and animals flitting can be heard in the Symphony No. 3 in D minor, the work is much more than a mere evocation of an idyll. Indeed, the composer takes listeners on an extraordinary musical, philosophical and auto-biographical journey. Colombian-born Andrés Orozco-Estrada guided the Chicago Symphony in a performance that captured the full richness, variety and scope of Mahler’s odyssey.

Healthy and ambitious, Joffrey Ballet plans epic storytelling as core of 2018-19 season

Oct 10, 2018 – 8:36 pm
'Swan Lake' returns to the Joffrey in 2018-29 season (Cheryl Mann) featured image

Preview: Three grand narratives headline the Joffrey’s new season opening October 17 at the Auditorium Theatre: Remounts of Christopher Wheeldon’s ingenious ballet-within-a-ballet version of “Swan Lake” and his Chicago-oriented “Nutcracker,” plus the world premiere of Tolstoy’s “Anna Karenina” choreographed by fellow Russian Yuri Possokhov.

‘La bohème’ at Lyric Opera: Splendid voices, squandered in an unsentimental tool shed

Oct 7, 2018 – 3:31 pm
La Boheme Lyric Opera 2018

Review: Despite a superior musical performance by a fine international cast, and firmly idiomatic orchestral playing and choral work from the promising Venezuelan-Swiss conductor Domingo Hindoyan, in his Lyric debut, the new-to-Chicago “La bohème” by director Richard Jones is a major letdown, a misconceived case of too much here and too little there.★★★