Articles in Top Story
Fresh feathering of Chekhov’s ‘Seagull’ turns debut of Steppenwolf space into mottled affair
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. ★★
Asia tour scratched, Muti and CSO turn their light on Beethoven to start bonus run at home
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.
‘Queen of Spades’ at Lyric Opera of Chicago: Tchaikovsky’s grand drama draws dicey hand
Review: “The Queen of Spades” (or as the Russians say, “Pikovaya dama”) is without question a great opera, among Tchaikovsky’s best works of any kind, with enthralling tragedy and voluptuous, soaring music. He even wrote that he considered “The Queen of Spades” to be the culmination of his life’s work. Yet gloriously conducted though it was at Lyric Opera, and sung brilliantly by tenor Brandon Jovanovich as an obsessive gambler in a tailspin and soprano Sondra Radvanovsky as the blossoming noblewoman who falls for him, the production is willfully shocking and ultimately confusing.★★★
In jewel-box setting, Chicago Opera Theater polishes rare Tchaikovsky treasure ‘Iolanta’
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. ★★★
Lyric Opera, striking orchestra reach accord, ending walkout; musicians ratify agreement
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.
John Williams, baton (or light saber) in hand, leads CSO and fans on tour of his film music
Review: John Williams, the 86-year-old film-music ruler of galaxies across the observable universe, brought his matchless light to the Chicago Symphony Orchestra and a roaring audience at Orchestra Hall on April 26. He raised his light saber-like baton – or was it the other way around? – and meticulously, joyfully lit up the place.
