Articles in Top Story
Commentary: This is Chicago, a city famous for spoken-theater companies that push drama to the ragged edge, finding new ways into the classics of Sophocles, Chekhov, Ibsen, O’Neill, Miller, Williams, Albee, and Shakespeare. As it proved again with its stunning November production of Janáček’s “Jenůfa,” the lightning-bolt of the fall season, Lyric Opera of Chicago in recent years has become likewise aggressive at offering novel approaches to opera’s greatest hits. I say bring it.
Review: All that was lacking was the Guinness and step-dancers to turn the Chicago Symphony Orchestra’s special concert with cellist Yo-Ya Ma into what the Irish call a hooley. it was a party, for sure, the May 1 event benefiting the musicians’ pension fund, and dancing in the aisles threatened to break out at any moment. There was a lot of whooping, and it began the moment the lionized cellist strode onto the stage at the concert’s outset to play the Elgar concerto. But that ovation paled in comparison with the near delirium that erupted in the packed house at the conclusion of Ma’s elegant performance led by Carlos Miguel Prieto.
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: “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.★★★
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. ★★★
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.
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.