Articles tagged with: Brandon Jovanovich
Review: There are times in opera when great singing rises above problematic production. Voices triumph over Konzept. But not even a glorious performance by bass-baritone Eric Owens – or the exemplary musical leadership of Andrew Davis – could compensate for the sum of gruesome design and muddle-headed staging heaped upon Wagner’s “Die Walküre” at Lyric Opera of Chicago. ★★★
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. ★★★★
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. ★★★
Review: The first impression of “The Passenger” by the Soviet composer Mieczysław Weinberg, whose Holocaust-inspired 1968 opera has been circulating the globe since its belated 2010 world premiere, is that of a major composer in his prime. Conducted with searing authority by Andrew Davis, the illuminating Lyric Opera of Chicago presentation of “The Passenger” seemed familiar right away. Weinberg was typically referred to as a lesser-known member of Shostakovich’s inner circle, but in fact he was on top of his world. ★★★★
Review: The musical legacy of Antonín Dvořák has always held favor with the public and esteem among musicians. Until recently, however, few this side of Prague would have mentioned Dvorak’s opera “Rusalka” with his most important works, much less listed it with the greatest achievements in the operatic canon. But the Lyric Opera’s first-ever production of “Rusalka,” a musical fairy tale of consummate beauty and profound humanity, dictates acknowledgement of this opera in the first rank of music-dramas. ★★★★★
Report: Russian dramatic soprano Tatiana Serjan, who riveted audiences as Riccardo Muti’s Lady Macbeth with the Chicago Symphony in 2013, will return to the Windy City next January at the Lyric Opera of Chicago to sing another knife-wielder, Floria Tosca, the tempestuous diva who tries to outwit a tyrant and foil her lover’s assassination. The Lyric’s 60th anniversary season, announced Jan. 27, also will feature soprano and Lyric creative consultant Renée Fleming in a signature role as Countess Madeleine in Richard Strauss’ final opera, “Capriccio.”
Lovable but seriously bizarre. 4 stars!