‘Dead Man Walking’ brilliantly thrusts opera into the contemporary genre

4 stars

Patricia Racette top center, Ryan McKinny bottom left, Susan Graham bottom right and parents of murdered teens bottom center at Angola in Dead Man Walking at the Lyric Opera of chicago. (Ken Howard photo)
Patricia Racette top center, Ryan McKinny bottom left, Susan Graham bottom right and parents of murdered teens bottom center at Angola in Dead Man Walking at the Lyric Opera of Chicago. (Ken Howard photo)

Every season opera houses around the world include at least one story of murder and often, its consequences.  But whether clothed in lyrical or dramatic music by famous composers, their librettos typically focus on mythology or historic tales. Those productions seldom produce the kind of gut-wrenching reactions and post opera discussions sparked by “Dead Man Walking,” now at the Lyric Opera of Chicago through Nov. 22, 2019.

Written by composer Jake Heggie and librettist/playwright Terrence McNally and first produced by the San Francisco Opera at the War Memorial Opera House in October, 2000, the opera is based on a 1993 non-fiction book of the same name by Sister Helen Prejean, a Roman Catholic nun.

Sister Helen, a member of Sisters of Saint Joseph of Medaille in New Orleans, was against capital punishment and served as a spiritual adviser to two convicted murderers on Death Row. The phrase “dead man walking” was commonly used in American prisons for a man who received the death penalty for his crime.

L-C A gold light on the prison floor stands for the separate places that Sister Helen (Patricia Racette) and Jospeh De Rocher (Ryan McKinny) can speak to each other in Dead Man Walking at Lyric Opera of Chicago. (Ken Howard photo)
L-C A gold light on the prison floor stands for the separate places that Sister Helen (Patricia Racette) and Jospeh De Rocher (Ryan McKinny) can speak to each other in Dead Man Walking at Lyric Opera of Chicago. (Ken Howard photo)

Heggie and McNally’s opera is not about the innocence of murderer Joseph De Rocher, dramatically portrayed by bass baritone Ryan McKinny. He is convicted of raping and then brutally stabbing to death a teenaged girl. His younger brother, Anthony De Rocher, received a life sentence for participating in the crime and shooting the girl’s boyfriend.

The opera, primarily taking place in the early 1980s at the Louisiana State Penitentiary known as Angola for its site on the former Angola Plantation in Louisiana’s West Felicianna Parish, starts with the murders.

Sister Helen, soprano Patricia Racette, is leading youngsters in a spiritual piece, “Gather Us Around, ” before she announces she has to go to Angola because Joseph who had been corresponding with her, asked to meet, face to face.

Joseph's mother (Susan Graham), center, pleads for her son's life as the victims' parents (Lauren Decker, Allan Glassman Talise Trevigne and Wayne Tigges) listen at a board hearing in Dead
Joseph’s mother (Susan Graham), center, pleads for her son’s life as the victims’ parents (Lauren Decker, Allan Glassman, Talise Trevigne and Wayne Tigges) listen at a board hearing in Dead Man Walking at the Lyric Opera of Chicago. (Ken Howard photo)

Elaine J. McCarthy projections take Sister Helen and audiences on  a long, hot drive to Angola. Some comedic relief comes in the form of a motorcycle cop who stops her for speeding, then tears up the ticket when he learns she is a nun.

There are a few other comedic moments but set against Michael McGarty’s magnificent set design, the opera really is about the interaction between Sister Helen and Joseph.

Audiences do hear the heartbreak of the teens’ parents, the Harts and the Bouchers, at a board hearing. And at that hearing, Joseph’s mother (mezzo soprano Susan Graham) pleads for her son’s life.

“Dead Man Walking” does not excuse or rationalize a horrible murder. The book and the opera is about crime and punishment, guilt and redemption.

A number of factors make the Lyric production particularly powerful. Racette and McKinny perfectly act out McNally’s cut-to-the-heart libretto. Heggie’s dramatic music is well-interpreted by conducted by Nicole Paiement of San Francisco’s Opera Parallele.

Leonard Foglia’s directing and staging with Brian Nason’s lighting and Roger Gans sound design create an edgy emotionalism that leaves the audience saying wow as they exit.

“Dead Man Walking” is at the Lyric Opera House, 20 N. Wacker Dr., Chicago, on select dates through Nov. 22, 2019. Running time: 2 hours, 55 minutes. For tickets and other information call (312) 827-5600 or visit Lyric Opera/Dead Man Walking.

Jodie Jacobs

For more shows visit Theatre in Chicago

Verdi romantic revenge opera at Lyric

 

Luisa Miller at Lyric Opera of Chicago. (Todd Rosenberg photo)
Luisa Miller at Lyric Opera of Chicago. (Todd Rosenberg photo)

4 stars

Love, lust, and quest for power lead to despair and death in Giuseppe Verdi’s “Luisa Miller,” directed by Francesca Zambello at Lyric Opera of Chicago.

The seemingly outlandish story based on the play “Kabale und Liebe” (Intrigue and Love) by Friedrich von Schiller, none-the-less may resonate with modern audiences familiar with such television programs as “American Greed” and “Dateline” that often have devious plots designed and perpetrated by individuals to preserve financial power or exert influence over those they purport to love.

In this case, Rudolfo (Joseph Calleja), the son of Count Walter (Christian Van Horn) falls in love with the peasant girl, Luisa Miller, (Krassimira Stoyanova). However, Count Walter’s aide-de-camp, Wurm, (Soloman Howard) also has designs on the local beauty resulting in love triangle number one.

Luisa’s father (Quinn Kelsey) feels there is something odd about Rudolfo who has been hanging around the village under the pseudo name Carlo.

Meanwhile, knowing that the Count was planning to wed his son to the local Duchess Federica (Alisa Kolosova) who has just inherited a fortune after her father’s death, tattletale Wurm tells Count Walter how Rudolfo has fallen in love with a common village girl.

The alliance between Rudolfo and Federica would increase the power and influence of the family, and secure his son’s future, resulting in love triangle number two.

The Count orders his son to marry Federica while Wurm imprisons Luisa’s fathe. Then coerces her into signing a declaration stating that she never loved Rudolfo but instead loves Wurm in order to gain her father’s release and save him from death.

In her despair, she begins to write a letter to Rudolfo suggesting that he meet her at midnight when the two will die together rather than submit to the unhappy fate that has been thrust upon them.

Finding the letter, Luisa’s father,  persuades her that in the morning the two of them will simply leave town together because the death of his daughter, and seemingly only offspring, would cause him too much anguish.

During the night while her father is asleep, Rudolfo comes to Luisa whom he tricks into drinking poison. He has taken it as well out of revenge for her recanting her love. Thus is the murder suicide that actually fulfills Luisa’s original plan for them.

The couple reconciles and Rudolfo manages to curse his father and mortally shoot Wurm before the poison takes its full effect.

There is little to say about the spectacular quality of the entire ensemble except to add that Stoyanova as Luisa delivers at every opportunity.

Perhaps part of the popularity of Verdi operas is that they are very accessible to the general public because the music is not overly complex. Though this opera does not have any of the popular famous arias such as “La donna e mobile” or “Celesta Aida,” it follows musical lines that are familiar to the ear.

If you are a lover of mid-century American musicals, I think you will find the structure of Verdi’s operas to have a familiar form.

Reflective of opera’s romantic period which introduces more theatricality into the productions, we can enjoy how the composer uses what have become traditional musical dynamics to convey the emotions of the characters in their over-the-top dramatic situations.

For the singers in this production, it is something of an athletic event as they have very little rest and are seemingly on stage all of the time. They are often performing complex imbroglios that at times seem akin to a wrestling match or singing competition.

It has been said that Verdi hoped to break out of the imposed traditional operatic format that for instance dictated that the production begin with a chorus number.

Interestingly, it was my impression that the opening of “Luisa Miller,” though entertaining and important in terms of setting the context and introducing the characters, has an obligatory quality that seems out of place when compared to the more intimate aspects of the rest of the production.

Perhaps, like the audiences in Verdi’s day, we might feel cheated if we did not have an opportunity to hear, in this case, the exceptional Lyric Chorus. They do appear again but actually each time it seems a bit out-of-step with the story.

Of course part of the reason to visit Lyric Opera Chicago is the opportunity to experience their fine orchestra conducted by Enrique Mazzola and led by Music Director Sir Andrew Davis. It is possible that the overture alone is worth the price of admission.

The scenery, painting, construction design and costumes used in this production are the property of the San Francisco Opera.

The primary scenic element, a large painting suspended from a crane in front of a curved panoramic modular background has an overall post-modern quality even though it is in a muted-toned, 19th century pastoral landscape style.

A standout for the costume department was a dramatic profusion of red riding apparel for the equestrian scene as well as the variation on a theme of green uniforms provided to the gentlemen of Count Walter’s court.

Details: “Luisa Miller” is at the Lyric Opera House, 20 N. Wacker Dr., Chicago through Oct.31, 2019. Running time is about 2 hours 45 minutes with one intermission. For tickets or other information call  (312) 827-5600 or visit  lyricopera.org/Luisa .

Reno Lovison

For more shows visit Theatre in Chicago

 

 

Seville barber starts Lyric season with a good chuckle

 

Adam Plachetka, Marianne Crebassa and Lawrence Brownlee in the Barber of Seville at the Lyric Opera House. (Todd Rosenberg photo)
Adam Plachetka, Marianne Crebassa and Lawrence Brownlee in the Barber of Seville at the Lyric Opera House. (Todd Rosenberg photo)

3 ½ stars

What a joy to see and hear an opera that pokes fun at opera but does so using top tier voices and leads who know how to act.

And so Lyric Opera of Chicago opened its 2019-20 season with Gioachino Rossini’s  “The Barber of Seville,” a wildly popular opera buffa.

After first debuting as “Almaviva, o sia L’inutile precauzione” in 1816 in Rome, the opera took on the title of The Barber of Seville, or the Useless Precaution” with an Italian libretto by Cesare Sterbini that is based on the 1975 comedy in French playwright Pierre Beaumarchais’ trilogy.

Presented as a Rob Ashford production with a revival under the direction of Tara Faircloth, the scenes move from one delightful, chuckle moment to the next beginning with when Figaro has trouble getting rid of musicians asked to help Count Almaviva serenade the beautiful Rosina to when Almaviva and Rosina try to touch fingers in the balcony scene.

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A spectacular evening at Ravinia

 

The annual Tchaikovsky Spectacular fills the lawn at Ravinia Festival. (J Jacobs photo)
The annual Tchaikovsky Spectacular fills the lawn at Ravinia Festival. (J Jacobs photo)

 

Tchaikovsky, the Chicago Symphony Orchestra and Itzhak Perlman brought friends and families out to Ravinia Festival Sunday. After storming in the morning, the weather was cooperating for Ravinia’s annual “Tchaikovsky Spectacular” in early evening.

Blanket carrying, luggage-rolling, chair-toting, concert goers kept pouring through the park’s gates even past the early 5 p.m. program start.

Each year, the popular concert fills the lawn with music lovers who know that the final notes of the “1812 Overture” are also an appropriate cannon  send-off to a Chicago Symphony Orchestra that is at Orchestra Hall downtown during the winter but plays at Ravinia in Highland Park in summer.

Heads, nodded and even feet seemed to join in from the blankets and chairs behind the Pavilion and across the lawn as Perlman expertly conducted Tchaikovsky’s familiar Symphony No. 4.

Regular Ravinia goer Patsy Haase, Arlington Heights, chats with daughter Julie Haase and Sydney Burks, MO berore the program begins and the lawn starts to fill. (J Jacobs photo)
Regular Ravinia goer Patsy Haase, Arlington Heights, chats with daughter Julie Haase and Sydney Burks, MO before the program begins and the lawn starts to fill. (J Jacobs photo)

After intermission, the 2017 Credit Swisse Young Artist Award winner, cellist Kian Soltani, a Deutsche Grammophon recording artist, wowed listeners with his deft handling of “Variations on a rococo theme for cello and orchestra and its virtuosic coda.

For the “1812” some lawn sitters with youngsters on shoulders, strolled over to the space on the northeast side of the Pavilion to watch the cannon shots.

Ravinia Festival was living up to its name. A festival mood had spread across the park as youngsters skipped around blankets and many picnickers, reluctant to leave on this balmy concert night, continued sipping, eating and chatting.

Frequent Revinia goers, Donna and Dan Berman, Deerfield, know to get to popular concerts early. and Dan knows to bring a hat because the sun changes. (J Jacobs photo)
Frequent Revinia goers, Donna and Dan Berman, Deerfield, know to get to popular concerts early. and Dan knows to bring a hat because the sun changes. (J Jacobs photo)

They had come well-supplied with wine bottles, dishes to share and other stuff.

Although this was the first time Sidney Burks and Julie Haase from Southern  Missouri had been to Ravinia, they were visiting Julie’s folks, Patsy and Roger Haase, regular Ravinia goers from Arlington Heights. What was important to bring?

“A light,” said Patsy, pointing to a very attractive decorated glass container sitting by their table that would be good for concerts continuing after dark. “This way we can find our way back to our table,” she said.

Dan and Donna Berman who lived a lot closer in Deerfield, had already seen several concerts and had more planned on their calendar including the Michael Feinstein program.

Why come?

“I love Ravinia,” said Dan. “I love music.” He added. “Not necessarily in that order.”

“We come every year for the ‘1812,’” said Donna.

1812 overture blast (Photo by  Ravinia Festival/Kyle Dunleavy)
1812 overture blast (Photo by Ravinia Festival/Kyle Dunleavy)

 

To see the schedule for remaining Ravinia concerts visit Ravinia Festival/calendar.

Jodie Jacobs

A Ravinia night to remember: Emanuel Ax plays Brahms Concerto 2 and Rafael Payare conducts CSO in Beethoven Symphony 3

 

Rafael Payare conducts the CSO in Beethoven's Symphony No. 3 at Ravinia Festival. (photo credit Ravinia Festival and Kyle Dunleavy)
Rafael Payare conducts the CSO in Beethoven’s Symphony No. 3 at Ravinia Festival. (photo credit Ravinia Festival and Kyle Dunleavy)

 

Chicago Symphony Orchestra, conductor Rafael Payare and pianist Emanuel Ax gave bravo performances at Ravinia Festival Aug. 2, 2019.

Payare, a Venezuelan conductor who has led ensembles and orchestras across the globe and will lead the San Diego Symphony as its new music director this fall, infused Beethoven’s Symphony No. 3 with extra exuberance and sensitivity to its Napoleonic themes.

Although the themes are familiar to classical musical lovers, Eroica in less able hands has sometimes come across as too predictable and automatically played. But when Payare opened the symphony by (I think appropriately) upping the pace on the Allegro con brio, there was a new feeling of excitement stretching across the Pavilion and lawn.

It was in perfect contrast to what became the very expressive Marcia funebre movement in C minor followed by the CSO strings’ nimble and delightful Scherzo that went back to the symphony’s key of E-flat major.

During the symphony, the cameras for ravinia’s screens’ focused on the orchestra’s exceptional oboist, flutist and French horns.

They deserved the extra acknowledgement accorded them by Payare after the heroic symphony’s exuberant final notes drew enthusiastic applause.

 

Emanuel Ax plays Brahms Piano Concerto No. 2 at Ravinia. Rafael Payare conducts the CSO in Beethoven's Symphony No. 3 at Ravinia Festival. (Ravinia Festival and Kyle Dunleavy photo)
Emanuel Ax plays Brahms Piano Concerto No. 2 at Ravinia. Rafael Payare conducts the CSO in Beethoven’s Symphony No. 3 at Ravinia Festival. (Ravinia Festival and Kyle Dunleavy photo)

 

This interpretation of Beethoven’s epic, groundbreaking symphony was among the best I’ve heard.

It would take another epic performance to complement the first half the program.

And that is what Ax delivered with his extraordinary Brahm’s Concerto No. 2 in B –flat major.

Back at Ravinia for his 28th appearance since 1975, the 70-year-old Ax still has the powerful hands, agile fingers and emotion variations that won the Arthur Rubinstein International Piano Master Competition in Tel Aviv in the 1974 and the Avery Fisher Prize in New York City in 1979.

Among the finest pianists of our time, Ax appeared to be having a love affair with the piano (or with Brahms) on Friday.

From hands crossing to land powerful chords and fingers flying across the keys to their producing lyrical waterfalls and gentle caresses, Ax married technique with sensitivity.

What audiences may not recall is that Brahms pays homage in Piano Concerto No. 2 to another instrument he likes to write for, the cello. In notes on the work, Brahms calls the section of the Andante that features a cello solo, a “concerto within a concerto.”

Ax is familiar with Brahms piano cello pairings. As a frequent partner with cellist Yo Yo Ma, the duo has won several Grammy Awards for their Brahms recordings.

As the strains of the last notes of Brahms second piano concerto echoed through the Pavilion, the audience rose, almost as one body, applauding loudly and long.

The double bill of bravo performances made Friday at Ravinia a night to remember.

(Friday was the second night to feature Beethoven symphonies and Brahms concertos. Thursday’s concert was Beethoven’s Symphony No. 5 in C minor followed by pianist Yefim Bronfman playing Brahms’ Concerto No. 1 in D minor.)

For more Ravinia concerts visit Ravinia/Calendar.

Jodie Jacobs

 

 

Around town from an art fest and Ravinia to Edge Fest and Egypt

 

The Martin Theater is near the Ravinia Festival Gate at the Metra train stop, accessible by St. Johns Avenue and the Green Bay Road parking lot plus Ravinia bus shuttles. (Photo by J Jacobs)
The Martin Theatre  is near the Ravinia Festival Gate at the Metra train stop, accessible by St. Johns Avenue and the Green Bay Road parking lot plus Ravinia bus shuttles. (Photo by J Jacobs)

 

Celebrate summer while it’s here.  This weekend, art booths fill downtown Glencoe and Renee Fleming is doing Stoppard’s “Penelope” at Ravinia. Next week the Oriental Institute in Hyde Park has Hieroglyphics for kids and the Edgewater neighborhood celebrates summer with food,beverages and music

 

What: Festival of Art

When: July 27-28 from 10 a.m. to 5 p.m. both days.

Where: Center point is 700 Vernon Ave. near Park Avenue west of Green Bay Road in north suburban Glencoe.

Admission: free

Info at: Amdur Productions/Glencoe.

 

What: Renee Fleming and actress Jennifer Ehle perform Tom Stoppard’s and Andre Previn’s “Penelope” (based on Homer’s Odyseey) at Ravinia Festival.

When: July 28, 4 p.m.

Where: Martin Theatre and carried on large screens on the lawn at Ravinia Festival Park in north suburban Highland Park between Green Bay and Sheridan Roads north of Lake Cook Road.

Admission: Lawn $10 (as of this printing the Martin is sold out)

Info at: Ravinia Festival/Renee Fleming

 

What: Intro to Hieroglyphs Family Workshop with an Egyptologist (recommended for ages 8-12), then go into the Oriental Institute’s galleries to translate artifacts.

When: Aug. 1, 10:30a.m. to 12:30 p.m.

Where: Oriental Institute of the University of Chicago, 1155 E. 58th St., Chicago

Admission: Registration needed. General $14, members $10 (child and one adult)

Info at: Intro to Hieroglyphs

 

What: EdgeFest, a music, food, brews party thrown by the Edgewater Chamber of Commerce

When: Aug. 3-4 from noon to 10 p.m. Saturday and noon to 9 p.m. Sunday (Pet Parade Sunday 4 p.m.

Where: Broadway from Thorndale to Ardmore

Admission: Suggested $5 donation at gate (donors receive community discount Edge Card.

Info at: Edgewater/Edgefest.

 

Jodie Jacobs

 

Around Town has three exceptional theater events to put on the calendar

 

Jay Pritzker Pavilion is a concert venue in Millennium Park designed by Fran Gehry. (J Jacobs photo)
Jay Pritzker Pavilion is a concert venue in Millennium Park designed by Fran Gehry. (J Jacobs photo)

Think “The Music Man.” Then add such shows as “Come From Away,” “Frozen” and “Hamilton.” But as the guy on TV says, “Wait, there’s more.” Add in opera star Maria Callas to make three spectacular evenings – one in July, another in August and the third one in early September.

 

  “The Music Man”

Goodman Theatre and the Department of Cultural Affairs and Special Events (DCASE) has a double bill of a short performance by “The Music Man” cast members followed by a screening of the movie featuring Robert Preston and Shirley Jones.

When: July 23, 6:30 p.m. remarks, 6:34 p.m. performance and 6:45 p.m. film.

Where: The Jay Pritzker Pavilion and The Great Lawn at Millennium Park at Randolph Street and Michigan Avenue.

Admission: Free

For park information visit Millennium Park For the film series visit Choose Chicago/Millennium Park/Summer films.  For Goodman Theatre’s “The Music Man” visit GoodmanTheatre.

 

Broadway In Chicago Summer Concert (Coming shows peek)

Co-sponsored by DCASE and ABC 7, several shows from Broadway In Chicago’s 2019-2020 season will be live in concert including “The Phantom of the Opera, The Band’s visit, Summer: the Donna summer Musical, “Once on this Island, “My Fair Lady”, “Mean Girls,” Hamilton” Fronzen, “Dear Evan Hansen and “Come from Away.”

When: Aug. 12 at 6:15 p.m

Where: Jay Pritzker Pavilion in Millennium Park at 201 E. randolphg st.

Admission: Free.

Visit www.millenniumpark.org For more information on the Summer Concert and Broadway In Chicago, visit www.BroadwayInChicago.com.

 

Diva Maria Callas

Some of Callas’ greatest performances have been digitally re-mastered using state-of-the-art 3D hologram technology by Base Hologram Productions. They will be backed by the Lyric Opera Orchestra conducted by Elmear Noone.

When: Sept 7, 2019 at 7:30 p.m.

Where: Lyric Opera House, 20 N. Wacker Drive.

Co-presented by Lyric Opera of Chicago and Live Nation.

Admission by tickets. Visit  Lyric Opera/Callas

 

Jodie Jacobs

Around town end of June

A parade of trombones, a tap dance opera and a dog invite that includes you close out June with interesting, fun events.

 

Goodman Theatre os doing a revival of 'The Music Man.' (Goodman Theatre Photo)
Goodman Theatre os doing a revival of ‘The Music Man.’ (Goodman Theatre Photo)

76 Trombones

What: To celebrate the revival of “The Music Man” that starts Saturday in its Albert Theatre, Goodman Theatre will hold a parade of more than 76 Chicago area trombonists and percussionists performing the show’s famed tune.

When: Friday, June 28 beginning at 1 p.m.

Where: The parade tarts at Goodman theatre, 170 N. Dearborn, then continues to Daley Plaza (50 N. Washington St., then returns to Goodman about 1:15 to do an encore .

Who:  The parade is in partnership with Lakeside Pride Music Ensembles that includes LGBTQ members and friends.

 

Chicago Tap Company's new production ends the last weekend of June 2019. (Chicago Tap Company photo)
Chicago Tap Company’s new production ends the last weekend of June 2019. (Chicago Tap Company photo)

“Saving the World”

What:  Chicago Tap Theatre’s opera-style dramatic tale of disasters colored by greed and demagoguery.

When: June 28-30 is the last weekend of this production, Friday and Saturday at 7:30 p.m. and Sunday at 3 p.m.

Where: Stage 773, 1225 W. Belmont Ave.

Who: Chicago Tap Theatre is a non-profit organization of tap dance professionals who put on story-based shows.

 

The Patio at Cafe Brauer is a popular pace for drinks or food with a view. (J Jacobs photo)
The Patio at Cafe Brauer is a popular pace for drinks or food with a view. (J Jacobs photo)

The Dog Days of Summer

What: A dog-friendly brunch where they can play and get treats while their people show down.

Where: The Patio that is the rear end of the historic Brauer building in Lincoln Park Zoo at 2021 N. Stockton Dr.

When: June 30 from 9 to 11 a.m. Reservations needed. Call (312) 507-9053

Who: The Patio at Cafe Brauer at the back of a Prairie School-style landmark is a popular summer cocktail and lunch stop that overlooks the pond at the Nature Boardwalk at Lincoln Park Zoo  and its view of the Chicago skyline. Bentley’s Pets will have gift bags for the dogs.

Jodie Jacobs

 

 

 

 

Top leadership at Music Theater Works talk about the company they helmed and their retirement.

 

Past Music theater Works/Light Opera works shows. (Photo courtesy of Music theater Works)
Past Music theater Works/Light Opera Works shows. (Photo courtesy of Music theater Works)

As anyone who attended Music Theater Works’ Frank Loesser’s “How to Succeed in Business Without Really Trying” recently learned, company co-founder and general manager Bridget McDonough and artistic director Rudy Hogenmiller announced they are making this 39th season their last one at the rudder.

They also introduced producing artistic director designate Kyle Dougan who will step into a new position that combines their two job descriptions so that audiences know Music Theater Works will continue when they step down.

What audiences may not know are the back stories.

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Around Town: Free concerts from Bach and Brahms to Mozart and Strauss

Pritzker Pavilion in Millennium Park hoss summer concerts. ( JJacobs photo)
Pritzker Pavilion in Millennium Park hoss summer concerts. ( JJacobs photo)

Classical music lovers listen up. Millennium Park’s Jay Pritzker Pavilion is the place to be this summer.

For example the Grant Park Orchestra with pianist Inon Barnaan will be doing Mozart’s Piano Concerto No 23 on June 19 at 6:30 p.m.

The Chicago Symphony Orchestra and Yo Yo Ma will be performing the Bach Cello Suites as part of his Bach Project, June 20 beginning at 6:30 p.m.

The Grant Park Orchestra Festival concerts continue at the Pritzker Pavilion June 21 through Aug. 17, Wednesdays and Fridays at 6:30 p.m. and Saturdays at 7:30 p.m.

However, Yo Yo Ma continues presentation in Chicago on June 21 as part of his Day of Action.

Yo Yo Ma will be in Chicago June 20-21 with Bach Project and Day of Action. (Photo courtesy of CSOA
Yo Yo Ma will be in Chicago June 20-21 with Bach Project and Day of Action. (Photo by Jason Bell)

From 9 a.m. to 3 p.m. he will be at The Greening in North Lawndale at 19th Street and Kostner Avenue, then will be in conversations and have open mic artists from 1:30 to 3 p.m. at the National Museum of Mexican Art , 1853 W. 19th Street.

He ends in the evening with Make Music Chicago. 5 p.m. at the Riverwalk between Franklin and Lake Streets where he joins local musicians, including members of the Civic Orchestra of Chicago and Little Kids Rock. Visit makemusicchicago.org

 

Jodie Jacobs