Cosi features delightful comic romps and beautiful solos

RECOMMENDED

Wolfang Amadeus Mozart’s title, “Così fan tuttie (Thus do all women) and Lorenzo Da Ponte’s libretto will likely elicit more than a few negative shakes of the head while watching Lyric’s current production.

The title and libretto cast women in general as overly emotional, flighty and needy. However, the opera’s subtitle, “The School for Lovers,” gives a bit more insight into the story line or moral that love can be fickle.

The characters going to “school” on love are Ferrando and Guglielmo who agree to a bet with their friend, the cynical Don Alfonso, that when tested, their fiancées Fiordiligi and Dorabella will not stay faithful for 24 hours.

Cosi fan tutti is at Lyric Opera now through March 16, 2018. Cory Weaver photo
Cosi fan tutti is at Lyric Opera
now through March 16, 2018. Cory Weaver photo

The test proposed by Alfonso is that the two men pretend to go off to war but actually return as two Albanian sailors who then woo each other’s fiancée. If the plot sounds a bit like a Shakespearean comedy, know that at one time there was a proposal to set the music to a libretto that matched the Bard’s “Love Labours Lost.”

But no matter how much the libretto is out of sync with more enlightened views of women, Mozart’s music for Così, expertly conducted by James Gaffigan to bring out all its nuances and playfulness, is a delightful combination of a joyful romp and beautiful solos and duets.

American tenor Andrew Stenson as Ferrando and Canadian baritone Joshua Hopkins as Guglielmo are wonderfully nutty in this revival directed by Bruno Ravella (Original Director Jon Cox).

Puerto Rican-born soprano Ana Maria Martinez as Fiordiligi and French mezzo-soprano Marianne Crebassa as Dorabella are the stand-out voices in this production.

It’s possible the Lyric stage’s depth was not friendly for the male leads or to Italian baritone Allessandro Corbelli who could barely be heard as Don Alfonso. But the female vocalists, including Russian lyric soprano Elena Tsallagova (maid Despina) were always excellent even when blending with the others.

The second act takes on a different tone with the passionate “Fra gli amplessi” (“In the embraces”) duet of Fiordiligi and Ferrando that reveals real rather than the type of put-on emotions  displayed as a farce in Act I. And then there is Dorabella and Guglielmo’s lovely “Il core vi dono” (I give you a heart) duet where a medallion she was given with her lover’s picture in Act I is now exchanged for a heart locket.

Robert Perdzioa’s set design of a fancy, Mediterranean resort works quite well with Mozart’s plot as does Perdziols’s costume design for this Così’s placement in 1914.

The problem I have with the opera is not the Lyric production but the libretto and its unsatisfying ending which I won’t reveal here.

“Così fan tuttie” is at the Lyric Opera of Chicago, 20 N. Wacker Drive, now through March 16, 2018. Running time; 3 hours, 25 minutes with 1 intermission. For tickets and other information call 312.827.5600 and visit Lyric Opera Cosi.

Jodie Jacobs

For more shows visit TheatreinChicago

 

 

Four Chicago shows to see before they close

With so many shows in Chicago it is easy to miss one you really meant to see. So here is a reminder of really fine productions that end this month of January, 2018.

‘Turandot,’  Puccini’s glorious fantasy musical portrayal of a cold-hearted princess in ancient China is at the Lyric Opera for just two more performances: Jan. 21 and Jan. 28. For tickets and more information visit Lyric Turandot and Lyric Opera.

 Amber Wagner, Stefano La Colla and Maria Agresta in Turandot. Todd Rosenberg photo.

Amber Wagner, Stefano La Colla and Maria Agresta in Turandot. © Todd Rosenberg Photography

‘Wicked,’ that musical story about the two witches of OZ, closes at the Oriental Theatre, Jan. 21. For more information and tickets visit Broadway in Chicago Wicked.

‘BLKS,’ a play that tells about a day in the life of four young black women in New York City is at Steppenwolf just through Jan. 21. For more information and tickets visit Steppenwolf.

‘Beautiful: The Carole King Musical’ has its final performance at the Cadillac Palace Theatre  Jan. 28. For more information and tickets visit Broadway in Chicago Beautiful.

For more shows, visit TheatreinChicago.

 

 

Turandot is a Grand Opera

Photos courtesy of Lyric website
Photos courtesy of Lyric

RECOMMENDED

For shear spectacle “Turandot” at the Lyric Opera of Chicago is worth seeing.

Chinese Princess, Turandot, has proffered a challenge to all eligible Princes, that he who can successfully answer three riddles asked by her shall win her love. Unsuccessful suitors will forfeit their life by beheading at sunrise.

The bigger question is whether Turandot is actually interested in love or is she more interested in exacting revenge on all men for the death of her ancestor Princess Lo-u-Ling?

Enter Prince Calaf, a stranger who is immediately smitten by Turandot. He cannot resist the challenge in spite of the pleading of the Ping, Pang and Pong whose duty it is to prepare all matters related to either the execution or the wedding.

Weary of the many deaths, the trio attempts to lure Calaf with the promise of hundreds of other beautiful women but to no avail. Neither can Calaf be dissuaded by his father’s faithful slave woman Liu whose love for him is pure and deep, based on the fact that he smiled at her.

Photo courtesy of Lyric website
Photo courtesy of Lyric website

With an impressive, if somewhat cliché, set by production designer Allen Charles Klein and lighting by Chris Maravich, once the curtain is up and the chorus begins to sing the audience is immediately drawn to the performance.

The large lighted glass sphere center stage adds to the exotic illusion of the intersection of heaven and earth as well as the theme of hot and cold. The use of wood, moonlight and lantern-light combined with the muted tones of the costumes contributes to a feeling of a mythological ancient Chinese experience with an overarching sense of foreboding.

Soprano Amber Wagner who appears in the title role has a powerful voice that soars above the entire company providing the character of Turandot with a commanding vocal presence the role requires.

Unfortunately, she has difficulty projecting the complex dichotomy required to be a convincing alluring “ice princess.”  This was compounded by her costume being the only one, including the headdress, that seemed inappropriate and did not contribute to the realization of the essence of her character.

Stefano La Colla as Calaf in his Lyric debut is charming though he never really commands the stage. In Act One he was lost in the crowd and at times he seemed unsure where he should be. In spite of that, the much anticipated “Nessun Dorma” in Act Three does not disappoint.

Also appearing in her Lyric debut is soprano Maria Agresta as Liu who offers what is perhaps the most dramatic performance. This is due in large part to the sympathetic nature of the role itself but also to her sensitive portrayal and beautiful voice.

Ping, Pang, and Pong played by Zachary Nelson, Rodell Rosel, and Keith Jameson are veterans of the Lyric who provide wonderful energy and comic relief.

The Lyric chorus and orchestra are outstanding as always. At times the stage is crowded with more than 75 singers including the addition of more than 20 members of the Chicago Children’s Chorus who contribute another level of texture to the vocal tapestry.

Puccini’s score riddled with Asian influences is not driven by melody but is rather a complex nuanced series of compositions more reminiscent of a symphony.  This really gives the orchestra an opportunity to shine because they are as important as the singers not simply accompanists.

The third act is dominated by “Nessun Dorma” which is perhaps the most melodious number. It is cleverly reprised for the finale leaving the production with a powerful musical finish and the audience with a tune we can all hum on the way out the door.

This “commercial” ending is a bit out of step and perhaps belies the fact that composer Giacomo Puccini died before he could finish the opera.

The story has a few moral and ethnocentric issues that may be considered to be in conflict with modern sensibilities. This can be a distraction for some but consider using it as an opportunity for thoughtful contemplation and discussion of social change while you simply enjoy the music and the shear spectacle of a grand tradition.

“Turandot” is at the Lyric Opera House, 20 N. Wacker Dr., Chicago, through January 27, 2018. Running time:  2 hours, 50 minutes with two intermissions.  For tickets and more information visit Lyric Opera.

Guest Reviewer: Reno Lovison

For more shows, visit TheatreinChicago.

‘Pearl Fishers’ soars at Lyric

HIGHLY RECOMMENDED

No question that opera goers and even many members of the general public are familiar with the music of Georges Bizet’s “Carmen.” Arguably less known is his earlier work, “Les pêcheurs de perles” (The Pearl Fishers).

Now appearing at the Lyric Opera of Chicago, the opera is particularly known for “Au fond du temple saint,” my favorite duet for tenor and baritone. Its gorgeous, lyrical strains are delightfully repeated at the end of the opera.

Marina Rebeka and Mariusz Kwiecien in The Pearl Fishers at Lyric Opera. Todd Rosenberg photo
Marina Rebeka and Mariusz Kwiecien in ‘The Pearl Fishers’ at Lyric Opera. Todd Rosenberg photo

But, featuring Evanston born tenor Matthew Polenzai as Nadir, Polish baritone Mariusz Kwiecien as his friend, Zurga, and Latvian soprano Marina Rebeka as Leïla, the priestess both men love, what the Lyric production really accomplishes is to remind music lovers that the entire opera contains one beautiful aria after an other.

There is Polenzai’s bravissimo rendering of “Je crois entendre encore” and Rebeka’s passionate “Comme autrefois dans la nuit somber,” then her duet with Nadir, “Léïla! Léïla!…Dieu puissant, le voilà!”.

The production’s charmingly bold sets and costumes, both designed by British fashion artist Zandra Rhodes, reflect the joyous, sunlit culture of an exotic Ceylon (now Sri Lanka).

Directed by Andrew Sinclair, the Lyric production was first staged at the San Diego Opera in 2004.

Comparatively short at two hours, 25 minutes including a 30 minute intermission, it is sung in French aided by English subtitles using a libretto by Michel Carré  and Eugene Cormon.

This opera, like many of the genre’s plots, whirls around forbidden love and its consequences. The story pits two friends against each other as they grapple with the consequences of loving the priestess who is supposed to protect Ceylon fishermen from the island’s treacherous waters. If she breaks her vow she could die and so would the man she loved.

When it happens and is witnessed by the high priest of Brahma sung by Italian bass, Andrea Silvesrtrelli, he decrees the lovers’ death.

The orchestra led by Andrew Davis and the chorus under Michael Black were both superb. The only problem I had with the production were the dance scenes. They may be true to the culture but they detract from rather than add to the opera.

DETAILS: ‘The Pearl Fishers’ is at the Lyric Opera House, 20 N. Wacker Dr., Chicago, through Dec. 10, 2017. Running time: 2 hours, 25 minutes with one intermission.  For tickets and more information visit Lyric Opera.

The production, seen on Nov. 22, 2017, was dedicated to Siberian baritone Dmitri Hvorostovsky whose death by brain cancer was announced in London that morning.

Jodie Jacobs

For more shows visit TheatreinChicago.

Give us back the earth . . .

 

RECOMMENDED

Many themes in the arts have universal relevance. ‘The Consul,’ currently in production by the Chicago Opera Theater, is a great example.

People from villages, cities, and countries all over the world can identify with this modern opera composed by Gian Carlo Menotti.  Based on immigrants and political refugees, the opera takes place in an anonymous totalitarian country.

Audrey Babcock (Secretary), Justin Ryan (John Sorel) and Patricia Racette (Magda Sorel) in 'The Consul', a Chicago Opera theater production. Liz Lauren photo
Audrey Babcock (Secretary), Justin Ryan (John Sorel) and Patricia Racette (Magda Sorel) in ‘The Consul’, a Chicago Opera theater production. Liz Lauren photo

‘The Consul’ debuted in 1950 and went on to win the New York Drama Critic Circle’s award as the Best Musical Play. Menotti also garnered a Pulitzer Prize. ‘The Consul’ was described by The New York Times as “an opera of eloquence . . . written from the heart.”  Andreas Mitisek, the director, reflected on his own experiences as an immigrant which drew him to this opera.

Award-winning Metropolitan Opera Soprano Patricia Racette plays Magda Sorel, the wife of  John, played by Justin Ryan, a dissident who escapes from the police, hurries home and explains to his wife that she must apply for a visa in order to leave the country. John tells Magda to take their frail infant and his mother to the consulate and while they are awaiting their visas, he will hide at the border’s edge and join them once they’ve safely crossed over.

At the consul’s office, Magda fills out the paperwork and submits her application to the clerk and then joins the large group of refugees.   The secretary gains everyone’s attention and announces that she cannot guarantee that anyone will receive their visas.

While Magda’s child’s health is failing, she is approached by the police who want information about John, but she refuses to answer any of their questions.

The brilliant voices and beautiful music conducted by Kristof van Grysperre are what increases the emotional depth of this exceptional story. After both her child and mother-in-law pass away, Magda cannot bear to imagine any additional losses, as she descends into a morose state of depression.

‘The Consul’ remains relevant today, as Magda sings “Give us back the earth and make us free.”  Unfortunately, our world’s refugees do not have the libretto, arias, scenic design and beauty that this opera provides its audience.

In addition to Patricia Racette and Justin Ryan, the rest of the marvelous performers are Audrey Babcock, Victoria Livengood, Cedric Berry, Kyle Knapp, Vince Wallace, Kimberly E. Jones, Kira Dills-DeSurra, Zacharias Niedzwiecki, and Lani Stait.

DETAILS: ‘The Consul’is at the Studebaker Theater, 410 S. Michigan Ave. through Nov. 12, 2017. For tickets and more information, call (312) 704-8414 or visit Chicago Opera Theater.

Francine Pappadis Friedman

For more shows visit TheatreinChicago.

 

Festivals and shows plus happenings around town

 

So that in the coming weeks you don’t have to say “oops, I forgot” or “oh, I wish I had known,” here are some fun and interesting choices of what to do now through Nov. 5, 2017.

1000 jack-o'-lanterns light up Chicago Botanic Garden paths.
1000 jack-o’-lanterns light up Chicago Botanic Garden paths.

 

Short Story Theatre

Short story theatres are trending now in the Chicago area. (See StorySlam). Highwood, a tiny city between Highland Park and Lake Forest known for its restaurants, also hosts short story telling.

Its next time is Oct. 26 when the theme is Survival. Stories are likely to be about lost wives, geese, road trips or angels.

So come to Miramar Bistro at 301 Waukegan Ave. east of the North Line train tracks at 7:30 p.m. Or come earlier and eat there first. Just tell them when making a reservation that you are staying for the Short Story Theatre. Show tickets are $10 at the door, cash or check. Phone 847-433-1078.

 

Boo at the Chicago Botanic Garden

Hand-carved pumpkins line the paths Oct. 26-29 for Night of 10000 Jack-O-Lanterns. Tickets are date and time specific so get yours before you go to avoid disappointment. Times are from 6:30 to 10:30 p.m.

The Chicago Botanic Garden is at 1000 Lake Cook Rd., Glencoe, east of Edens Expressway. For tickets and other information call (847) 835-5440 or visit CBGHalloween.

 

Broadway in Chicago

At the Cadillac Palace Theatre, ‘Les Miserables, Cameron Mackintosh’s new production that is garnering rave reviews, closes Oct. 29. For tickets visit BroadwayinChicago.

Then, School of Rock’ an exuberant show with new songs by Andrew Lloyd Webber opens Nov. 1. For tickets and other information visit Broadway Rock.

Rigoletto (Quinn Kelsey) center and couriers in )Lyric Opera production of Verdi's Rigoletto. (Todd Rosenberg photo)
Rigoletto (Quinn Kelsey) center and couriers in Lyric Opera production of Verdi’s Rigoletto. (Todd Rosenberg photo)

 

Verdi and Wagner

If you enjoy opera at its best know that Lyric Opera of Chicago has  openings, closings and reviews similar to many downtown shows. Verdi’s ‘Rigoletto’ that also received rave reviews, has only three performances left: Oct. 26, Oct. 30 and Nov. 3. Wagner’s next Ring cycle opera, ‘Die Walküre,’ opens Nov. 1. For tickets and other information visit Lyric Opera.

 

Sip and Stroll Festival

Visit more than restaurants and other businesses in Lincoln Square for the semi-annual Ravenswood Wine Stroll. Nov. 2 from 6:30 to 9:30 p.m. Tickets are $45 and are for one of five different routes: three in Lincoln Square and two in Ravenswood. For tickets and route information see Lincoln Square Wine Stroll.

 

Really old and last century modern

Winnetka Community House’s famed Antiques + Modernism show  runs Nov. 3-5 with an evening, first peek party Nov. 2. Because it’s a 60-year-old nationally known event, dealers bring their fine antiques and excellent mid-last-century modernism jewelry and furniture. For ticket and other information visit Winnetka Show.

SOFA shows off really fine pieces for the home and office. Jodie Jacobs photo
SOFA shows off really fine pieces for the home and office.
Jodie Jacobs photo

 

Where high-end art and superior design mix

Known as SOFA for bringing together Sculpture Objects Fine Art plus Design, the annual Chicago event is back at Navy Pier Nov. 2-5. Go upstairs to the Festival Hall to see what the international galleries say are trending now in the art world. For tickets and other information visit SOFA.

Jodie Jacobs

Dazzling voices seduce Lyric audience

HIGHLY RECOMMENDED

Bitterness, love, seduction, revenge and sorrow seldom have sounded so magnificent as they did Saturday during Lyric Opera’s opening night of “Rigoletto.”

With baritone Quinn Kelsey as jester Rigoletto, tenor Matthew Polenzani as Duke of Mantua and soprano Rosa Feola as Rigoletto’s daughter, Gilda, the only thing that could match the memorable experience is to have a recording to play their performances over and over.

Rigoletto (Quinn Kelsey) center, Duke of Mantana (Matthew Polenzani) right of Rigoletto and couriers in )Lyric Opera production of Verdi's Rigoletto. (Todd Rosenberg photo)
Rigoletto (Quinn Kelsey) center, Duke of Mantana (Matthew Polenzani) right of Rigoletto and couriers in Lyric Opera production of Verdi’s Rigoletto. (Todd Rosenberg photo)

However, opening night, Oct. 7, was on radio (for anyone to record) and there still are seven more performances through Nov. 3, 2017.

The opening night audience didn’t wait for the famed “La donna è mobile” sung by the Duke or the beautiful “Caro nome” by Gilda to yell an emphatic “Bravo.” Enthusiastic applause  followed all  arias of these virtuoso performers and at the quartet near the end.

Written by Giuseppe Verdi in the mid 1800’s, “Rigoletto’s’ music and drama has been appealing to opera lovers since its premiere in Venice in 1851. Melodrama might be a better description but then, many operatic themes fit that category.

To quickly recap, Rigoletto, with a libretto by Francesco Mavia Piave, is based on Victor Hugo’s somewhat scandalous  “Le roi s’amuse.” Verdi substituted a licentious duke for the king.

The character Rigoletto is a bitter, hunchbacked jester who dislikes his position, makes fun of the Duke’s courtiers he is supposed to entertain and is disliked in return.

His only love is for his daughter, Gilda whom he tries to keep from harm by not allowing her out except for church. Because she had fallen in love with the Duke when seeing him stare at her in church, she is happy he comes to the house where her father has been keeping her.

Gilda is abducted by the couriers who mistakenly believe she is Rigoletto’s mistress and she is brought to the court where it is assumed the Duke ravishes her.

Her distraught father plots revenge using Sparafucile (Alexander Tsymbalyuk), an assassin he met earlier. Gilda who is supposed to dress like a boy and meet up with her father in Verona, overhears the assassin’s plan to stab the Duke.

Even though she felt betrayed by the Duke who fell for the assassin’s seductive sister, Maddalena (Zanda Svede), Gilda still loved him and deliberately stepped into Sparafucile’s house to be murdered instead. She had heard Sparafucile agree to kill the next person who walked in because he needed a body and Maddalena had pleaded for the Duke’s life.

The tragedy is blamed on a curse by Count Monterone (Todd Thomas) who had cursed the Duke and Rigoletto after his own daughter had been seduced by the Duke, encouraged by Rigoletto.

Directed by E. Loren Meeker, conducted by Mario Armiliato with stylisticly simple but dramatic back  drops by Michael Yeargan, this new-to Lyric production should match opera aficionados’ expectations and attract new opera goers.

DETAILS: “Rigoletto” is at the Lyric Opera House (also called the Civic Opera House), 20 N. Wacker Dr., Chicago, now through Nov. 3, 2017. Running time is 2 hours, 33 minutes including one intermission. For tickets and more information call (312) 827.-5600 and visit Lyric Opera Rigoletto. For Lyric season visit Lyric.

 

 

Contemporary retelling of Greek myth opens Lyric season

 

RECOMMENDED

Lauren Snouffer (Amour) l, Andriana Chuchman (Eurydice) and Dimitry Korchak (Orhee) at Lyric Opera. (Todd Rosenberg photos)
Lauren Snouffer (Amour) l, Andriana Chuchman (Eurydice) and Dimitry Korchak (Orphee) at Lyric Opera. (Todd Rosenberg photos)

An extraordinary pairing of the Joffrey Ballet with the exceptional voice of tenor Dimitry Korchak opened Lyric Opera’s 2017-2018 season Saturday, Sept. 23.

The opera is the August 1774 Paris version of Chrisoph Willibald Gluck’s ‘Orphée et Eurydice’ with a libretto by Pierre-Louis Moline. However, the production is all John Neumeier.

Longtime director and chief choreographer of the Hamburg Ballet, Neurmeier did the choreography, set, lighting and costume design and directed the production.

In his contemporary production, Orphée is a choreographer rehearsing a ballet based on Arnold Bocklin’s painting, “The Isle of the Dead.” His wife, Eurydice, is his star but when she arrives late they argue and she storms off.

After an impressive auto crash that pushes through the scenery, Eurydice is shown thrown from the car and dead on the ground.

Orphée’s assistant is a jean-clad Amour, with a sprite-like Peter Pan quality. Armour tells him to go to Hades and bring back Eurydice.

Mirrored moving panels create an interesting background in the rehearsal studio. That is, except when they reflect the lights from the opera house’s tiers.

Dimitry Korchak (Orphee) and Andriana Chuchman) with some Joffrey Ballet members.
Dimitry Korchak (Orphee) and Andriana Chuchman) with some Joffrey Ballet members.

Grey and white cutaway panels provide spaces that allow a small stage focus on Orphées bedroom and a moving path for him and Eurydice to wander from Elysium back to life on earth.

Even with its modern take, audiences delighted to get both world-class ballet with the exquisite voices of Korchak as Orphée, Andriana Chuchman as Eurydice and  Lauren Snouffer as Amour, will love the entire experience.

Guests who normally come just for the opera, might find some of the ballet sequences and meanderings to be a bit lengthy. Gluck added ballet sequences to this version including   the “Dance of the Furies” and the “Dance of the Blessed Spirits.” The final dance sequence of Orphée’s ballet is also very long.

Even though the Joffrey dancers perfectly execute what was choreographed, viewers might wonder at some of the mechanical-toy style of some of the movements in the “Dance of the Furies” and at the mix of traditional and contemporary ballet.

The story, frequently told in opera, theater and literature, goes back to Greek mythology when Orpheus, son of Apollo, falls in love and marries the beautiful Eurydice. But when she dies (by a snake bite in the story and a car accident in the Lyric opera) Orpheus is told by Apollo in the myth but by Amour (think Cupid or Eros) in the Lyric opera  to go to Hades and try to bring her back.

Andriana Chuchman, Dimitrhy Korchak and Joffrey Ballet in Lyric opener.
Andriana Chuchman, Dimitrhy Korchak and Joffrey Ballet in Lyric opener.

The myth has Orpheus making his way past the Furies and the three-headed Cerberus (three dancers) through his beautiful playing of lyre. He does so in this opera version with his sorrowful singing.

The obstacle is he can only take Eurydice back with him if he doesn’t look at her or explain that as she follows him out. Eurydice doesn’t understand so cries and bitterly complains until he finally can’t resist so looks back and she dies. Orpheus leaves alone.

At the Lyric Korchak beautifully sings “Che farò senza Euridice?”/”J’ai perdu mon Eurydice” (“What shall I do without Euridice?”/”I have lost my Euridice”). Earlier, before going to Hades, he expressed his love in the magnificent aria “Chiamo il mio ben”/”Objet de mon amour.”

In one version Amour feels sorry for him and returns Eurydice to life. In the Neumeier production, she is returned as a ghostly spirit in his heart and in the ballet he created.

During the ballet Victoria Jaiani and partner Temur Suluashvili, are “doubles” of Eurydice and Orphée.

Through it all are the wonderful voices of the Lyric Opera Chorus who are in the pit with maestro Harry Bicket and the fine orchestra.

DETAILS:  “Orphee et Eurydice” by Chrisoph Willibald Gluck’s, is at the Lyhric Opera House, 20 N. Wacker Dr., through Oct. 15, 2017. Running time: 2 hours, 20 minutes with one intermission. For tickets and other information visit Lyric Opera.

 

Lyric tempts with glorious preview and seals the deal with exciting season

The Lyric Opera of Chicago starts its next season Sept. 23, 2017 but you can get a sneak peek on Sept. 8 at 7:30 p.m. with Stars of Lyric Opera at Millennium Park.

Millennium Park hosts Lyric Stars in the Pritzker Pavilion. Photo by Jodie Jacobs
Millennium Park hosts Lyric Stars in the Pritzker Pavilion. Photo by Jodie Jacobs

A free concert in the Jay Pritzker Pavilion, 201 E. Randolph St., Chicago, the preview includes arias from ‘Orphée et Euridice,’ ‘Rigoletto,’ ‘Die Walküre,’ ‘The Pearl Fishers’ and ‘Faust,’ among others.

Led by Maestro Andrew Davis conducting the Lyric Opera Orchestra and Chorus, the program features such stars as Andriana Churchman, Dmitry Korchak, Eric Owens and Matthew Polenzani.

The concert will also be live on 98.7WFMT and at WFMT.com 

For more information visit  Lyric Opera and the Lyric Stars on Facebook.

 

SEASON

The operas listed for the preview offer just a glimpse of the Lyric’s exciting 2017-18 season. The complete opera schedule exhibits a wide range of styles, moods and composers from Bizet and Mozart to Verdi and Wagner.

‘Orphée (Orpheus) and Eurydice’

'Orphee et Eurydice opens Lyric Season. Lyric Opera photo
‘Orphee et Eurydice’ opens Lyric Season. Lyric Opera photo

By Christoph Willibald Gluck, the opera features The Joffrey Ballet, Sept. 23-Oct. 15, 2017. This is the Paris version directed and choreographed by John Neumeier. It is about the mythological Greek musician/poet, Orpheus, trying to bring back his wife, Eurydice, from the Underworld.

‘Rigoletto’
By Giuseppe Verdi, Oct. 7-Nov. 3, 2017, the opera centers on the revenge-bound, tragic court jester, Rigoletto, daughter Gilda and the evil Duke of Mantua. Opera goers will recognize Mantua’s “La donna è mobile,” Gilda’s “Caro nome” and the opera’s famed quartet.

‘Die Walküre’

By Richard Wagner, Nov.1-30, 2017, the opera continues the Lyric’s Ring cycle which started in 2016 with ‘Das Rheingold.’ Wagner’s powerful music exemplifies the strong emotions and character traits of Siegmund, Sieglinde, Brünnhilde, Wotan, Fricka and Hunding.

‘The Pearl Fishers’ (Les pêcheurs de perles)

By Georges Bizet, Nov. 19-Dec. 10, the opera includes this writer’s favorite duet for tenor and baritone. The opera takes place in Ceylon where two friends fall in love with priestess Leila.

 

‘Turandot’ 

'Turandot,' a fairy tale set in a fantasy version of ancient China is offered by the Lyric in the middle of the 2017-18 season. Lyric Opera photo
‘Turandot,’ a fairy tale set in a fantasy version of ancient China is offered by the Lyric in the middle of the 2017-18 season. Lyric Opera photo

 By Giacomo Puccini, Dec. 5, 2017-Jan. 27, 2018, the opera is a fairy tale that takes place in China where the princess asks suitors to answer three riddles. Incorrect answers lead to execution. The opera features the popular aria, “Nessun dorma.”

‘I Puritani’

By Vincenzo Bellini, Feb. 4-28, 2018, is a bel canto opera calling for exceptional technique as it tells the story of lovers in a England divided by the 1600’s civil war.

‘Cos fan tutte’ (The School for Lovers)

By Wolfgang Amadeus Mozart, Feb. 17-March 16, 2018 the opera is a delightful light treat that works well on the heels of ‘I Puritani’s’ high drama. Mozart’s tale delves into intrigue worthy of Shakespeare’s comedies.

‘Faust’

By Charles Gounod, Mar. 3-21, 2018, the opera revolves around the consequences of selling one’s soul to the devil.  A popular story told in the Grand Opera style, it includes Marguerite’s “Jewel Song” and an exceptional final trio.

‘Jesus Christ Superstar’

By Andrew Lloyd Webber and Jim Rice, Apr. 27-May 20, 2018, the season ends with what has become a Lyric tradtition – a Broadway musical production. This season the show is Webber’s rock opera,

The Lyric Opera is at the Civic Opera House, 20 N. Wacker Dr., Chicago. For additional programs and ticket information visit Lyric or call (312)827-5600.

 

 

 

Around Chicago: April 21 and more

Itzhak Perlman comes to Lyric for a matinee April 23, 2017. Photo by Lisa Marie Mazzucco
Itzhak Perlman comes to Lyric for a matinee April 23, 2017. Photo by Lisa Marie Mazzucco

The good news is that Chicago is an arts mecca. The problem news is that Chicago is such an arts mecca that it is arguably impossible to catch all the terrific music, art, dance, theater and exhibits offered in the city and suburbs. Listed here is a sampling of really good events that might not have made it to your arts radar.

 

April 21, 2017

Rita Rudner

Comedienne extraordinaire Rita Rudner will be on stage at the North Shore Center for the Performing Arts, 8 p.m. April 21. A regular act at The Venetian in Las Vegas, Rudner is also a screenwriter, best-selling author, actress and playwright.  For tickets and other information call (847) 673-6300 or visit North Shore Center. The North Shore Center for the Performing Arts is at 9501 Skokie Blvd., Skokie.

 

April 22-23, 2017

The Perfect American

Philip Glass has fictionalized Walt Disney’s final days as an opera. Composed of dreams and nightmares revolving around the fate of his kingdom and legacy, it includes recognizable people. The Chicago Opera Theater is performing the Chicago premiere of ‘The Perfect American’ at the Harris Theater for Music and Dance Saturday at 7:30 p.m. and Sunday at 3 p.m. The Harris is in Millennium Park at 205 E. Randolph Drive, Chicago. For tickets and other information call (312) 334 -7777 or visit Harris.

 

April 23, 2017

Itzhak Perlman

The Lyric Opera of Chicago is bringing the famed violinist to the city for one performance. It is 3 p.m. Sunday at the Civic Opera House. Accompanied by pianist Rohan De Silva,  Perlman’s program includes Vivaldi’s Sonata in A Major for Violin and Continuo, Beethoven’s Sonata for Violin and Piano in F Major, Schumann’s Fantasiestuck, and Ravel’s Sonata for Violin and Piano No. 2 in G Major. The Civic Opera House is at 20 N. Wacker Drive, Chicago. For tickets and other information call (312) 827-5600 or visit Lyric.

Odysseo extends through May 7, 2017. Dan Harper photo
Odysseo extends through May 7, 2017. Dan Harper photo

 

Now through May 7, 2017

Odysseo by Cavalia

‘Odysseo,’ a wondrous equestrian production visiting Chicago from Canada, that also includes acrobatics and aerial performances, has been extend through May 7. Drivers who have gone by Soldier Field or the Museum Campus will have seen the huge white tent where ‘Odysseo’ takes place. But what they might not know unless they’ve attended a show is that it has a 17,500 square foot stage that includes a three-story-high hill and other natural elements. The staging makes attendees feel as if they have been transported to the land where these horses cavort instead of the other way around. Entry is through the parking gates on East 18th Drive. For tickets and other information call (866) 999-8111 or visit Cavalia.

 

April 25 through May 7, 2017

Joffrey Ballet

The Joffrey Ballet is doing ‘Global Visionaries,’ a tribute to several choreographers that includes the world  premiere of a piece by Swedish choreographer Alexander Ekman and the Chicago premier of a ballet by Russian choreographer Yuri Possokhov. Also showcased is Dutch choreographer Annabelle Lopez Ochoa’s ‘Mammatus. The program is at the  Auditorium Theatre 50 E. Congress Parkway, Chicago. For tickets and other information call (312) 341-2310 or visit Auditorium Theatre.