Once the food and fuss of Thanksgiving has been set aside in the fridge and dishwasher there should be more to holiday fun than trying brave the crowds in stores on Friday and shop on line on Monday. There is a wonderful ballet and opera that opens, an art show full of gift ideas and a zoo that becomes magical on the weekends.
One of a Kind Show
Find gifts at the One of a Kind Show at the Mart. Artists bring their sculptures, paintings, jewelry, ceramics, furniture and fashions. And vendors bring gourmet foods. The show is fun and it’s hard to leave without finding something for others or oneself.
The show runs Dec.6 through 9 at Merchandise Mart, on the north side of the Chicago River bordered by Kinzie, Wells and Orleans Streets. For tickets, hours and other information visit One of a Kind Show.
Brookfield Zoo Holiday Magic
Visit Brookfield Zoo when more than a million colorful lights edgbe buildings, form larger-than-life animal shapes and line the paths – thanks to Comed and Meijer. Holiday Magic is on Saturdays and Sundays of December weekends and also Wednesday through Monday of Dec. 26-31.
Tip: look for the Talking Tree and the special entertainment scheduled each weekend. Park and enter at the North Gate, 8400 31st St. (1st Avenue at 31st Street), Brookfield. For admission, hours and a complete schedule of Holiday Magic activities and entertainment call (708) 688-8000 and visit CZS Holiday Magic.
Two December First show openings
Joffrey Ballet’s “The Nutcracker” and the Lyric Opera of Chicago’s “Cinderella” open Dec. 1, 2018. “The Nutcracker” runs through Dec. 30,2018 at the Auditorium Theatre of Roosevelt University on Congress Blvd. at Michigan Avenue. This is the re-imagined staging by choreographer/director Christopher Wheeldon that takes place at the 1893 World’s Fair. The music is Peter Ilyich Tchaikovsky’s famed ballet. For tickets and more information visit Joffrey Nutcracker.
“Cinderella,” Jules Massenet” magical “Cendrillon” comes to life with funny, wicked, charming characters and delightful arias at the Lyric Opera House at six performances from Dec. 1, 2018 to Jan. 20, 2019. For tickets and information visit Lyric Opera Cendrillon.
Opera goers who saw “Das Rheingold” in 2016 and “Die Walküre” in 2017, Lyric’s first two operas segments of Wagner’s four-part “Der Ring des Nibelungen,” will find the next segment, “Siegfried,” still has tall scenery towers bookending the stage. They deliberately remind audiences that Wagner’s The Ring cycle is theater.
It is theatrical and musical drama. But where the productions of the first two segments were highly creative but serious, “Siegfried” is playful, fanciful, serious fun.
The tone is set when a somewhat menacingly large, three-nail-claw and an eye of Fafner, the giant-turned dragon who guards the ring, appear under the curtain and draw audience laughter. The curtain then rises to reveal Siegfried’s playroom of oversized art work and children’s furniture including a tall playpen.
If you have ever been caught in a storm while sailing or found yourself on a rough boat ride in Lake Michigan you can understand why Idomeneo is ready to bargain with Neptune in return for a safe harbor after being tempest tossed while returning from the Trojan War.
Neptune, willing to make a deal with Idomeneo says he will assure his safe arrival at shore but in return the hero must sacrifice the first person he sees.
Like many mythological Greek gods of yore Neptune seems to really enjoy some irony. As it turns out the first person Idomeneo spots is his very own son Idamante. Ah! The stuff great opera is made of.
This Lyric Opera of Chicago’s revival of Wolfgang Amadeus Mozart’s Idomeneo with a stellar cast of singers and awesome orchestra led by Music Director Sir Andrew Davis, is indeed lyrical.Read More
Opera lovers expecting to see the second performance of Puccini’s “La boheme” and the opening of Mozart’s “Idomeneo” last week found that they had to reschedule because the Chicago Federation of Musicians Local #10-208 (CFM) went out on strike last Tuesday. The notes of contention were salary and number of performances.
But after a short week of back and forth negotiations, CFM and the Lyric Opera of Chicago have reached a contract agreement that goes through the 2020-2021 season.
As a result of the compromise, the Lyric Orchestra receives a 5.6 percent weekly salary increase over three years, the orchestra will be reduced by four instead of five musicians beginning next season, the main portion of the opera season will be 22 weeks, instead of 24 and Wagner’s “Ring Cycle will include five additional weeks.
Lyric has added gwo performances of La Boheme in January 2019 to make up for the canceled performances. They are Jan. 29 at 2 p.m. and Jan. 31 at 7 p.m.
Ticket holders to cancelled performances can exchange them this week. New tickets to the added performance go on sale to the public Oct. 19. But tickets for Puccini’s “La Boheme” Wednesday performance and the opening of Mozart’s “Idomeneo” Thursday are now on sale as are other operas. For tickets and more information call (312)827-5600 and visit Lyric Opera.
Giacomo Puccini’s “La bohème”opened the Lyric Opera of Chicago’s 64th season Oct. 6. And what an opening it was.
Not only is the set more creatively stylized from the one opera goers have seen at the Chicago Opera House for more than 40 years, Puccini’s lyrical music and the drama in Luigi Illica and Giuseppe Giacosa’s libretto were also given more depth by English director Richard Jones and Venezuelan-Swiss conductor Domingo Hindoyan then in earlier Lyric productions.
Based on Henri Murger’s “Scènes de la vie de bohème,”the playful interactions of poet Rodolfo (American tenor Michael Fabiano) and his friends, painter Marcello (American baritone Zachary Nelson), musician Schaunard (Puerto Rican baritone Ricardo José Rivera) and philosopher Colline (Romanian bass Adrian Sampetrean), are emphasized as are Marcello’s temperament and Rodolfo’s multi-faceted character.
But what really made the opening a “happening” was Fabiano’s soaring delivery of each aria from “Che gelida manina” to “La più divina delle poesia,” to “Ebenne no, non lo so.”
Thank you, Lyric, for introducing this amazing tenor and his powerfully rich voice to Chicago audiences. Fabiano has already wowed audiences with his Rodolfo at London’s Royal Opera House in 2017 and at the Met earlier in 2018.
Hear the voices from the Broadway and opera stages at two free concerts in Chicago’s Jay Pritzker Paviion at Millennium Park
First, and this comes quickly on the calendar, is the Broadway In Chicago Summer Concert, Aug. 13 at 6:15 p.m. So grab a blanket for the grass or get there early for a seat to hear songs from the following shows on the Broadway tour:
“The Book of Mormon,” “Hello Dolly,” “A Bronx Tale: The Musical,” “ Ronald Dahl’s Charlie and the Chocolate Factory,” “Heartbreak Hotel,” “Dear Evan Hansen,” “Anastasia,” “ Miss Saigon,” “Fiddler on the Roof,” “Cats,” “ Falsettos” and “Come From Away.”
Hosted by ABC 7 Chicago entertainment reporter Janet Davies Pre=Broadway “Tootsie” star Santino Fontana, the concert is sponsored by Channel 7 and presented by the City of Chicago department of cultural Affairs and Special Events.
The Jay Pritzker Pavilion is at 201 E. Randolph St., Chicago but it’s a can’t miss venue because of its billowing steel ribbons topping The Pavilion was designed for Millennium Park by award-winning architect Frank Gehry. For more information visit Broadway In Chicago.Read More
Get the calendar out. It’s time to plan which Ravinia Festival concerts should be marked down, which ones need tickets ahead of time and which might be good for a picnic on the lawn or a seat in the Pavillion. The 2016 season goes from June 1 through Sept. 16.
Donors can get tickets March 20. Tickets will be available to the public May 8 for June and July concerts and May 10 for August and September programs.
New this year: There are more programs inside Bennett Gordon Hall and the Martin Theatre. The season will celebrate the late conductor, composer, pianist Leonard Bernstein’s 100 anniversary of his birth and ; the 30th anniversary of Ravinia’s Steans Music Institute (RSMI).
And the dining spaces and menus have been redone. Park View, a contemporary American restaurant featuring local and seasonal dishes is upstairs the dining pavilion. Mirabelle is still there but specializes in guest chef and themed dishes. The casual Ravina Market take-out menu has expanded but kept popular dishes. Tree Top will go in where PNC Private Dining used to be and the Lawn Bar with indoor and outdoor seating for drinks and small plates will be located on the lower level, north side of the dining Pavilion. The FreehlingRoom is still the Donor Dining Club but will add casual fare on pop concert nights.
Ravinia Festival Park is at the south end of Highland Park from Sheridan Road on the east to Green Bay Road on the west. But best option is to take a free shuttle from the Ravinia or Highland Park train station. For tickets, directions and transportation options visit Ravinia.org.
Enjoy the summer by planning now.
Some Program highlights:
Diana Ross, June 2, Anita Baker June 10, Jackson Brown June 15, Seal June 19, Jill Scott debuts at Ravinia June 22, Roger Daltry and the Who’s Tommy come June 23 and June 25 and Bryan Adams performs June 29.
Buddy Guy and Jonny Lang July 8, Zukeerman Trio does Brahms July 11, Joshua Bell and the CSO performs Bernstein “Candide Overture” and “Serenade” plus Tchaikovsky’s “Pathetique” July 12, The CSO and Chorus do Bernstein’s “Chichester Psalms” and Beethoven’s Ninth Symphony on July 14, vocalist Audra McDonald and the CSO do a “Sunday in the Park program for the Ravinia Gala July 15, the annual Tchaikovsky Spectacular is July 22, Misha and Cipa Dichter are in Bette Hall then Leon Fleisher with Katherine Jacobson Fleisher perform Bach and Brahms in the Martin Theatre July 23, Makoto Ozone plays Gershwin’s “Rhapsody in Blue” July 24, Jorge Fredrico Osorio is in the Martin Theatre for the Debussy and Ponce concert July 26, a double Bernstein program starts with a Young People’s concert in the morning then features his “Mass” in the evening July 28.
Whoopie Goldberg comes Aug. 3, CSO does Stravinsky, Strauss and with Garrick Ohlsson on piano Mozart’s concerto No. 20 Aug. 9, Steve Martin and Martin Short plusThe Steep Canyon Rangers and Jeff Babko are in the Pavilion Aug. 12, Michael Feinstein and Kristin Chenoweth are there Aug. 14, opera stars Frederica Von Stade and Laurie Rubin come Aug. 16, Earth Wind & Fire are in the Pavilion Aug. 17, Sugarland returns Aug. 23, The Beach Boys and Righteous Brothers are in town for an evening of oldies but goodies Aug. 24 there are “Good Vibes with Jason Mraz and Brett Dennen on Aug. 25, Culture Club, B-52s and Thompson Twins perform Aug. 31 and Sep[t. 1
O.A.R. and Matt Nathanson come Sept. 2, Sir James Galway returns Sept. 4, Peter Serkin comes Sept. 5, 50 Cent debuts at Ravinia Sept. 6. Tony Bennett’s stylish songs are Sept.8, “Considering Matthew Shepard by Craig Hella Johnson with the Conspirare chorus (poems set to music to mark the Shepard murder that ledto the Hate Crimes Act Sept . 12 and Los Tigres del Norte end the season Sept. 16.
The only problem with the Lyric Opera’s “Celebrating 100 Years of Bernstein” last Saturday, March 10, was that it was a one-time program.
Mezzo-soprano Susan Graham, baritone Nathan Gunn in the first half featuring Bernstein’s short opera Trouble in Tahiti and joined in the second half in a variety of his works, by Broadway star Kate Baldwin, deserved their prolonged applause and standing ovation. Indeed, the audience didn’t seem to want to leave but encores were not part of the program.
The audience also appreciated the really fine voices of Ryan Opera Center members soprano Diana Newman, tenor Josh Lovell and baritone Emmett O’Hanlon who added a light touch to the opera which has some seriously funny moments. And they, plus Ryan Center members soprano Ann Toomey and bass-baritone Alan Higgs, joined the stars in the second half.
That part of the program was an interesting mix of popular and lesser known works. For instance, it started with Baldwin’s delightful rendition of “I Hate Music” from the 1943 cycle of “Five Kids Songs for Soprano and Piano.”
It would have been interesting to have seen a show of hands from people familiar with the cycle.
Then, the Ryan Center singers did Candide’s “The Best of All Possible Worlds.” They and the leads closed with the lovely and appropriate “Some Other Time” from On the Town.
What came in between was glorious.
Baldwin sang Eileen’s charming “A Little Bit in Love” from Wonderful Town followed by Gunn doing a fine “Lonely Town” from On the Town.
Based on intermission chat and looks through the program, many in the audience were hoping for something from West Side Story. There were two selections.
Baldwin and Graham each soloed and then beautifully blended their voices in “I Have a Love.” Then Baldwin did a remarkable “Somewhere” that moved people to tears.
At this point, about half way through the second half, comic contrast was needed and provided by Gunn coming up through the floor as Captain Hook from Peter Pan.
Bernstein wrote “Captain Hook’s Soliloquy” for the original 1950 Broadway show but it was supposedly eliminated as unworkable with the voice of Boris Karloff who played Hook.
Wearing a wig that resembled a large black mop, Gunn hilariously interpreted the song somewhat in the manner of King George in Lin-Manuel Miranda’s Hamilton.
Other songs seldom heard were “So Pretty” written by Bernstein for Barbra Streisand to sing in a peace protest against the Vietnam War that was sung by Baldwin and ”To What You Said,” a Walt Whitman verse put to music in Songfest that touched on homosexual attraction and sung by Nathan Gunn.
Peter Pan was on the menu again. This time with Graham singing “Dream with Me.”
A show which didn’t make it long on Broadway was 1600 Pennsylvania Avenue written with Alan Jay Lerner in 1976. But after cuts and revisions it was released in 1990 as A White House Cantata.
Kate Baldwin as Abigail Adams sang “Take Care of this House” which is on the Cantata release. A lovely piece, the song is still heard on occasion.
Before the company’s “Some Other time” closing number, Baldwin ended with another lively ditty, “I Can Cook, Too” from On the Town.
There were many reasons the program left people wanting more.
There was the spot-on direction of Peggy Hickey who had the singers actively move around the stage as if in a musical instead of a concert. The staging was also clever with props and furniture moved on, off and coming up from below.
Another plus was Conductor David Chase’s warm interaction with the audience. He introduced and explained the opera and the musical numbers’ background. Experienced with working on musicals as conductor, arranger or supervisor of more than 30 Broadway productions, Chase had a relaxed attitude that made the entire program fun.
Go to Rosehill Cemetery, 5800 N. Ravenswood Ave., March 10 or 11 for writer/performer Neil Tobin’s Necromancer: Near Death Experience, an interactive Magical theatre about life and death. The performances begin at 3 p.m. in the May Chapel and lasts an hour. (Also takes place April 14-15 and May 5-6). For tickets and other information visit Near Death X.
Male relationship depicted through opera
Hear “Fellow Travelers,” a new opera by Gregory Spears with a libretto by Greg Pierce at the Athenaeum Theatre, 2936 N Southport Ave., March 17-25. Presented by Lyric Unlimited, an arm of the Lyric Opera of Chicago, the opera is based on the Thomas Mallon novel about two men in love during the 1950s McCarthy era in Washington D.C. For tickets and more information visit Lyric Opera/Fellow Travelers.
Native art combines with immigration
See Contemporary Native American Art at the Art Center of Highland Park, 1957 Sheridan Rd., Highland Park. The exhibit, open to the public March 10 and continuing through April 6, 2018, combines with personal stories of Immigration. For more information call (847) 432-1888 and visit TAC.
The first clue that the Lyric’s 2018 production of Charles Gounod’s ‘Faust’ will have an unusual rendering comes immediately in the opening scene during the opera’s lyrical introductory music.
While Faust, portrayed as an aged artist and sculptor, is lying on a bed in his studio, a video, possibly of his anxious dreams about the world outside, is projected on a large drape at the other side of the room.
He wakes and while singing of his frustration of a loveless life (Rien! En vain j’interroge ) climbs his scaffolding to a surreal, sculptured figure holding a scientific styled telescopic instrument.
When his attempts to drink a poison there are interrupted by a choir he descends to a table with wood blocks and calls for help from the devil.
It is Faust’s own carving of the devil’s agent, Méphistophélès, shown as a projection on a drape near him, that is another important clue to this production’s tone.
It presents the possibility that Méphistophélès and the demons that will be surrounding him during the opera are the creation of Faust’s own tormented self. The demons definitely look like carved figures.
Faust’s carving of Méphistophélès comes to life behind the drape near him and they sing the fine duet (Me voici). After tempting Faust with a projection of the beautiful, young Marguerite, the suicidal artist is willing to sell his soul to the devil to become young and experience love.
And so, Act I sets the atmosphere created by the opera’s production designer, California sculptor /film maker John Frame, set and costume designer Vita Tzykun, video designer David Adam Moore and lighting designer Duane Schuler.
Under the superb direction of Kevin Newbury, the production team’s magic and the remarkable voices and fine acting of the entire cast all come together for a magnificent “Faust.”
Making his American debut, French tenor Benjamin Bernheim brings wonderfully rich nuances to the arias of Faust, including a beautiful rendition of (Salut, demeure chaste et pure) in Act III.
Ryan Opera Center alumnus Christian Van Horn’s fine bass-baritone is perfect for Méphistophélès. He has the flashy, jazzy demeanor of a ringmaster conducting the action.
It was evident by enthusiastic applause for Bernheim and Van Horn at the end of the first act, that audiences knew they were in for an operatic treat.
A highlight of Act II is baritone Edward Parks singing (O sainte médaille … Avant de quitter ces lieux) as Valentin, Marguarite’s brother. He tells the young boy, Siébel who adores Marguarite, to watch over her. There were more than a few “bravos”for Parks.
Although there seemed to be no worthy reason to make the character of Marguerite handicapped and give her a crutch, soprano Ailyn Pérez impressively takes hold of the role of a young, guileless, religious girl who is seduced, becomes pregnant and then abandoned.
She moves from sparkling in the famed Jewel Song (Ah! je ris de me voir si belle en ce miroir) to sadness in the aria (Il ne revient pas) after abandoned by Faust and then to emotional strength in the love duet she sings with him (Oui, c’est toi que j’aime) when she is in prison.
The excellent cast also includes two mezzo sopranos, Jill Grove as Marguerite’s nosy neighbor Marthe and Annie Rose as Siébel.
As always, the Lyric’s chorus and orchestra sound grand but kudos must also go to Conductor Emmanuel Villaume who beautifully interprets Gounod’s music. Villaume is often called upon to conduct French operas.
Sung in French with English subtitles (often called projected translations), the libretto is by Jules Barbier and Michel Carré. It is based on “Faust et Marguerite” by Carré that was somewhat based on Johann Wolfgang von Goethe’s “Faust, Part One.”
The character of Faust has become so popular that similar to Scrooge as a name for someone who is a miser, Faustian has been coined to mean a bargain with the devil or a greedy or promoting action made without thought or care about the consequences.
The Lyric production takes advantage of current technology to project death symbols, the devilishly persuasive magic of a Méphistophélès type of person and the yearnings of someone who knowingly opts for the Faustian path. It does overuse skeletons by having them move too much instead of occasionally shadowing the action.
However, Lyric’s 2018 “Faust” amazingly couples surrealistic art with the story’s surreal aspects while it keeps its centuries-old German flavor. Of course, outstanding voices and Gounod’s lyrical music truly put this production on the must-see list.
DETAILS: ‘Faust’ is at the Lyric Opera House, 20 N. Wacker Drive, Chicago, now through March 21, 2018 (Ana María Martínez assumes the role of Marguarite on Mar. 21). For tickets and other information visit Lyric Opera/Faust.