Vocalist Norm Lewis in The New Classics at Lyric Opera of Chicago. (Photo by Kyle Flubacker)
he Lyric Opera of Chicago has come up with an amazing substitute for the large-scale musical it produces on its large-scale stage at the end of its operatic season.
Titled “the New Classics-Songs from the New Golden Age of Music Theater,” it is about a 70-minute-long mix of dramatic, sad, wistful and powerful show numbers that some listeners will know but others may not find familiar.
And instead of coming from the Lyric’s grand stage, the production was mostly recorded back stage in an intimate, former Civic Opera space.
Hosted by David Chase who also accompanies the singers along with members of the Lyric Orchestra, the program reintroduces some notable musical theater by notable composers.
Vocalist Gavin Creel opens the program with the obscure Stephen Sondheim “What More Do I Need” from Saturday Night followed by Nikkie Renée Daniels’ wistful rendering of the well-known “The Heather on the Hill” from Brigadoon. Norm Lewis then wows with “Stars” from Les Miserables.
Jenn Gambatese changes the mood with “Gimme Gimme” (Love) from Thoroughly Modern Millie and Heath Saunders offers a moving “Something Wonderful” from The King and I.
Jo Lampert puts the best interpretation I’ve heard on “Omar Sharif” from The Band’s Visit and Amanda Castro “flamingo” taps the way to the top of her building with “Raise the Roof” from The Wild Party.
Chase segues to historic references between numbers to the Civic Opera and more show tunes sung by the cast (introduced above) that also include “Love Changes Everything” “I Will Never Leave You,” “Dear Theodosia,” ”Way Back to Paradise,” “I’d Rather be Sailing,” “Popular,” “If Only” and “Rain.”
Guess which shows those songs came from or better yet, click on the production. It premiere this Thursday, June 10 at 7 p.m. CT on Lyric’s Facebook and YouTube channels. For more information visit The New Classics.
Main gate at Ravinia Festival in Highland Park. (J Jacobs photo)
Music will again be heard in the Pritzker Pavilion, across the road at Orchestra Hall and north of the city at Ravinia in Highland Park. The openings this summer come as Chicago and Illinois allow more public gatherings because of the reduction in COVID cases and increase in vaccinations.
What will be different is ticketing and number of people allowed so check their websites.
Ravinia Festival
Opening night is 8 p.m., July 9, 2021.with conductor Marin Alsop, pianist Jorge Frederico Osorio and the Chicago Symphony Orchestra in the Pavilion. The program is composer Joan Tower’s Fanfare for the Uncommon Woman No. 1, Mozart’s Piano Concerto No. 23 and Beethoven’s Symphony No 7. .Tickets are $35-$145 Pavilion and $15 on the Lawn.
What you need to know
The season contains 64 concerts from June through September with the earliest programs free streaming live with no park admittance and a free July 3 “thank-you” concert to invitees. Then the schedule continues with a diverse program.
Tickets are divided into two parts with the first half from July to Aug. 15 going on sale to the public beginning June 15 at Ravinia.org. Donors can buy tickets beginning May 13 depending on level of contribution. The second half concerts are on sale July 21. Check Ravinia Festival Calendar and Tickets for more information. For Donor ticket times visit Ravinia/DonationLevels. Scroll down to donor timelines.
Ravinia Festival is just north of Lake cook Road betgween Green Bay Road and sheridan Road in Highland Park. Attendees are encourage to take the Metra which stops at the Ravinia’s main gate.
Jazz Grandstand Friday, June 11, 6:00 p.m. – Livestream from Bennett Gordon Hall Ravinia Steans Music Institute RSMI Program for Jazz Free livestream on YouTube.com/RaviniaFestival – No in-park admission. (Photo courtesy of Ravinia Festival)
Chicago Symphony Orchestra
The Chicago Symphony Orchestra Association is welcoming audiences back to Orchestra Hall with the opening concert on May 27, 2021 with a special tribute to healthcare workers from Rush University System for Health.
According to a CSOA statement, three distinct programs created with artistic guidance by Music Director Riccardo Muti, will be presented May 27 through June 13. Featuring music for brass and percussion, string ensembles and orchestra, they will be led respectively by conductors Michael Mulcahy, Erina Yashima and Edo de Waart on consecutive weekends. Performances are Thursday at 7:30 p.m., Friday at 1:30 p.m., Saturday at 7:30 p.m. and Sunday at 3:00 p.m.
What you need to know
Ticket availability is limited due to current restrictions on audience capacities for performance venues. Tickets for the CSO’s May and June concerts go on sale to the public at 10 a.m. CDT on May 11, 2021, and will be available at cso.org or by calling 312-294-3000. For protocol and more ticketing information visit CSO.org/SafeandSound.
The concerts are in Orchestra Hall at Symphony Center, 220 S. Michigan Ave., Chicago.
Grant Park Festival will be at the P:ritzker Pavilion. (J Jacobs photo)
Grant Park Music Festival
The music festival opens Fourth of July weekend in the Jay Pritzker Pavilion with Independence Day Salute programs beginning July 2 at 6:30 p.m. The opening concert features the Grant Park Orchestra and conductors Carlos Kalmar and Christopher Bell.
The program includes
John Williams: Summon the Heroes Scott Joplin: Overture to Treemonisha
Arr. Robert Lowden: Armed Forces Salute Florence Price:Dances in the Canebrakes Leonard Bernstein: Selections from West Side Story, George Walker: Lyric for Strings, Pytor Ilyich Tchaikovsky: 1812 Overture
John Philip Sousa: Stars and Stripes Forever. For whole program and season visit 2021 Season :: Grant Park Music Festival. For more information visit Grant Park Festival.
What you need to know
Seats are free but due to crowd restrictions, reservations are required for the Seating Bowl and on the Great Lawn. Reservations may be made online or by phone. Passes will be touch-free and issued with a barcode to be printed at home or displayed on smartphone. Health & Safety protocols—masks are mandatory—in order to gain entry to the Pavilion.
Twilight Gods performed at a Millennium Garage in Chicago by the Lyric Opera. (Photo courtesy of the Lyric)
During 2020, the main year of our COVID pandemic, much of theater programing has gone on-line and emanated from homes rather than theater stages. It also has moved to unusual formats such as car seating in drive-ins for concerts, and now, to a parking garage. Really.
On April 29-30 and May 2, audiences of the the Lyric Opera of Chicago partnership with the Michigan Opera Theater will be driving inside a Millennium Garage to view Twilight: Gods, a part of Wagner’s Ring cycle.
The scenes are viewed in specific spots and accompanied by music and voices heard by turning the car’s FM radio to designated station spots.
As the Lyric’s general Manager Anthony Freud explained in the program book, “Last year, the pandemic prevented Lyric from presenting the premiere of our new production of Wagner’s Götterdämmerung and the three full Ring cycles that were to follow. It was wrenching for Lyric to have to abandon the Ring altogether, so we considered every possible way to perform any portion of it during this period of COVID. This led us to bring into the Lyric family the innovative director Yuval Sharon and the rest of the astonishingly gifted team that has created Twilight: Gods.”
The production is a collaboration between Lyric and the Michigan Opera Theatre where Sharon, a winner of the MacArthur Foundation “Genius Grant,” is artistic director.
“Sharon has radically reimagined Götterdämmerung/The Twilight of the Gods—the climactic fourth opera of the Ring—as a 70-minute series of installations that distill some of the core themes of Wagner’s massive work and concentrate on the central characters, as well as the decaying, corrupt society that they inhabit,” said Freud.
He added, “Experiencing this remarkable event within the sprawling underground world of the Millennium Garages-Millennium Lakeside Parking Garage, with the music coming to you via your car radio, offers a unique and brand-new dimension to our art form.”
Unfortunately, all the time slots are taken. However, there is a film version that will become available. Commissioned by the Lyric and created by Raphael Nash, the film will present the production so that viewers will see it as if they are driving through the garage. The film is slated to be released this summer.
To understand what the drivers will experience visit the orientation video Twilight: Gods program book | Lyric Opera of Chicago You learn that the performances take place at designated car stops, that your car window stays closed but you hear the music and voices on your FM radio and that you put the car into accessory mode so you can turn off the engine.
By radio, you will hear noted Brunnhilde interpreter soprano Christine Goerke, mezzo-soprano Catherine Martin as Waltraute, tenor Sean Panikkar as Siegfried, bass Morris Robinson as Hagen and baritone Donnie Ray Albert as Alberich. The production also includes the Rhinemaidens: Ryan Opera Center Ensemble members soprano Maria Novella Malfatti, mezzo-soprano Katherine Beck and mezzo-soprano Kathleen Felty.
On a final note: there will be no honking as applause but drivers can bring signs to hold that say “bravo.”
Lyric Opera of Chicago (Lyric photo)
Another place to hear and see opera this weekend is the the Lyric Opera of Chicago’s “Rising Stars in Concert, April 29 at 7 p.m. CDT. The program is the annual Patrick G. and Shirley W. Ryan Opera Center showcase that features its 2020/21 ensemble. It will be on You tube and Facebook. To learn more and tune in visit Rising Stars in Concert.
Joffrey Ballet Under Trees’ Voices. (Photo courtesy of Joffrey Ballet)
For dance, visit Joffrey Ballet which is streaming “Under the Trees’ Voices, that debuts April 20 at 7 p.m. CDT. Choreographed by Nicolas Blanc to Symphony No. 2 by Ezio Bosso, the message is about the power of community durng social distancing. To register and learn more visit Under the Trees’ Voices | The Joffrey Ballet
Felicia P. Fields with the Guy Adkins Award for Excellence in the Advancement of Music Theatre in Chicago to be presented to her at Chicago sings Rock & Roll Broadway from Porchlight Music Theatre. ((Photo courtesy of Porchlight )
Watching Porchlight Theatre’s “Chicago Sings Rock and Roll Broadway” on Youtube last night, made me realize how much I missed going to Chicago area venues for good musicals and plays.
Well-staged with superb instrumental back-up, the cast takes on the mammoth task of covering musicals through the decades from “Bye Bye Birdie” and “Hair” in the 1960s and “The Wiz” and “Promises Promises” in the 1970s to more recent shows such as “Kinky Boots,” “Waitress,” “Beautiful” and “Head over Heels.”
Past benefit concerts were, among others, covers from Disney, Stephen Sondheim, The Beatles and Motown.
Choosing a song or a couple of stanzas from each show, their theme this year is Rock and Roll but not all music chosen fall in that genre. So, if deciding to tune in to support local artists, Porchlight and, just as important, the theatre’s education arm to area youth, don’t worry if your ear prefers other musical genres.
The benefit is fun to watch and hear because the music ranges from standards to lesser- known songs. You are bound to find a favorite performance. Among mine was Sawyer Smith’s magnificent take on “Wig in a Box” from “Hedwig & the Angry Inch, (1998).
A virtual event that can be viewed through April 18, 2021, Chicago Sings is a fundraiser similar to the broadcasts that have aired since COVID shuttered arts and entertainment venues a year ago, except this event brings the cast and musicians together.
It also includes the presentation of the 2021 Guy Adkins award for “excellence in the advancement of music theatre” to Felicia P. Fields and greetings from several Broadway stars including E. Faye Butler and Sean Allan Krill.
Porchlight Theatre’s “Chicago Sings Rock and Roll Broadway is on YouTube through April 18, 2021. Tickets are $25. Running time is about 90 minutes. For tickets see Porchlight and for information visit Porchlight Music Theatre.
Valhalla Media working on a production to live stream from the Studebaker Theater in Chicago. (Photo by Kyle Flubacker,)
Hear the word Valhalla, and Norse mythology and Germanic tales come to mind or if an opera buff it is Wagner’s Ring cycle with Brünnhilde intoning the famed Valkyrie role. But to the Chicago Opera Theater and the Met Guild in New York City when the word Media is added to Valhalla it refers to the talented company that is bringing COT’s current productions and a Met Guild Masterclass to viewers during the pandemic.
During this past year of arts and entertainment venues closing their doors and turning to streaming live or taped programs just to stay in the public’s consciousness and keep some revenue streams flowing, putting productions on digitally is different but not a surprise. What may arguably surprise the A&E groups who use and may contact them is that Valhalla Media is two opera singers: Alexandra “Lexi” LoBianco and Nikolas “Nik” Wenzel.
To the Lyric Opera of Chicago, LoBianco is the talented soprano who is a frequent guest artist and in demand at opera houses around the world, and Wenzel is a talented bass member of the Lyric Chorus.
So why did two well-regarded opera singers form a company that live streams opera and concerts? And why the name Valhalla?
“You might thing that because Nik and I sing Wagner that it would be the reason. However, this name goes beyond our singing and into so much more,” said LoBianco.
“When we picked Valhalla Media one of the main reasons was because in order to gain access to Valhalla, you must cross the rainbow bridge. Inclusion was at the heart of why we chose the name. The image of Valhalla being a place where everyone was included and that we strive to make the best choices to support organizations that champion diversity was at our core,” she said.
They started the company in 2020 when appearance contracts were canceled and, as LoBianco said, “the rug was pulled out from under the classical music community.”
The idea was to mount their own productions which they did in the Studebaker Theater in Chicago’s historic Fine Arts Building. They started with a recital for Will Liverman with pianist Paul Sanchez on June 26 that showcased African-American composers‘ and a debut Shawn Okpebholo’s new work followed on June 27 by Humperdinck’s Hansel and Gretel Live in Concert.
“Our first production was one of the very first truly live digital broadcasts that weekend, nothing taped. We had Will and his pianist on stage,” said LoBianco.
They pulled in Southern Illinois University Journalism Director Jan Thompson who is known for documentaries to work with them as video director.
“She called the shots. The bulk of her professional career is doing live and classical music. She can break down a score to know when and what shots to do,” said LoBianco.
She recalled that they had a “decent turnout” of viewers thanks to friends and social media. “Then opera companies saw and heard about us,” she said.
That included Chicago Opera Theater. “They said they’d like to work with us to help make their season happen,” said LoBianco.
The recording and staging was at the Studebaker which LoBianco and Wenzel like. “The sound there is good. Sound is an important part of opera, she said.”
Some of those productions are part of COT’s Vanguard initiative for developing new operas and encouraging operatic composers. Others are a regular part of what the 2020-2021 season was supposed to have.
COT’s General Director Ashley Magnus said, “Streaming productions has worked well for us this season, allowing us to produce in a year when no live audience is possible, and expanding our reach outside of Chicago.”
“We are thrilled to be working with COT for the season,” LoBianco said.
Valhala Media will shortly be going over to NYC to work with the Met Guild to do a Masterclass with countertenor Anthony Roth Costanzo to happen April 22.
“While I wish we could continue to produce our own content, which we plan to in the future, we are immensely grateful to be able to provide the digital backbone through our platform and for the film & audio portion of this new, crazy world.,” said LoBianco.
Talking with the pair by phone from their home in Park Ridge, IL the two partners in work and life explained they both had back stage theater experience so knew it takes more than a fine voice to make a production work.
“Nik and I both come from tech theater backgrounds. We came to this (forming Walhala Media) with the understanding it take more than the singer to put on a production. I’ve been a stage hand and so was Nik.”
Wenzel added, “Alexandra and I talked about forming our own company even before COVID hit. We always had a passion for classical music, and the tech background that comes with that. We’re familiar with every aspect of production.”
However, they still plan to continue in their chosen field of performing.
“I love my job with the Lyric. I have a contract for 25-30 weeks,” said Wenzel
In spite of all the rave reviews and the demand for her in a wide range of roles LoBianco said, “I’m humbled by the amount of work I have. I’m very lucky.”
Music lovers also sit outside the Pavilion to enjoy Ravinia. ( J Jacobs photo)
Ravinia, the country’s oldest outdoor music festival, announced today it will be back operating a summer season outside beginning sometime in July.
First opened in 1904, Ravinia Festival had to close its gates last year to protect guests, staff and musicians from the COVID virus. But with the lowering of cases and easing of restrictions it will be doing what it does best, presenting a wide range of good music.in its 36-acre park in Highland Park, IL. Just expect to follow recommended protocols that will be announced along with ticket and program information.
“All of our performances will take place outside in our open air Pavilion with reserved-in-advance, distanced seating offered in the Pavilion, on the Lawn, and al fresco at our dining spaces,” said a Ravinia statement released March 16, 2021.
“We are delighted that the Chicago Symphony Orchestra will return in July to its summer home here at Ravinia for its annual six-week summer residency. Our anticipation is doubled with Marin Alsop set to lead seven concerts with the orchestra in her first season as our Chief conductor and curator,” the statement said.
Ravinia’s lineup will b e announced in late April.
M.A.D.D. Rhythms Starinah “Star” Dixon (photo by William Frederking)
Black History Month of February and Women’s History Month of March overlap in creative music and videos when diversity and inclusion are combined.
M.A.D.D. Rhythms, a Chicago tap group whose initials stand for Making A Difference Dancing, premiers “Rhythm Symphony” by Starinah”Star” Dixon on Feb. 28 at 1 p.m. CT and “I Get So Lonely” by KJ Sheldon on March 8 at 1 p.m. CT. Find them on M.A.D.D. Rhythms YouTube.
The videos are part of M.A.D.D. Rhythms’ 20th Anniversary Season’s events that also include a documentary premiere, M.A.D.D Rhythms’ publishing debut, social media happenings, classes and the Chicago Tap Summit. For more. Information on the 20th Anniversary events visit MADDRhythms.
Then, on March 13 at 7 p.m. CT, look for “Resilience: Hope, Healing and Harmony” a combination of music and videos that deal with pandemic and political challenges.
Presented by “6Degrees composers” founded by Regina Harris Baiocchi in 2010 to promote and inspire music by women with different traditions, the the program features “War Chant” based on Illinois Poet Laureate’s “War Chant of the Architect.”
Also on the program are the art songs “Journey” and “Things Change” for children’s choir and piano, a 3-D animation by Kyong Mee Choi that is the first part of an animated song cycle and “Doxology” for pipe organ.
If tired of everything Covid and weather related from staying in but wearing a mask and social distancing when going out to weariness of snow tunnels and sloshy streets, look for the free online concert gifted by Lyric Opera of Chicago and Music Director Designate Enrique Mazzola. They think it’s nice to find some sun and love where not expected.
The result is “Sole e Amore” (Sun and Love), a virtual concert of works by familiar Italian composers that will be on U-Tube and Lyric’s Facebook at 6 p.m. Feb. 21, 2021.
Sung by Lyric’s 2020/21 Ryan Opera center Ensemble, Mazzola chose intimate songs—arie da camera, that are not operatic arias, but instead offer new ways to enjoy the genre’s popular composers.
As an example “Un bel dì vedremo” from Puccini’s Madama Butterfly is generally recognizable but not the song, “Terra e mare.”
The concert also includes relatively unknown works by Rossini, Donizetti, Bellini, Verdi, Catalani, Mascagni, Leoncavallo, and Respighi.
“This concert is a very beautiful step into the romantic Italian world of singing, passion, and love,” says Mazzola.
American composer/arranger James Stephenson (Photo courtesy of Stephenson)
Normally, the works of fifty-one year old American composer/arranger James Stephenson, Lake Forest, IL, are played by such orchestras as the Boston Pops, Chicago Symphony Orchestra, the LA Philharmonic and the National Symphony.
However, on Jan. 20, 2021 in front of 40 million people watching the Biden-Harris inauguration (Nielsen ratings), his “Fanfare for Democracy” led off the three fanfares played by “The President’s Own” United States Marine Band.
Directed by Col. Jason K. Fettig, “The President’s Own” United States Marine Band plays for inauguration ceremonies, state dinners and other White House functions. (Note: Thomas Jefferson is credited with the nickname “The President’s Own.”)
How Stephenson’s fanfare, and indeed, the theme of the US Marine Band’s music prelude to the swearing-in ceremony came to be, offers some insight into the tension surrounding the 59th quadrennial presidential election and inauguration.
“The week after the Nov.3 election had been a week of turmoil. So, on Saturday when we finally heard that Biden was confirmed, my wife (Sally) and I went for a walk with the dog. It was warm, 70 degrees, and people were out. People were feeling relieved that the democratic process had been gone through. It was energizing,” Stephenson recalled.
“I started hearing music in my head. Then, while we were having drinks and a meal with friends I couldn’t focus on that. I kept hearing the music. I went home and wrote it in five hours. It felt good. I had done my duty. It was my response,” he said.
“What I had remembered was the image of Biden and wife Jill standing on a stage in Delaware while fireworks went off in celebration of the moment. I wanted to capture that feeling,” said Stephenson.
Because the composer had previously worked with Col. Fettig, including writing a symphony that Fettig commissioned and that won the prestigious Sousa/Ostwald Competition, the idea of sending the fanfare to the U. S. Marine Band was foremost on Stephenson’s mind.
As a result, a musical fanfare program was developed.
“He said I can move some things around. Your fanfare has given me some ideas. This can be composers’ responses to American democracy,” said Stephenson.
When asked about Stephenson’s contribution to the inauguration, Col. Fettig said, “Jim and I have had a very fruitful and long-standing creative collaboration, and his music really speaks to me as an interpreter of new music. I find myself returning time and again to his music; he is such a versatile and virtuosic composer, and he has the rare ability to write for absolutely any occasion and ensemble, and hit just the right mark.”
Fettig added, “When I first heard Jim’s new fanfare inspired by the symbol of Democracy inherent in the Presidential Inauguration, it was a foregone conclusion in my mind that we would perform it live for the occasion. Jim’s music is always deeply moving, and this brief fanfare immediately and brilliantly captures the indomitable spirit of the nation for the listener.
“I was thrilled to have the opportunity to give it a featured place in the special soundtrack we crafted for this historic moment. The reception for his piece and all of the music that Marine Band performed on Wednesday has been incredible, and far beyond anything I could have imagined,” he said.
Two other composers’ fanfares completed that part of the Marine Band’s program: “Fanfare for Tomorrow.” by Altadena, CA composer Peter Boyer and “Fanfare Politeria” by Southern Illinois University-Edwardsville composition professor Kimberly K Archer.
They only had 12 days to compose and send their fanfares due to the uncertainty of how and where the inauguration ceremony would take place.
Stephenson explained: “The Colonel didn’t know if the band would be playing because of what happened on Jan 6 and whether Biden would be inside or what would still take place. He did find out Sunday that the Marine Band would be playing.”
A weekend after the inauguration, Stephenson has had time to take in how everything came together.
“At the moment, I wasn’t really allowed time for reflection or celebration because both my wife and I were running around the house checking various stations on various TVs to find the one that didn’t have talking-heads constantly overcoming the music. So it ended up with me in one room and her in another trying to take in what we saw on the station we each independently found,” said Stephenson.
“Now, that I’ve found more time to go back and take it in, I’m especially excited at hearing my name spoken and announcing the world premiere in the same space of where so much history and pageantry has occurred. That was pretty cool, and I’m going to go ahead and allow myself to be a bit proud of that,” he said.
“I also think a shout-out is deserved for the Colonel, of course, but also for the members of the band. They awake at 1:30 a.m. to be there, and go through so much ritual and sitting/waiting. Then, to perform so well in such cold weather, is no small feat. They are a true testament to professionalism and talent.”
(Ed note: James Stephenson’s current project is writing a new ballet for the San Francisco Ballet called “Wooden Dimes.” A period ballet piece, it is set to premier in March on film instead of live because of the pandemic.)
Kennedy Center in Washington DC (Photo courtesy of the JF Kennedy Center for the Performing Arts)
The John F. Kennedy Center for the Performing Arts, a bi-partisan founded institution designated as our country’s National Cultural Center, has often televised arts awards and programs. With COVID forcing the closure of music festivals and theaters the Kennedy Center is now presenting several performances on line. They are free and worth a view.
For example: Wednesday, Nov. 4, at 4 p.m. ET the program has Jewish music performed live by Chloe Pourmorady and Joey Weisenberg from the National Museum of Jewish History.
Then, on Thursday, Nov. 5, at 4 p.m. ET, the Savannah Music Festival partnering with South Arts, is presenting Greenville, Georgia blues musician Jontavious Willis in a “Just You, Just Me Musical Conversation” between the Drum and the Voice. It features drummer Ulysses Owens Jr. and vocalist Juquan Vickers in African-American spirituals.
