Opera – Page 5 – Chicago Theater and Arts

Lyric celebrates Bernstein

Lyric opera celebrates Bernstein anniversary with program of well known and rarely heard works. Jack Mitchell photo

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.

Mezzo-soprano Susan Graham (Dinah) and baritone Nathan Gunn (Sam) in Trouble in Tahiti at Lyric Opera's Bermstein salute. Photos by Todd Rosenberg — Mezzo-soprano Susan Graham (Dinah) and baritone Nathan Gunn (Sam) in Trouble in Tahiti at Lyric Opera’s Bermstein salute. Photos by Todd Rosenberg

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.”

Pianist William Bllingham and Kate Baldwin in I Hate Music (but I love to sing).

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.

Conductor David Chase (Lyric Opera Orchestra in background) interacted with the audience as he explained Trouble in Tahiti, other musical numbers and occasionally asked who knew or had seen a particular piece. — Conductor David Chase (Lyric Opera Orchestra in background) interacted with the audience as he explained “*Trouble in Tahiti*,” other musical numbers and occasionally asked who knew or had seen a particular piece.

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.

Nathan Gunn performs "Captain Hook's Soliloquy." — Nathan Gunn performs “Captain Hook’s Soliloquy.”

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.

Susan Graham and Kate Baldwin at Lyric Opera's tribute celebration of Leonard Bernstein — Susan Graham and Kate Baldwin at Lyric Opera’s tribute celebration of Leonard Bernstein

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.

Diana Newman, Ann Toomey, Josh Lovell, Alan Higgs and Emmett Ohanlon with Susan Graham, Nathan Gunn and Kate Baldwin end th Lyric's Bernsteincelebration with "Some Other Time." — Diana Newman, Ann Toomey, Josh Lovell, Alan Higgs and Emmett Ohanlon with Susan Graham, Nathan Gunn and Kate Baldwin end th Lyric’s Bernsteincelebration with “Some Other Time.”

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.

Jodie Jacobs

Around Town mid March

Life and death translated as theatre

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.

Chicago premiere of 'Fellow Travelers' comes to town. — Chicago premiere of ‘Fellow Travelers’ comes to town.

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.

Jodie Jacobs

Current technology and outstanding voices produce a memorable ‘Faust’

HIGHLY RECOMMENDED

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.

Benjamin Bernheim as Faust in his studio. Photos by Cory Weaver

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.

Christian Van Horn as Méphistophélès and his demons in Faust at Lyric Opera.

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.

Annie Rosen (Siebel) L, listens as Edward Parks (Valentin) asks that he watches over Marguarite.

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.

Jodie Jacobs

For more shows, visit TheatreInChicago.

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.

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.