Based on the classic “Cyrano de Bergerac” originally written in French verse by Edmond Rostand in 1897, this translation by Michael Hollinger adapted for the stage with Aaron Posner is a successful reinterpretation using a more modern dialog that preserves much of the courtly charm necessary to the play’s setting.
The title character of Cyrano (Michael B. Woods) is an accomplished courtier in 17th Century France, an unparalleled master of the sword and the word whose personal relationships are hampered by what he perceives as a hideous deformity, namely a grotesquely enormous and unsightly nose.
(From left) Kristin Hammargren, Michael B. Woods, Zach Livingston and Christina Gorman in ‘Cyrano.’
Cyrano conspires with a fellow comrade-in-arms, Christian (Zach Livingston) to woo and win the affection of the lovely Roxane (Vahishta Vafadari). Christian will supply the good looks while Cyrano supplies the requisite language of love.
Cyrano’s own self-hate is his worst enemy that keeps him separated from his desire.
The fight choreography by Jon Beal was a highlight of this production making me wish that the same level of effort was put into the rest of the lackluster performances.
Since none of the actors seemed fully invested in their characters I must set the fault at the feet of Director Steve O’Connell’s ability to rally the troupe.
Though this adaptation aims to “ditch the pretentions” it should not be at the expense of nuance and the basic humanity of the characters nor the charm of the language. Here the actors rely too heavily on the words to do all of their heavy lifting and doing little to breathe life into their respective roles.
BoHo is intended to be “a launching pad for up-and-coming actors” but in this case was a lost opportunity to show us what you got.
This Cliff’s Notes version provides a few memorable moments provided mostly by the text and is a good introduction to the book however, it definitely lacks panache.
DETAILS: ‘Cyrano’ by BoHo Theatre at Theatre Wit, 1229 W. Belmont in Chicago runs through April 15, 2018. For tickets and other information call or call (773) 975-8150 or visit BoHoTheatre.com.
‘Hedda! A Musical Conversation’ is a very entertaining one-woman show at the Athenaeum Theatre starring Jillann Gabrielle as legendary Hollywood gossip columnist Hedda Hopper.
Written by Gabrielle with book and lyrics by Michael Termine and music by with Howard Pfeifer, ‘Hedda’ is a one-act play that takes place from the mid 1940s through the late 1950s in Hedda Hopper’s living room.
Jillann Gabrielle is Hedda Hopper. Photo by Paradise Playhouse
Tasteful furniture, a rolling cart of favorite drinks , clothing racks with dozens of the hats she was famous for wearing and that prime necessity for a gossip columnist, a phone, set the scene for a fun 90 minute peek into the life Hedda Hopper.
Gabrielle’s performance as Hedda is superb as she walks and sings the audience through a life that went from Quaker upbringing to bit MGM player and then famed columnist.
Lively phone conversations and clever songs such as as “Hedda! Queen of Hollywood,” “Off the Record” (there’s audience participation), “Elizabeth, “Hats!” and ‘Don’t Drink the Punch” reveal much of her story.
Among the many things that makes this play interesting there is her interaction with the audience. When the phone or doorbell rings, she looks out at the crowd and says, “I’ll be right back.”
And when the audience hears her say, “Hello, Elizabeth” or “Joan,” or “Marlene” and others, everyone knows who’s there.
Hedda had an amazing effect on not only the motion picture industry, but on politics, as well. Her song “I’m Political” describes her conservative values and moral views as her columns go after Charlie Chaplin and other Communist sympathizers.
She also had famous heated discussions with many of Hollywood’s elite including the Elizabeth Taylor/Eddie Fisher/Debbie Reynolds trio.
Her column had a readership of over 30 million, and it set the stage for many types of columns today.
DETAILS: ‘Hedda! A Musical Conversation’ is at the Athenaeum Theatre, 2936 N. Southport, Chicago, through March 17, 2018. Running time: 90 minutes with no intermission. For tickets and other information, call 773-935-6835 or visit AthenaeumTheatre.
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.
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.
Chicago Shakespeare Theater’s “Mary Stuart” stands regally tall. It has superb casting, direction, costumes and a simple but clever set design by Andromache Chalfant that complements the action.
Kellie Overbey (Queen Elizabeth I) with her lords and advisors (from left Andrew Chown, Tim Decker, Kevin Gudahi, Robert Jason Jackson, David Studwell and Michael Joseph Mitchell. Photo by Michael Brosilow
What is on the CST stage now is the powerful, new version of Friedrich Schiller’s “Mary Stuart” written in 1800 that has been reworked by playwright Peter Oswald in 2005.
Schiller had written a five-act, multi scene play that portrayed Mary, Queen of Scots’ last days before ordered to be beheaded by her half-sister (and cousin), Elizabeth I, Queen of England.
Premiered in Germany in 1800, Schiller’s play was turned into an opera in 1835 by Gaetano Donzetti titled “Maria Stuarda.”
Oswald has pulled together its personalities, motivations, politics, Catholicism versus Protestantism, conspiracies, sex, feminism and royal succession into a “Game of Thrones” style, two-act, multi-scene drama.
The focal point is what could take place if the two queens faced each other before Elizabeth signed Mary’s beheading order.
Kellie Overbey (Elizabeth I) l, listens as K.K. Moggie (Mary Queen of Scots) pleas to be released. Liz Lauren photo
Mary, who sought refuge with Elizabeth after Scotland had become increasingly hostile, had been imprisoned by her ruling relative in Fotheringhay Castle and charged with conspiracy to assassinate said relation.
Astutely directed by Jenn Thompson, the motivations of the two royals and the politics that surrounded them make for an exciting two and a half hours even though the ending is known.
The role of Elizabeth, taken on by Kellie Overbey, is arguably harder because she is not portrayed in a positive light. She appears somewhat stiff and haughty. And even though encouraged to marry to beget an heir, she is not interested because she doesn’t want her consort or another ruling family to take control.
In contrast, K.K. Moggie can let loose as Mary Stuart, a woman who has already married, produced what ironically would be the heir to the English throne, James I, and appears kindhearted.
The people around them include Kevin Gudahl as Sir Amias Paulet, a knight who guards Mary but is sympathetic to her plight, Mary’s former nurse Hanna Kennedy, nicely acted by Barbara Robertson, Mortimer, Paulet’s nephew played by Andrew Chown as a secretly converted Catholic who wants Mary to escape and his friend, O’Kelly, played by Kai Alexander Ealy.
Kevin Gudahl (Paulet) and Andrew Chown (nephew Mortimer) guard K.K. Moggie (Mary Stuart). Michael Brosilow photo
On Elizabeth’s side are Robert Dudley, the Earl of Leicester, portrayed by Tim Decker as an ambitious schemer who tries to work both sides of the royal debate, Lord Burleigh, the High Treasurer depicted by David Studwell, Robert Jason Jackson who is George Talbot, the Earl of Shrewsbuty, an advisor to Queen Elizabeth who cautions restraint instead of beheading and
Because the French are interested in a royal merger, there is Patrick Clear as French Ambassador Count Aubespine and Michael Joseph Mitchell as French Envoy County Bellievre and also Secretary of State William Davison.
Succession is important to the British throne so audiences should take a look at the program’s Playgoer’s Guide for its “Cliff” type notes and chart to better understand who descended from whom.
DETAILS: “Mary Stuart” is at Chicago Shakespeare Theater’s, Courtyard Theater at Navy Pier, 800 E. Grand Ave. through April 15. Running time: 2 hours, 35 minutes. For tickets and other information call (312) 595-5600 and visit Chicago Shakes.
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.
Ailyn Pérezas Marguarite in Faust.
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.
For those who aren’t familiar with the revised musical ‘Merrily We Roll Along’ based on the book by George Furth with music and lyrics by Stephen Sondheim, prepare yourselves for a wide range of emotions while observing the lives of three close-knit friends over many decades.
The original Broadway play written by George S. Kaufman and Moss Hart in 1934 evolved into a musical in 1981 that barely survived. Fortunately, Sondheim and Furth revised the show in 1994, which is now a fabulous production at Porchlight Music Theatre at The Ruth Page Center for the Arts.
(L to R) Jim DeSelm (Frank, Neala Barron (Mary) and Matt Crowle (Charley) in ‘Merrily We Roll along’ at Portchlight Music Theatre. Photo by Michael Courier.
Directed by Michael Weber with music director Aaron Benham, this remarkable musical is presented in reverse chronological order with the years posted on the stage’s backdrop so that the audience can easily follow the three friends’ relationship— easily, but not always merrily.
The trio of friends includes Franklin “Frank” Shephard (Jim DeSelm), a talented musician whose objective is to make money—and who eventually succeeds by marketing to influential folks who can help him.
His longtime friend is Charley Kringas (Matt Crowle), a wonderful lyricist who doesn’t want to follow Frank’s ways of reaching his goal.
The trio includes Mary Flynn (Neala Barron), a writer and friend to Frank and Charley but whose longing for Frank is slowly uncovered while the play continues going back in time.
Frank, Charley and Mary’s early friendship started out like a song. And on that note, most of their relationship is told through many musical numbers, such as “Old Friends/Like It Was,” sung by the trio with lyrics such as “we were nicer then” . . . and “old friends fade—they don’t make the grade.”
‘Merrily We Roll Along’ also reveals other relationships. Frank’s marriage to his first wife, Beth, (Aja Wiltshire), is destroyed by his affair with Gussie Carnegie (Keely Vasquez). Beth sings “Not a Day Goes By” as she gains custody of their young son while she and Frank divorce.
We first observe the three friends at beginning of the play where they’ve already achieved success despite painful experiences that ruined their relationship. Then we travel back so that at the end of the play, we see their friendship decades earlier as they try to launch their careers.
In addition to the five major outstanding cast members, the rest of the exceptionally talented cast of over twenty men and women also bring their extraordinary voices to the musical numbers. They are accompanied by seven marvelous musicians.
Many of the play’s lyrics are memorable, but one line is unforgettable: “Friendship is like a garden . . . you have to water it and care for it.”
DETAILS: ‘Merrily We Roll Along’ is at Porchlight Music Theatre at The Ruth Page Center for the Arts, 1016 N. Dearborn St., Chicago, through March 17th, 2018. Running time: 2 hours and 30 minutes. For tickets and other information, call (773) 777-9884 or visit www.porchlightmusictheatre.org
The actual bronzes pictured in a photo of a Chinese delegation to Chicago are on loan from the Metropolitan Museum of Art. Photo by Jodie Jacobs
A timely new exhibit, “Mirroring China’s Past: Emperors and their Bronzes,” fills the Art Institute of Chicago’s Regensenstein Hall. Opened Feb. 24, 2018, to coincide with the Chinese New Year, the exhibit’s ancient ornamental containers and related art pieces were used for a variety of ceremonies.
The exhibit, which continues through May 13, 2018, brings together many objects not seen outside of China.
Goblet (Late Shang dynasty about 1250-1046 BC) Art Institute of Chicago, Lucy Maud Buchkingham Collection.L. and Goblet of Father Ding (Western Zhou dynasty 1046-771 BC) Xiling Collection. Jacobs photo
A good chance to see how the bronzes, which are primarily from the second and first millennia BC, is to visit the Art Institute March 3 when the museum is holding a Lantern Celebration from 1 to 7:30 p..m. (free with museum admission) and “Concert Music of China – Past and Present” (free) from 3 to 4:15 p.m.
But no matter when visitors go there are few tips that should add to their experience.
Upon walking into the exhibition space, it is easy to start looking at all the vessels. There are nearly 200 works assembled from Beijing’s Palace Museum, Shanghai Museum, the Art Institute of Chicago, other museums and from private collections. They mirrored what was important in the Chinese culture during their period.
However, turn right first to see a large, wall-sized photo reproduction of a Chinese delegation that visited Chicago in the early 20th century. Look at the bronze set being held. Then see the actual pieces in a case across the room. The spectacular set is on loan from New York’s Metropolitan Museum of Art.
A video shows how a clay mold is used to form the bronzes. Jacobs photo taken of the video
Next, while meandering through the exhibit, stop in front of a small, easy-to-miss video screen on a long, wall to the right.. It shows how bronzes were created in molds.
However, this exhibit is not merely about the bronzes. It also is about the emperors who valued and collected them. So when turning the corner of the main room, stop and sit a minute where a short movie on Emperor Quianlong shows some of the treasures he housed in the Forbidden City, the imperial palace of the Ming (1368-1644) and Qing (1644-1911) dynasties. The complex is home to the Palace Museum.
The film and exhibition curator Tao Wang, the Art Institute’s Pritzker Chair of Asian Art explain Quianlong’s and other emperors’ views on the importance of collecting bronzes.
“For the emperor-collectors, ancient bronzes were more than a collection piece,” said Wang. “They were perceived as the Mandate of Heaven – an embodiment or symbol of moral and political authority.”
DETAILS: “Mirroring China’s Past: Emperors and their Bronzes” is at the Art Institute of Chicago, 111 S. Michigan Ave, Chicago, now through May 13, 2018. For admission fees, hours and other information call (312) 433-3600 and visit ARTIC.
“I look at my work sometimes as play… a kind of joyous play.”
So said artist Howardena Pindell at the Museum of Contemporary Art opening of “What Remains To Be Seen.”
Howardena Pindell sits in front of Nautilus, (2014-15, mixed media on canvas from the Jacqueline Bradley and Clarence Otis Collection. Photos by Jodie Jacobs
Even though Pindell’s works have been in shows every year for the past several years, the current MCA exhibit is the first, all encompassing survey of her 50-year career.
It includes her move from figurative to abstraction and activism to occasional returns to figurative forms. But throughout the periods are personal reactions to what it feels like to be black and female. Yet, the playfulness is evident throughout the exhibit.
Pindell enjoyed finding different tools and materials to create art including hole punchers, file-folder stock and beveled cutouts found in a museum’s trash where she was an assistant curator.
The exhibit features several works where holes were either punched or painted by means of oak-board stencils. Some are best viewed up close to note that works that at first appears monochromatic, isn’t.
The show reveals a fascination with numbers, math, patterns and grids. Indeed, visitors who look closely will find numbers in some of the hole-punch designs.
Segment showing the artistic use of hole punches.
But in some works, the holes are merely a fascinating pattern.
In another series, numbers and arrows add interest to Pindell’s video drawings as if they were instructions. Created on acetate held by static electricity to a television screen, they are an impressive, unusual form of art.
Video Drawings: Swimming, 1975, chromogenic development print from the Museum of contemporary Art Chicago Collection.
“I was looking for a fun way to use the videos,” she said. She pointed out that some people thought the numbers and arrows looked like football playbook arrows.
Another technique was cutting up postcards from her extensive travels to form collages.
Part of her “Autobiography” series, they were memory aids because a life-threatening accident in 1979 included a serious concussion that resulted in temporary memory loss.
Work that is play in Pinell’s career is based on a strong art background.
Born in 1943, Pindell graduated from the Philadelphia High School for Girls and studied art at the Philadelphia College of Art and other art schools before getting a BFA from Boston University and MFA from Yale.
“They all wanted me to use figurative art when I was moving into abstraction,” Pindell said at the exhibit opening.
She felt some satisfaction when an influential woman in the academic art world who had expressed a negative view of Pindell’s favoring abstraction over traditional figurative style, turned up at the Museum of Modern Art (NYC’s MoMA) where Pindell was working (first as an exhibit assistant and then an associate curator). “When she saw me, she said, “Oh.”
The MCA exhibit features her different styles. But what also comes across is her use of pattern and color.
“Autobiography: Fire (Suttee),” 1986-87 Mixed media on canvas. Collection of Nancy and Peter Huber.
Pindell, a longtime professor of art at Stony Brook University, New York (part of SUNY, a state university), stressed the importance of understanding color depth. She pointed out that she focused on the composition of color with her painting students.”They learn it’s not just, “red,” she explained.
No matter what the subject or materials used, exhibit visitors will see how Pindell’s use of color is very effective, ranging from ethereal to a rich.
Colors, materials and pattern movements seem to draw visitors into her works. Pindell refers to that phenomenon as “space.” “What I’m working on now is space going into the painting and space going out of the painting.”
She also puts herself into her works, literally.
Tips: Don’t walk too fast past “Autobiography: Fire (Suttee),” 1986-87. Done in mixed media on canvas and on loan from the Nancy and Peter Huber Collection, its rich colors and patterns might obscure the fact that there is an outline of Pindell’s body in the picture
It references a former custom of expecting a widow in India to kill herself after her husband dies. It also stands for human suffering and her own experiences with being black and a woman.
Also watch her in the performance video, “Free, White and 21” (1980) when she compares black and white women’s experiences.
DETAILS: “Howardena Pindell: What Remains To Be Seen,” is at the Museum of Contemporary Art Chicago, 220 E. Chicago Ave., now through May 20, 2018. For more information call (312) 280-2660 and visit MCA Chicago.
Leonard Bernstein’s genius for capturing the soul of America in everything from orchestral works, opera and religious tributes to musicals, ballets, choral pieces and songs for events, is being celebrated at venues throughout the world in honor of his 100th birthday.
Lyric celebrates Leonard Bernstein’s 100 birthday with a special concert. Photo by Jack Mitchell.
Musical tributes began on what would have been his 99th birthday, Aug. 25, 2017 (he died in 1990) but formally kicked off with a program at Washington D.C.’s Kennedy Center, Sept. 22, 2017. The celebrations are continuing through his 100th year.
What the Lyric Opera of Chicago is doing promises to be exceptional.
Opera stars mezzo-soprano Susan Graham and baritone Nathan Gunn take on the roles of unhappy suburban couple, Dinah and Sam in Bernstein’s one-act opera ,”Trouble in Tahiti.” The opera’s jazz interlude is done by Ryan Opera center ensemble members Diana Newman, Josh Lovell and Emmett O’Hanlon.
They and Broadway star Kate Baldwin plus other artists will sing numbers from shows Bernstein did such as “West Side Story,” “Candide,” “Peter Pan,” “Wonderful Town” and “White House Cantata” (Originally titled “1600 Pennsylvania Avenue” written with Alan Jay Lerner) and other songs.
There might be a song from “Songfest,” commissioned to celebrate America’s 1976 Bicentennial. Based on poems, it could be “To What You Said” (Walt Whitman). It is about love for another time and conflicted sexuality. Another program possibility is “So Pretty,” a 1968 anti-war song, Bernstein wrote with lyrics by Betty Comden and Adolph Green. Composed for a Broadway for Peace fundraiser at Lincoln Center, it was sung by Barbra Streisand.
“I think it will be revelatory,” said Lyric dramaturg Roger Pines during a recent interview.
“We have Nathan Gunn so we can do “Captain Hook’s Soliloquy,” It’s a tour de force. He as the right voice for it,” said Pines. “It was not sung in the original Broadway show (April, 24 1950) because Boris Karloff was Captain Hook (and also George Darling).
(Note: Bernstein wrote the music and lyrics as a complete score but only a few of the songs were included in the original staging, supposedly because of the leads’ limited musical range.)
The first half of Lyric’s program will be the opera which is sung in English. Pines notes that even though it was written and staged in the early 1950s, “Tahiti’s” marital communication problems are more universal then applicable to one time period.
“Couples now can relate to the problems in their own relationship,” Pines said. He also thought people would appreciate Graham’s aria in her analyst’s office and the one she sings after leaving a horrible movie. “It’s comic,” he said.
As to the second half, Pines said it was important to introduce the wide variety of Bernstein’s music and how it was reflecting events. “Bernstein was so multi-faceted we do not have time to explore every side. But I think it is a good way to see that his music is extremely varied, and its quality.”
DETAILS: Celebrating 100 years of Bernstein, March 10, 7:30 p.m. at the Lyric Opera, 20 N. Wacker Drive, Chicago. For tickets and other information call (312) 827-5600 and visit Lyric Opera.
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
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.
