Lyric Opera – Chicago Theater and Arts

A tragic love story and cautionary tale of intolerance

West Side Story at Lyric Opera of Chicago (Photo by Todd Rosenberg)

Highly recommended

For a professional theater experience in Chicago this month you can’t do much better than West Side Story at the Lyric Opera. This Leonard Bernstein / Stephen Sondheim musical deemed cutting edge and somewhat avantgarde when first introduced, is now a classic.

The story by Arthur Laurents is a rather faithful mid-century modern adaptation of Shakespeare’s Romeo & Juliet. Rival teenage street gangs, the Sharks and Jets, battle in New York City streets to maintain what they feel is control of this small piece of Manhattan. Caught in the crossfire of this conflict are Tony (Ryan McCatan) and Maria (Kanisha Feliciano) two tragic lovers from opposite ends of the divide.

The production is a natural for this venue. West Side Story leans more toward opera as the story is told primarily through song, with many that found a firm foothold in the Great American Songbook, such as Maria, Tonight, and One Hand One Heart. They are augmented by the accompaniment of a full live pit orchestra led by conductor James Lowe, a rare treat that would likely not be included in a smaller company.

Director Francesca Zambello has largely remained faithful to the original production directed and choreographed by Jerome Robbins that includes a substantial amount of modern ballet, executed here by choreographer Joshua Bergasse and the production ensemble. The Lyric’s massive Civic Opera House stage gives the dancers ample room to move.

The set design of Peter J. Davison featuring the iconic fire escape, towers over the audience. When Maria sings Somewhere to Tony as they embrace on the balcony while the dance company interprets her message of hope below, the scale of the proscenium provides an opportunity to suggest both the intimacy of the lovers as well as the suggestion of a world beyond.

The depth of the stage allows for a glimpse of the larger city, amplifying the claustrophobic feelings of the gang members whose view of the world is so limited they can not see further than their small neighborhood and the immediate “problems” that they largely have created themselves.

The story of street violence, turf warfare and ethnic battles are all too familiar in today’s environment illustrating that these often-deadly disagreements are nothing new, and difficult if not impossible to eradicate from our communities.

The “Gee, Officer Krupke” musical number comically reminds us of the continuous effort to understand and curb youthful anti-social behavior including psychology, sociology, and criminology as well as the conditions that lead to “delinquency.” Our mothers all are junkies / Our fathers all are drunks / Golly Moses, naturally we’re punks!

In America, Anita (Amanda Castro) and Rosalia (Joy Del Valle) expose the promise versus the realities of “The American Dream,” while in The Jet Song, Riff (Bret Thiele) and The Jets express the perceived value they get from being part of a gang.

I was happy to see a number of young people and children at the matinee performance I attended but caution parents to keep in mind that not all musicals are written for a Disney audience

In the nineteen-fifties and sixties there was a decisive movement to create musical theater with mature themes. Some of these included Carousel and Oklahoma (both of which have been staged at the Lyric) depicting or suggesting domestic abuse, murder and rape. This trend has continued and expanded since then, proving that the American Musical has a place in high art because it has the ability not only to entertain but also to inform, reach us emotionally in a profound way and expand our thinking.

The original West Side Story production ensemble of Laurents, Bernstein, Sondheim, and Robbins with Robert Griffith and Harold Prince did not shy away from difficult topics and instead embraced the trend by exposing the challenges related to depicting racial conflict, disaffected youth, street gang violence, murder and death, through music and dance.

West Side Story is a tragic love story that ultimately encourages us to be more tolerant and thoughtful as to how we perceive, judge and react to each other, particularly those with whom we have perceived differences. It is suggested that there is space for everyone if we open our hearts to each other.

Details: West Side Story is at the Civic Opera House, 20 North Wacker Drive, Chicago, through June 25, 2023. Running time is 2 hours and 30 minutes with one intermission. For tickets and information visit LyricOpera.org

Reno Lovison

For more shows visit Theatre in Chicago

‘West Side Story’ still carries a message

Mikaela Bennett and Corey Cott in West Side Story at Lyric Opera. (Photo by Todd Rosenberg)

3 1/2 stars

If you go to see “West Side Story,” now at the Lyric Opera through June 2, 2019, you are likely to think about how culture clashes have changed or not since Leonard Bernstein wrote the show’s dramatically descriptive music, Stephen Sondheim did the very memorable lyrics, Arthur Laurents penned the book based on William Shakespeare’s “Romeo and Juliet” and Jerome Robbins directed and choreographed it.

When West Side Story opened as a Broadway musical in 1957 it received six Tony nominations including Best Musical but a feel good show, “Music Man,” won the Tony Award for Best Musical. “West Side Story” was not meant to make audiences happy. Even the show’s single funny scene/song “Gee, Officer Krupke” sung by the Jets pinpoints societal problems.

Anyone who reads Shakespeare’s tragedies, knows the Bard is very good at portraying motivations and clashes.

If you know your Shakespeare, you will find some similarities between the “Romeo and Juliet “ of the 1590’s and Broadway musical of the 1950s.

Continue reading “‘West Side Story’ still carries a message”

Cendrillon perfect for family outing

Siobhan Stagg in Cendrillon at the Lyric Opera

4 stars

Adults and youngsters alike should easily laugh, applaud and fall in love with “Cendrillon,” Jules Massenet’s operatic interpretation of “Cinderella.”

Certainly the version now at the Lyric has been traveling the opera circuit since opening at the Santa Fe Opera in 2006, but the telling clue to its humor is that when it premiered in 1899 it was at Paris’ Opéra-Comique where it was also remounted in 1911.

That the opera is a fairy tale comes across immediately with Barbara De Limburg’s delightful storybook set design.

That this opera, unlike Gioachino Rossini’s operatic drama “Cenerentola” (Cinderella), is a lighthearted version of the familiar fairy tale, becomes obvious with Laurent Pelly’s hysterical, balloon-shaped costumes for the step sisters and the comedic costumes worn by the step mother and other female hopefuls at the prince’s ball.

From left: Kayleigh Decker, Elizabeth Bishop and Emily Pogorelc in “Cendrillon.” (Todd Rosenberg photos)

And that the prince also stepped out of an amusing story book comes across when Pelly, who is also the opera’s director, introduces him as somewhat peevish, uncooperative, hardly charming, pajama-wearing kid in his bed chambers.

Revival choreographer Karine Girard (and original choreographer Laura Scozzi) play up the opera’s nose-thumbing, pseudo-sophistication side with wonderful marching steps by palace couriers and the introduction of females who hope to win the prince.

But humor aside, the Lyric’s Cendrillon is still an opera that requires fine voices. And they are.

English mezzo-soprano Alice Coote is superb in the “trouser” role of the prince and a good contrast (as it should be) to Australian soprano Shobhan Stagg’s quieter, sweet, Cendrillon in her American debut.

Bass-baritone Derek Welton, another Australian making his American operatic debut, convincingly portrays Cendrillon’s comically pathetic father, Pandolfe. And French-Canadian coloratura Marie-Eve Munger stands out in her Lyric debut as the Fairy Godmother.

Cinderella (Siobhan Stagg) far left, Fairy godmother (Maie-Eve Munger) atop the books center and Prince charming (Alice Coote) far right kneeling with cast of Cenrillon at the Lyric Opera.

In the step family, American mezzo-soprano Elizabeth Bishop making her Lyric debut is a perfect Mme. De la Haltiere. She’s backed up by daughters Noémie sung by American soprano Emily Pogorelc, and American mezzo-soprano Dorothée sung by Kayleigh Decker, both a Ryan Opera Center members.

As with many fairy tales there still is a poignant side, but the story still turns out well.

Although Rossini’s “Cenerentola” has appeared at the Lyric, Massent’s “Cendrillon” has only now come to town. It’s magic is perfect for the holiday season or anytime.

DETAILS: “Cendrillon” is at the Lyric Opera of Chicago, 20 N. Wacker Dr., Chicago through Jan. 20, 2019. Running time: 2 hrs. 45 minutes with one intermission. For tickets and other information visit Lyric Opera.

Jodie Jacobs

For more shows visit Theatre in Chicago

In ‘Siegfried’ playful staging mixes with outstanding voices

Matthias Klink (Mime) in playpen and Burkhard Fritz (Siegfried) in the third segment of Wagner's Ring cycle at the Lyric Opera of Chicago. (Todd Rosenberg photos) — Matthias Klink (Mime) in playpen and Burkhard Fritz (Siegfried) in the third segment of Wagner’s Ring cycle at the Lyric Opera of Chicago. (Todd Rosenberg photos)

3.5 stars

Opera goers who saw “Das Rheingold” in 2016 and “Die Walküre” in 2017, Lyric’s first two operas segments of Wagner’s four-part “Der Ring des Nibelungen,” will find the next segment, “Siegfried,” still has tall scenery towers bookending the stage. They deliberately remind audiences that Wagner’s The Ring cycle is theater.

It is theatrical and musical drama. But where the productions of the first two segments were highly creative but serious, “Siegfried” is playful, fanciful, serious fun.

The tone is set when a somewhat menacingly large, three-nail-claw and an eye of Fafner, the giant-turned dragon who guards the ring, appear under the curtain and draw audience laughter. The curtain then rises to reveal Siegfried’s playroom of oversized art work and children’s furniture including a tall playpen.

Continue reading “In ‘Siegfried’ playful staging mixes with outstanding voices”

Super JCS production takes over Lyric stage

Jesus Christ Superstar at the Lyric Opera (Todd Rosenberg Photography 2018) — Jesus Christ Superstar at the Lyric Opera
(Todd Rosenberg Photography 2018)

RECOMMENDED

Experiencing ‘Jesus Christ Superstar,’ Andrew Lloyd Webber and Tim Rice’s rock opera at the Lyric, is akin to attending a high-powered rock concert.

Amps are set on high much of the time so audiences really do need to already know the lyrics. The high intensity stage lighting designed by Lee Curran echoes those of Super Bowl half times.

The main tenors, Jesus Christ (Heath Saunders) and Judas Iscariot (Ryan Shaw) mix singing with high-pitched, grating screams, and they, plus Pontius Pilate (Michael Cunio who is also a tenor) play their guitars on stage. In addition, the singers use mikes. Indeed, the mike handling is often a part of the choreography.

In other words, the Lyric production would gladden the hearts of today’s Millennial Generation.

Continue reading “Super JCS production takes over Lyric stage”

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

Exciting Lyric concert joins worldwide Bernstein celebration

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 100^th birthday.

Lyric celebrates Leonard Bernstein's 100 birthday with a special concert. Photo by Jack Mitchell. — Lyric celebrates Leonard Bernstein’s 100 birthday with a special concert. Photo by Jack Mitchell.

Musical tributes began on what would have been his 99^th 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 100^th 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.

Jodie Jacobs

Around Town: February

Instead of organizing the desk (or you name it), and wishing the groundhog prognosticators were wrong about six more weeks of winter, take in a show, find a special event to dispel gray skies and moods and take advantage of museum free days.

Theatre

If the family has a Saturday available, get tickets to ‘Short Shakespeare! A Midsummer Night’s Dream’ at The Yard, Chicago Shakespeare’s newly added theater on Navy Pier . The show is a fun 75 minutes that merges the Bard’s humorous mismatching of characters in his comedies. The production is offered Saturdays now through March 10, 2018 at 11 a.m. and 2 p.m.. To get tickets visit Chicago Shakes Plays.

Concert

Listen as famed tenor Lawrence Brownlee performs ‘Cycles of My Being,’ a recital that puts forth what it is like to live as a black man in America. Co-commissioned by Carnegie Hall, Lyric Opera/Lyric Unlimited and Opera Philadelphia, the program will only be in chicago Feb. 22, 2018 at 7 p.m. at the DuSable Museum of African American History. For more information visit Lyric Opera Cycles or call (312) 827-5600.

Walk around gorgeous, delicate orchids at the Chicago Botanic Garden.

Botanics

Go to the Chicago Botanic Garden Feb. 10 through March 25, 2018 to see orchids with an Asian accent. This year, the Garden’s Orchid Show blooms among kimonos, parasols and Asian plants. Hours are 10 a.m. to 4 p.m. plus open later Thursdays to 8 p.m. For more information visit Chicago Botanic Garden orchid.

Museums

How about a night at the museum, that is among the fish?

Explore the Shedd during an overnight stay.

For Presidents Day weekend stay the night Feb. 16, 2018 in a special program at the Shedd Aquarium that allows participants to explore the museum, see an aquatic presentation and do a scavenger hunt. The cost is $75 per person ($60 members). For tickets and more information visit Shedd Aquarium Overnight.

Free Days

Presidents’ Day, a federal holiday when most schools in Illinois are closed to celebrate Presidents Washington and Lincoln’s birthdays, is Feb. 19, 2018. Fortunately, some of Chicago’s museums are free that day.

Some Chicago museums have free admission.

The Adler Planetarium’s general admission is waved for Illinois residents Feb. 19-22. For more information visit Adler.

Art Institute of Chicago has free admission to Chicago residents under age 18, every day. See ARTIC.

Chicago History Museum is free every day to children under 18 who are Illinois residents. Visit Chicago History.

The Field Museum has free general admission for Illinois residents all of February. Visit Field Museum free days.

Art

The National Museum of Mexican Art always has free admission. See National Museum of Mexican Art.

Find this amazing dome and room at the Chicago Cultural Center

The Chicago Cultural Center has a new exhibition on its fourth floor. Titled “Nina Chanel Abney: Royal Flush,” it was organized by the Nasher Museum of Art at Duke University. The Cultural Center also has other exhibits on its first floor. While in the building go to the third floor to see gorgeous glass domes and rooms. Admission is always free. Visit Chicago Cultural Center.

Get out and enjoy Chicago

Jodie Jacobs

Dazzling voices seduce Lyric audience

HIGHLY RECOMMENDED

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Contemporary retelling of Greek myth opens Lyric season

RECOMMENDED

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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