Billy Zane and Jenn Gambatese/Photo: Todd Rosenberg
By Aaron Hunt
In her autobiography, “The Story of the Trapp Family Singers,” Maria von Trapp wrote of her confusion when the Mother Abbess of Nonnberg Abbey encouraged her to forsake her aspirations to the sisterhood in favor of answering God’s will: “I really and truly was not in love. I liked him but didn’t love him. However, I loved the children, so in a way I really married the children. I learned to love him more than I have ever loved before or after.” It was with this creation of a family that the wheels were set in motion for the careers of The Trapp Family Singers, the 1959 musical, “The Sound of Music” (the final collaboration of Richard Rodgers and Oscar Hammerstein II), and the 1965 film starring a practically perfect Julie Andrews. The aerial footage of Andrews spinning around on the top of the Tyrolean Alps outside Salzburg, palms opened upward in both supplication and celebration, and then that brilliant Rodgers score swirling and rising until hearts are so full that there isn’t another choice except voice, except song, has leapt into America’s collective conscious for the past half century.
Lyric Opera of Chicago hopes to send that gift twirling toward the next generation with their new production. Last year Lyric launched their American Musical Theater Initiative with “Oklahoma”; critics mostly raved, houses were sold out, extra performances were added. “The Sound of Music” is primed to repeat this success, given that the casting list includes a movie star, a television star, a Broadway diva and some Chicago-based leading ladies of the Joseph Jefferson Award-winning category. And not so surprisingly, nearly all of the stars of the production have one or more Chicago connections.
If there is a headliner in this romp, it would be Billy Zane as the zipped-up, guitar-strumming Captain von Trapp. Even though a successful film career has taken him all over the world, Zane grew up in Chicago. “There’s no more indelible horizon than Lake Michigan. I grew up basically on Ardmore and Sheridan overlooking that lake from the fourth floor, right off aptly named Hollywood Beach,” Zane revealed to a number of Chicago-area reporters during a telephone interview. Zane remembered fondly his time at Evanston’s Harand Camp of the Theatre Arts, where he acquired “the foundation of an appreciation of the American songbook.” Read the rest of this entry »
Matthew Polenzani and Joyce DiDonato/Photo: Todd Rosenberg
Mozart’s penultimate opera, “La clemenza di Tito” (“The Clemency of Titus”), is finally coming into its own. A work overflowing with the mature Mozart at his very best, “clemenza” was completed and premiered less than three months before his death at the height of his creative genius.
“The Magic Flute,” which was soon to follow, would become one of the most performed operas in the repertoire, but not “clemenza.” Like the “Requiem” that would also soon follow but which the composer left incomplete due to his sudden death at the age of thirty-five, “clemenza” is not 100 percent Mozart, but for a very different reason: Mozart took the work as a commission and farmed out the recitative sections to a student. This, taken with the fact that the form of the work is the older, more serious and sterile opera seria meant that “clemenza” never quite found a place in the standard repertory the way other Mozart operas had, despite its many glorious musical moments.
The advent of a modern performing edition (the Neue Mozart-Ausgabe) and the efforts of the late French director Jean-Pierre Ponnelle began to restore the opera’s reputation. Indeed, it was not until 1989 that Lyric presented “clemenza” for the first time, and it has taken a quarter of a century for the work to make its return. Scottish director Sir David McVicar, whose imaginative new staging of Dvorak’s “Rusalka” is running in repertory with his version of “clemenza” that is being staged by his assistant Marie Lambert, has set out to streamline the action of the opera, which concerns an assassination plot against the Roman emperor Titus with ancillary relationships. McVicar has managed to remain true to the music while making a more cohesive narrative. Read the rest of this entry »
Karen Marie Richardson/Photo: Liz Lauren
Walking through the cinderblock, cement and steel pipes of the parking structure and into the stark modern lobby of The Harris Theater at Millennium Park, I couldn’t help but be reminded that I wasn’t at my Daddy’s Opera House. Chicago Opera Theater opened its fortieth Anniversary Season, serving the greater community as both an addition and an answer to our famed Lyric Opera of Chicago, with a production of “Queenie Pie,” jazz-great Duke Ellington’s unfinished, flawed, but compelling “street opera.” Calling their 2014 season “Illusions and Delusions,” COT continues to exhibit its ambition to bring both a new audience to opera, and to present an alternative to Chicago’s already established opera-loving constituency, by offering a season completely devoid of any of the standard operatic repertoire. Past attempts to mix both expected and unexpected fare notwithstanding, general director Andreas Mitisek, who began his steerage of COT in June 2012, appears determined to sail into new and under-examined compositional waters. Read the rest of this entry »
Isabel Leonard, Nathan Gunn, Alek Shrader/Photo: Dan Rest
With a current Lyric Opera season so overstuffed with Italian warhorses, there is always the hope that when a company drags out the same works again and again, that something, anything, will at least provide a new perspective on a work so familiar.
Would that were so with Lyric’s new production of Rossini’s “The Barber of Seville.” As is the case with so many of general director Anthony Freud’s aesthetic choices, he likes to take chances, a good thing. But his track record thus far on doing so has been spotty, to say the least, and his habit of bringing in theater directors with no musical acumen to direct operas is already proving tedious. Read the rest of this entry »
Bo Skovhus and Daniela Fally
In Vienna, and all over the world, the New Year rings in with productions of Johann Strauss’ “Die Fledermaus.” How appropriate, then, that Lyric Opera is reviving this most popular of operettas for the holidays. The current production comes off as authentically Viennese, directed with great nuance by E. Loren Meeker that bubbles with as much sparkling effervescence as the champagne whose virtues are so celebrated in Strauss’ frothy concoction.
Making a stellar American debut, Austrian soprano Daniela Fally as the chambermaid Adele is charming, funny and sings the role gloriously. She has the audience almost literally eating out of her hand from her first notes.
Also making her American debut and singing her first-ever Rosalinde, German soprano Juliane Banse musters all of the sophistication and humor needed and has a beautiful tone, but appears to lack the vocal agility needed for this role. On opening night, her voice came in under pitch for the finale of Act I and her Act II csárdás was a comedic triumph but a vocal disappointment as she was stiff and vocally inflexible and opted out of the final high note completely. Read the rest of this entry »
Marina Rebeka/Photo: Todd Rosenberg
The Verdi bicentennial celebration continues at Lyric Opera with a new production of “La traviata,” Verdi’s most popular middle-period work. As was the case with the new “Parsifal” running concurrently, a stage director with little opera-directing experience was brought in with, alas, similar lackluster results.
Despite having presented “traviata” fourteen times in the company’s nearly sixty-year history—including Maria Callas having made her American debut in the role at Lyric in its opening season—this is the first time, we are told, that Lyric is presenting a complete “traviata.” Go figure.
Act I begins contemplatively enough, Violetta shown in profile preparing herself for her big party while the prelude is still being heard before the scrim is lifted to reveal an odd —by operatic standards—small party in front of a semi-circular background. Read the rest of this entry »
Photo: Todd Rosenberg
Kudos to Lyric Opera for celebrating the Wagner bicentennial by bringing us Wagner’s last, most glorious and perhaps most controversial work, “Parsifal,” in an all-new production for the occasion.
This is an opera unlike any other: Wagner himself called it a Bühnenweihfestspiel, or consecrated stage work, and specified that it not be performed outside of his own theater in Bayreuth and without applause. These wishes were encouraged by Wagner’s widow Cosima well into the twentieth century although a handful of early concert versions and unauthorized productions managed to appear nonetheless.
In the case of Lyric Opera, “Parsifal” had only been presented twice in the company’s nearly sixty-year history before the current production, which much as Nikolaus Lehnhoff’s contemporary sci-fi production had done in 2002, largely demythologizes the work of its Christian context. Read the rest of this entry »
James Valenti and Amanda Echalaz/Photo: Dan Rest
After more than thirty years, Lyric Opera is finally presenting a new production of “Madama Butterfly.” Well, new to Chicago, anyway: a production that current Lyric general director Anthony Freud commissioned at the Houston Grand Opera in 2010, originally directed there by British director Michael Grandage.
The production, listed as a co-commission of the Houston Grand Opera, the Grand Théâtre de Genève and Lyric Opera, was directed by Grandage in both Houston and Switzerland, but directorial responsibilities have been tossed off to Louisa Muller for the Chicago production.
Hal Prince’s production, first seen here in 1982 and revived several times across the decades, also eventually started coming without Prince, but at least Prince himself directed its initial and earliest incarnations. Read the rest of this entry »
Johan Botha and Ana María Martínez/Photo: Dan Rest
In a year that celebrates the 200th anniversaries of Wagner and Verdi, how fitting that Lyric Opera should open its season with a work that manages to pay tribute to both.
There was a sixteen-year silence from Verdi between “Aida,” after which he had retired, and “Otello,” where a septuagenarian Verdi once again took up Shakespeare at the urging of collaborator Arrigo Boito for the first time since his youthful setting of “Macbeth,” spectacularly performed recently in concert form by Riccardo Muti at the Chicago Symphony Orchestra.
In the interim, the already significant influence of Wagner had spread like wildfire throughout the opera world, even to Verdi’s Italy: the fusion of music and drama had become more pronounced, orchestras had expanded and were a greater part of the musical fabric and texture, and set-aside pieces, arias and ensembles had given way to a more unified, contemporary art form that was through-composed without stops and starts from start to finish. Read the rest of this entry »
By Johnny Oleksinski
Photo: Todd Rosenberg
Right away I knew something was up at the Civic Opera House on January 5. The lights dimmed and the familiar, soothing British brogue of Lyric Opera principal conductor Sir Andrew Davis boomed its usual, prerecorded message prohibiting the use of cellphones in the Ardis Krainik Theatre. So far, so good. Then Davis announced that a vehicle with the license plate “FLEMING DIVA 1″ was blocking Wacker Drive. Wait, what? Moments later, the sprightly omnipresent voice informed us that a wealthy patron’s mink coat checked in the lobby was still alive. Huh? No, this was not opening night of “La bohème” or “Die Meistersinger von Nürnberg” or even the closing of “Don Pasquale”; this was “The Second City Guide to the Opera,” another exciting product of the fledgling Lyric Unlimited program. Read the rest of this entry »