Andrew Wilkowske and David Govertsen/Photo: Liz Lauren
With a double bill of Viktor Ullmann’s “The Emperor of Atlantis” and Carl Orff’s “The Clever One”—two one-act pieces beautifully matched, with stories revolving around misguided rulers bungling theatrically in the year 1943—Chicago Opera Theater’s director Andreas Mitisek continues to drive the company to explore new directions and dimensions. Ullmann’s opera was penned in the concentration camp of Terezin; a rehearsal heard by the wrong people caused him to be moved to Auschwitz, where it is assumed he died in the gas chamber. Carl Orff, celebrated and living in great comfort in Germany, whether miraculously escaping censure due to political alliances with the Nazis, or sufficiently hiding his resistance work, was given a pass after the war by the American de-nazification authorities. In extraordinarily differing circumstances, these two composers found harmony in their musings about death, life, sufferance, authority and, along with their librettists, either out of interest or necessity, cloaked it all in broad strokes of humor.
Multi-gifted Mitisek, able to pull both directing and conducting out of his basket of tricks, directs the two with ample injections of commedia dell’arte, vaudeville and burlesque. Pantomime, dumb show, mask and puppetry are employed, along with speaking and choral speaking so compositionally integrated that they could have been germane, or have been borrowed by any number of performance traditions. These ample resources do much to lighten the load of an evening that includes the character of Death, imprisoned peasants, and blatantly celebrated misogyny. Read the rest of this entry »
Billy Zane and Jenn Gambatese/Photo: Todd Rosenberg
The second entry in Lyric Opera’s five-year traversal of the blockbuster entries of the Rodgers and Hammerstein canon fares far better than last year’s inaugural entry “Oklahoma!,” to be sure. Leaving aside questions of why Lyric, already struggling to present a wide diversity of operatic repertoire, should be focusing its limited resources on populist musical theater that is already widely performed and available in other local venues—to say nothing of why Rodgers and Hammerstein’s first work should be followed by their last—the fact remains that the company’s new production of “The Sound of Music” is one of the best new productions of any work done by Lyric in a long while.
To begin with, Broadway veteran Jenn Gambatese as Maria places her own stamp on a role that was originally created for Mary Martin, by then an elderly music-theater matron whose iconic status seeped over into her portrayal. She also managed to sidestep the immense shadow of the all-too-practically-perfect-in-every-way movie incarnation of Julie Andrews in her first film after winning an Oscar as another nanny, “Mary Poppins.”
Gambatese plays Maria as what she was, a naïve young girl who is going through the motions of attempting to find meaning in an empty life, whether fitting in at a convent, or in a household of children barely much older and sometimes much wiser, than she is. Most Marias make a journey of self-discovery, but Gambatese keeps the character’s naiveté out front throughout the show, adding refreshing credibility to the proceedings. She is no opera singer, to be sure, but no matter: she has a delightful show voice that fits Maria’s character and songs like a glove. 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 »
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 »
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 »
Photo: Liz Lauren
One of the problems with being the new impresario in town who conducts, directs and simultaneously runs another opera company on the West Coast is catching your breath long enough to attain some sense of what has happened here before you arrived. Andreas Mitisek said in spoken remarks at Saturday night’s Chicago Opera Theater opening of “María de Buenos Aires”—in a comic faux fundraising letter from its deceased composer Ástor Piazzolla, no less—that Chicago had waited forty-five years to hear the piece.
COT has tempered this claim somewhat by calling the Mitisek production, which premiered in January at the Long Beach Opera which Mitisek also runs, the Chicago stage premiere. But even that is inaccurate, as the City of Chicago presented the piece as its Summer Opera in 2011. Quite often, those have been concert performances, but in this case, the work was staged. (And violinist Gidon Kremer even brought the piece to Symphony Center in a semi-staged version back in 1998.)
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Photo: Todd Rosenberg
Heavily promoted as two words you don’t hear together very often, i.e., a “mariachi opera,” “Cruzar la Cara de la Luna” [“To cross the face of the moon”] is actually a play with folk songs that happens to be accompanied by a mariachi ensemble. It is not through-composed as a true opera would be, but is more of a Mexican folk musical. It could be considered a zarzuela, the Spanish-language style of operetta with its own traditions and conventions that would actually consider mariachi somewhat lowbrow by comparison. Read the rest of this entry »