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The third time is the charm, as it turns out. Handel’s “Teseo” (“Theseus”), crowning Chicago Opera Theater’s spring season and the penultimate opera of Brian Dickie’s general directorship, is also the last of COT’s Baroque opera “Medea” trilogy that began with 2010’s production of Cavalli’s “Giasone” (“Jason”) and continued with last year’s production of Charpentier’s “Médée” (Medea). Taken as a whole, this cycle stands as one of the most important artistic initiatives COT has brought us.

Medea was last seen in the climax of “Médée” setting fire to Corinth and murdering her two children, but between Charpentier’s opera and Handel’s she has made her way to Athens to seek asylum and betrothal from King Egeo who has no heir since his only son Teseo is unknown to him due to a promise the king made to Teseo’s mother. In Handel’s “Teseo,” the young hero fights for the king without either knowing their identity and with both courting Agilea. The king plots to kill Teseo while Teseo is magically seduced into cohorting with Medea, and so on. If it all sounds a lot like Handel’s “Rinaldo,” seen recently at Lyric Opera though set during the Crusades, only the setting and names are substantially different. Read the rest of this entry »

Sara Heaton and Paul LaRosa/Photo: Liz Lauren

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Brian Dickie has certainly given Chicago many firsts and many thrills in his twelve years as general director of Chicago Opera Theater, but Dickie has saved one of his best for last: the professional Chicago premiere of a satirical musical by, of all people, Dmitri Shostakovich.

With Stalin having declared modernism and the avant-garde anathema in 1936, operetta became a regime-approved art form and began flourishing during the Soviet era. Operetta houses were built next to theaters and opera houses, large orchestras and repertory casts engaged, and an entire generation of Soviet composers began writing a new species of still popular Russian operetta that remains largely unknown in the West. Read the rest of this entry »

Gerard McBurney/Photo: Todd Rosenberg

By Dennis Polkow

“Musical” and “Shostakovich” are two words few might expect to hear together. “Various people looked at ‘Moscow, Cheryomushki,’” explains the work’s adapter Gerard McBurney over tea, “but the reaction of most presenters in the West was, ‘Shostakovich? Oh, he wrote gloomy symphonies and string quartets. Not exactly a marketing dream.’”

McBurney—a composer, arranger, broadcaster and musicologist best known in the area for his popular “Beyond the Score” presentations at the Chicago Symphony Orchestra which he has overseen, written and narrated since that program’s inception in 2006—was commissioned in the early 1990s to take the piece’s large orchestration and make it performable for a production in his native England. Read the rest of this entry »

Chicago Opera Theater’s New General Director Andreas Mitisek Announces 2013 Season
3 New Productions by Philip Glass, Ástor Piazzolla and Giuseppe Verdi

CHICAGO, IL – (April 4, 2012) Andreas Mitisek announced today Chicago Opera Theater’s (COT) 2013 Season, his first as General Director. The season opens in February of 2013 with the Chicago Premiere of Philip Glass’ The Fall of the House of Usher, followed by Ástor Piazzolla’s María de Buenos Aires in April, and concluding in September with another Chicago Premiere, Giuseppe Verdi’s Joan of Arc (Giovanna d’Arco). These three new productions will be presented at the Harris Theater for Music and Dance in Millennium Park.

“Each time you come to COT, you should be surprised by something you hadn’t thought existed. We want to make you laugh and cry and reflect on the stories we present,” said Andreas Mitisek. “What ties these operas together is their focus on the tension between the power of love and the love of power. Philip Glass, Ástor Piazzolla and Giuseppe Verdi all question our views and enlighten us with insights into the eternal means of the human heart.”  Read the rest of this entry »

Anna Stephany and Ensemble/Photo: Liz Lauren

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A Chicago premiere, more than three centuries after a work was first performed? Welcome to Charpentier’s “Médée,” that seventeenth-century chestnut that as a byproduct of the court of Louis XIV fell into neglect until being rediscovered by the modern early music movement of the 1980s and nineties. It had been a long-stated desire of retiring Chicago Opera Theater general director Brian Dickie to present the Chicago premiere of this work—often considered the crown jewel of French Baroque opera—and this he did at long last, over Easter weekend.

This is the second of COT’s “Medea” trilogy that began with last year’s production of Cavalli’s “Giasone” (“Jason”) and which will conclude with next year’s production of Handel’s “Teseo” (“Theseus”). The carryover for all three productions is the sturdy presence of Baroque Band—the Chicago-based period-instrument ensemble that British violinist Garry Clarke founded here in 2007—and Scottish conductor and early music specialist Christian Curnyn who, as he did with “Giasone,” did a stunning job with his harpsichord continuo playing as well as keeping the action moving ahead in a spirited manner.  Read the rest of this entry »

Emily Albrink/Photo: Paula Aguilera

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Combining all of the art forms as it does in a live setting,  opera is the ultimate human creation. A cursory look at the history of the genre reveals that, at its best, opera remains a step ahead of culture whether in the form of the cutting-edge eighteenth-century operas of Mozart, or the nineteenth-century “music dramas” of Wagner, which even managed to foresee much of what became twentieth-century cinema. Despite some notable exceptions, however, it was more common for opera productions to be more adventurous than the operas themselves during the twentieth century, largely a century of re-imagining new ways to stage old works.

Contemporary examples of opera where one or two elements are innovative are not uncommon, but new operas where every possible element pushes the envelope and which nonetheless manage to become much more than the sum of its parts are ultra rare. Tod Machover’s “Death and the Powers,” which is receiving its Midwest premiere by Chicago Opera Theater after premiering in Monaco last September and after having its American premiere last month in Boston, is such a work. Read the rest of this entry »

Here’s the press release from Chicago Opera Theater:

CHICAGO OPERA THEATER ANNOUNCES
THE 2012 SEASON
BRIAN DICKIE’S LAST SEASON AT CHICAGO OPERA THEATER!

Featuring the People’s Opera Winner, Shostakovich’s Moscow, Cheryomushki,
The last opera in COT’s “Medea” trilogy, Handel’s Teseo,
And a new production of Mozart’s The Magic Flute in the fall of 2012.    Read the rest of this entry »

As the economy slowly lifts us back to our feet and we look around, we see a remarkable sight: a performance industry in Chicago that survived the worst recession since the Great Depression wholly intact. Sure, we had a few brushes with death, and no doubt a few very small, very new theater companies threw in the towel, as they do even in good years, but unlike many other cities across the country, we’re in pretty good shape. How good? The League of Chicago Theatres issued a press release last week proclaiming our town as America’s theater leader, with more than 250 professional theaters, including four Regional Tony Award winners, and a combined annual budget of $250 million serving five million audience members. Add in our thriving dance community, a comedy scene that’s the envy of the nation and two world-class opera companies and you’d have to say we’re doing pretty damn good. But neither the economy nor any cultural organization is fully out of the water yet, and the dramatic uncertainty injected into the political sea by Mayor Daley’s decision to call it a day means Chicago’s performance community will need some steady hands at the wheel these next few years. Accordingly, for this edition of The Players, we’ve broadened our horizon and taken a closer-than-ever look at the individuals in charge of the financial fitness of our local institutions. Read the rest of this entry »

Brian Dickie, who has been a major force in Chicago performance culture since taking the helm at COT back in 1999, is announcing his plan to return to London in 2012. Here’s the press release:

General Director Brian Dickie to leave

Chicago Opera Theater in August of 2012.

CHICAGO, IL (January 13, 2011) – General Director Brian Dickie announced that he will step down as General Director of Chicago Opera Theater at the expiration of his contract in August of 2012, and will return home to London with his family.

2012 will mark Brian’s 50^th year in opera management and administration. Read the rest of this entry »

Frederica von Stade/Photo: Robert Miller

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During the early decades of the twentieth century, Ravinia was the summer opera capital of the United States. Concert opera was also the centerpiece of the twenty-two-year Ravinia music directorship of James Levine, music director of the Metropolitan Opera. That tradition stopped under Christoph Eschenbach but has continued on under James Conlon, who is also music director of the Los Angeles Opera and the Cincinnati May Festival.

There have been two alternating trajectories established to Conlon’s concert opera performances since his Ravinia music directorship began here five seasons ago: grand outdoor pavilion performances of Italian operas by Verdi and Puccini—which last year included “Rigoletto” and will pick up next season with “Tosca”—and intimate indoor Martin Theatre performances of  operas of Mozart, which two seasons ago included “Don Giovanni” and “The Abduction from the Seraglio” and this year picks up with “Cosi fan tutte” and “The Marriage of Figaro.”

Conlon is a master Mozartean, bringing lively tempos and wonderful balance and charm to chamber-music-sized ensembles made up of Chicago Symphony members. What a rare treat it is to hear Mozart operas in an 800-plus seat venue, close to the size of the theaters that Mozart had in mind when he wrote these works, rather than the too-large Harris Theater (Chicago Opera Theater) or the cavernous Civic Opera House (Lyric Opera) where nuance and subtlety are lost. Director David Lefkowich returns to direct both productions and English surtitles will be projected throughout both works. New this year is the participation of the stellar Chicago Symphony Chorus, which should be a real boost to the proceedings. (Ravinia had been using amateur choruses as a cost-saving measure but the quality differential became too jarring for that practice to continue.) Read the rest of this entry »