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 »
Ashley Brown & John Cudia/Photo: Dan Rest
When Renée Fleming was announced as Lyric Opera’s creative consultant in December of 2010, she related that the company would have an “annual commitment to American musical theater” beginning with Rodgers and Hammerstein’s “Oklahoma!” in non-subscription performances in the spring of 2013. Before that production was even out of the box, Lyric recently announced a five-year R & H initiative.
The justification offered for an opera company already straining to present a diversity of operatic repertoire to focus its limited resources on musical theater that is already widely performed and available in other local venues was, according to Fleming, that such works “emphasize our own strengths and also encourage those who love musicals to give opera a try. With classic musicals, the singing is more closely linked with the type of singing that we do here, and Lyric is poised with such resources to do spectacular productions.” Read the rest of this entry »
Photo: Magda Krance
By Johnny Oleksinski
David Adam Moore is an anomaly in the cast of Lyric Opera’s upcoming production of Rodgers and Hammerstein’s “Oklahoma!” A baritone who performs regularly with companies around the world, Moore is the only traditional opera singer of the pack, which quite impressively includes Broadway notables Ashley Brown (“Mary Poppins” and Lyric’s “Show Boat”) and John Cudia (“The Phantom of The Opera”), and is directed by Chicago and New York’s shared son, Gary Griffin.
Moore has come to “Oklahoma!” direct from Lyric’s recent, electrifying production of André Previn’s “A Streetcar Named Desire” in which he played Stanley Kowalski during the student performance—a most memorable experience at a company he’s become incredibly fond of. You might expect a guy who regularly inhabits fearsome foes like Stanley and Jud to come across more intimidating than, say, a Curly or a Mitch, but Moore is as pleasant and easygoing as can be. He’s honored to be a part of this production, the first in a five-year series of Rodgers and Hammerstein shows at Lyric, and he doesn’t mind in the least being the only person onstage with an opera background. Read the rest of this entry »
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 »
Photo: Todd Rosenberg
One of the great difficulties in bringing an iconic contemporary play to the opera house is securing permission from the playwright, without which, an opera is not possible.
In the case of Tennessee Williams, many were interested in writing operas of his plays, particularly “A Streetcar Named Desire,” but these were refused. It wasn’t until over a decade after Williams’ death that his estate agreed to let it happen in what by that time appeared to be primarily a financial rather than an aesthetic consideration.
The restriction was that as much of the actual language of the play be preserved as possible. And there you have the fatal flaw that weighs down “A Streetcar Named Desire,” the opera. Read the rest of this entry »
Photo: Dan Rest
Verdi’s “Rigoletto” is so popular and done so often that it has become a festering ground for avant-garde directorial concepts that more often than not are bizarrely superimposed over Verdi’s intentions. The Met’s current production, for instance, sets the opera in a Las Vegas casino.
This unit-set production, originally presented in 2006 as a traditional “back to basics” enterprise attempting to in part compensate for a 2000 Christopher Alden production that was off the charts, does an effective job of reminding us why “Rigoletto” remains the beloved work that it is. It has been somewhat rethought by director Stephen Barlow, who is making his Lyric Opera debut. Read the rest of this entry »