The Opera Tattler

Rinaldo at Lyric Opera of Chicago

* Notes *
A new production of Rinaldo (Act II, Scene 3 pictured left, photograph by Dan Rest/Lyric Opera of Chicago) concludes Lyric Opera of Chicago's 2011-2012 season. The Sunday matinée performance was nothing if not entertaining. Director Francisco Negrin created his own little circus within Handel's music, an internally consistent world whose elements all work together. The set, by Louis Désiré, involves a monolithic word scramble reading "Gerusalemme," glass panels that can be lit white or red, and an enormous piano-shaped box. Désiré's costumes are likewise striking and odd. Ana Yepes's choreography is amusing and was performed cleanly.

Harry Bicket conducted a rather dry performance from the orchestra. The keyboard solo from Jory Vinikour at the end of Act II was strong. Musically, one of the most interesting parts of the afternoon was during "Or la tromba," when the trumpet almost flubbed a note, but recovered magnificently.

Much of the singing was good, though not always historically informed. Iestyn Davies sounded bright as Eustazio, his fast notes lack deftness, but his timbre is pretty. Sonia Prina's vibrato was distracting at times, she tends to overdo the machismo for trouser roles, and her Goffredo was not an exception. She did rein in the bluster for "Sorge nel petto," which she sang nicely. The pleasant lightness of Luca Pisaroni's voice may not have been perfect for the wicked Argante, but his acting and movements were effective.

Elza van den Heever was a compelling Armida. Her voice is gorgeous and powerful, perhaps a tad heavy for Baroque repertoire. She had the meatiest role as far as direction was concerned, and certainly made the most of this. Julia Kleiter made for a cute, sweet Almirena, she started off sounding a bit breathy but improved as the performance progressed. In the title role, David Daniels also had a shaky start, especially at the beginning of "Cara sposa."

* Tattling *
The audience seemed engaged with the performance. There was some light talking in the dress circle, but not a lot of electronic noise.

Show Boat at Lyric Opera of Chicago

* Notes *
A new production of Show Boat (Act I, Scene 1 pictured left, photograph by Robert Kusel/Lyric Opera of Chicago) opened at Lyric Opera of Chicago last month. The Friday matinée performance was an utter delight from top to bottom. Director Francesca Zambello is at her best in this co-production with Lyric, San Francisco Opera, Washington National Opera, and Houston Grand Opera. The humanity of the characters is clear and compelling. Peter J. Davison's set is not overly ornate, move cleanly, and work well with Mark McCullough's characteristically elegant lighting. The costumes, by Paul Tazewell, often make use of a pleasing contrast of red, white, and turquoise. The dancing, choreographed by Michele Lynch, is charming.

The straightforward music sounded effortless as far as the orchestra was concerned, conducted here by John DeMain. The chorus was robust, as were the principals. Cindy Gold and Ross Lehman were entertaining as Parthy and Captain Andy. Alyson Cambridge made for a striking Julie, with her incisive, but never shrill voice. Angela Renée Simpson sang Queenie with beauty and feeling. Morris Robinson was most impressive as Joe, his music is perhaps the most famous in this particular work, and he sang "Ol' Man River" with warmth and beauty. Ashley Brown was an adorable Magnolia, she chirped sweetly. Nathan Gunn turned out a believable Ravenal, the lightness of his voice having an appeal in this role.

* Tattling *
The house was full of seniors and children, which meant there were watch alarms at the hours and a lot of fidgeting. The family in Upper Balcony Row Q Seats 10-16 could not stay still, one of the sons kept running across the aisle and the other would occasionally stand up as he was unable to see the stage from his seat.

Lyric's World Premiere in 2015-2016

Today Lyric Opera announced the world premiere of Bel Canto, by composer Jimmy López and librettist Nilo Cruz. The work is based on the novel by Ann Patchett will be performed in the 2015-16 season. The conductor will be Sir Andrew Davis and the director Stephen Wadsworth. The opera has been commissioned as part of Lyric's Renée Fleming Initiative.

Press Release | Official Site

Lyric Opera of Chicago's 2012-2013 Season

October 6-30 2012: Elektra
October 15 - November 9 2012: Simon Boccanegra
November 11-26 2012: Werther
November 25- December 15 2012: Don Pasquale
December 7 2012-January 19 2013: Hansel and Gretel
January 21- March 28 2013: La bohème
February 8- March 3 2013: Die Meistersinger von Nürnberg
February 25- March 30 2013: Rigoletto
March 26- April 6 2013: A Streetcar Named Desire

Anthony Freud announced Lyric Opera of Chicago's 2012-2013 season yesterday.

Press Release | Official Site

General Director of Lyric Opera

Houston Grand Opera's General Director Anthony Freud will be the next General Director of Lyric Opera Chicago effective October 1, 2011.

Press Release | Lyric Opera's Official Site

Assault at Lyric Opera

Someone at Lyric Opera of Chicago's Saturday performance of Carmen seems to have been arrested for assaulting an usher.

Chicago Tribune Article | Lyric Opera Official Site

Hercules at Lyric Opera of Chicago

* Notes *
The cast for Lyric Opera of Chicago's Hercules is nothing short of impressive. The Thursday matinée performance seemed well-attended, even the lecture from director Peter Sellars was rather full. Sellars certainly expressed a strong conception for how he staged this oratorio, and has both respect and understanding for the work. However, sometimes it is difficult to see past all the artifical miming, especially with the chorus. While the movements were humorous, I suspect one is not supposed to laugh at the lines "Jealousy! Infernal pest!"

The set is attractive, not unlike an elaborate, classically-informed water feature in an outdoor mall. The lighting was rather literal, red when fire or passion was mentioned, blue and green if water was invoked. The costumes were somewhat puzzling, the women looked like they were SCA members in their casual wear, the men vaguely like they were from the Pacific Northwest.

The orchestra lacked crispness in the overture under Harry Bicket. There were parts that were more focused and pretty, and those that were less so. The cello in "There in myrtle shades" was overwhelming, and the first brass part during the triumphal march was somewhat sour.

The chorus was slightly off from the orchestra in the second choral number, especially when the choral soloists sang. The singers did their choreography well. The last chorus, "To them your grateful notes of praise belong," was moving and beautiful.

The principals were all exceedingly fine, both in acting and in singing. Despite being ill, Richard Croft (Hyllus) sounded warm and sweet, though quiet at times. Lucy Crowe was brilliant as Iole, her voice is gorgeous, and "My breast with tender pity swells" was one of the best arias of the afternoon. David Daniels made the most of Lichas, sounding clear and lovely. In the title role, Eric Owens showed a full range of emotions with his scant three arias. The last was particularly stirring. Likewise, Alice Coote effectively displayed her dramatic abilties within the constraints of the Baroque form. Her Dejanira is incredibly human, and her voice has strong low notes and striking high ones.

* Tattling *
A phone rang during the first half of the show. Many audience members in the boxes fell asleep, at one point there was quite the chorus of snores. Worse yet, an elderly couple in Box 9 kept speaking during the music, once in the overture, once during Daniels' first aria, and once during Crowe's first aria. Thankfully, they responded fairly well to being asked to be quiet, and they left at intermission.

Lyric Opera of Chicago's 2011-2012 Season

October 1-29 2011: Tales of Hoffmann
October 10- November 5 2011: Lucia di Lammermoor
November 7-29 2011: Boris Godunov
November 19- December 11 2011: Ariadne auf Naxos
December 6 2011-January 22 2012: Die Zauberflöte
January 21- February 8 2012: Aida
February 12- March 17 2012: Show Boat
February 29- March 24 2012: Rinaldo

Lyric Opera of Chicago announced the 2011-2012 season today. Matthew Polenzani is Hoffmann. Ferruccio Furlanetto sings Boris with Stefan Margita, Erik Nelson Werner, Andrea Silvestrelli, and Raymond Aceto. Deborah Voigt stars in Ariadne and Sondra Radvanovsky stars in Aida. David Daniels sings in Rinaldo with Luca Pisaroni, Elza van den Heever, and Sonia Prina.

Press Release | Official Site

Creative Consultant of Lyric Opera

Soprano Renée Fleming has been named the first Creative Consultant of Lyric Opera of Chicago.

Press Release | Renée Fleming's Official Site

William Mason / Kent Nagano News

William Mason, Lyric Opera of Chicago's general director, will retire at then end of the 2011-2012 season. Generalmusikdirektor Kent Nagano is leaving the Bayerische Staatsoper when his contract is up in 2013.

William Mason Press Release | Welt Online

Lyric Opera of Chicago's 2010-2011 Season

October 1-30 2010: Macbeth
October 13 2010- March 27 2011: Carmen
November 5-23 2010: A Midsummer Night's Dream
November 15- December 10 2010: Un Ballo en Maschera
December 6 2010-January 21 2011: The Mikado
January 22- February 21 2011: La Fanciulla del West
February 11- March 8 2011: Lohengrin
March 4-21 2011: Hercules

Lyric Opera of Chicago announced the 2010-2011 season today. Thomas Hampson is Macbeth, David Daniels sings in Midsummer, and Sondra Radvanovsky stars in Un Ballo. Deborah Voigt is opposite Marcello Giordani in Fanciulla. Eric Owens, Alice Coote, and Richard Croft are in Hercules.

Press Release | Official Site

Lyric Opera's 2009-2010 Season

September 26 2009- January 29 2010: Tosca
October 5- November 7 2009: Faust
October 27- November 23 2009: Ernani
November 22- Deceumber 12 2009: Katya Kabanova
December 5 2009- January 16 2010: The Merry Widow
January 23- February 22 2010: L'Elisir d'Amore
February 20- March 17 2010: La Damnation de Faust
February 28- March 27 2010: Le Nozze di Figaro

René Pape and Kyle Ketelsen share the role of Mephistopheles in Faust. Salvatore Licitra sings opposite of Sondra Radvanovsky in Ernani. Karita Mattila will sing the title-role of Katya Kabanova. Susan Graham, Paul Groves and John Relyea star in La Damnation. Le Nozze features Joyce DiDonato and Mariusz Kwiecien.

Tribune Article | Official Site

Lyric Opera's 2008-2009 Season

September 27- October 31 2008: Manon
October 6- November 4 2008: Les Pêcheurs de Perles
November 7-30 2008: Lulu
November 18- December 19 2008: Porgy and Bess
December 13 2008- January 29 2009: Madama Butterfly
January 19- February 28 2009: Tristan und Isolde
February 14- March 27 2009: Cavalleria Rusticana/Pagliacci
March 2-28 2009: Die Entführung aus dem Serail

Lyric Opera of Chicago announced their 2008-2009 season this morning. Natalie Dessay will be singing Manon, Nathan Gunn will be Zurga in Les Pêcheurs de Perles, William Burden is Alwa in Lulu, Patricia Racette sings Butterfly, and Dolora Zajick stars in Cavalleria. The Tristan und Isolde production is the Hockney one from Los Angeles, which is being performed this season, and was at San Francisco last season. Deborah Voigt will be singing Isolde with Clifton Forbis as Tristan. Juha Uusitalo is having his Lyric Opera debut as Kurwenal. Francesca Zambello's production Porgy and Bess from Washington National Opera is also coming to San Francisco, and was performed in Los Angeles last year.

Press Release [PDF] | Lyric Opera Site

La Traviata at Lyric Opera

* Notes *
Every performance of La Traviata has been sold-out at Lyric Opera of Chicago this January. I was unconvinced I could finagle a ticket for yesterday's matinée, as craigslist only had people who wanted tickets and Lyric Opera does not have standing room. Yesterday the Lyric Opera site still had the warning "Individual tickets will not be available for the January performances of La traviata due to subscriber purchases and exchanges," but did say to call about tickets for the day's performance. It turned out I could not buy a ticket on the telephone, as I am not a subscriber, so I did go down to the box office in person and did not have a problem getting a ticket.

Renée Fleming seemed to be the reason for the sold-out performances, as she has not sung in an opera at Lyric for 5 years. Personally, I had found Ms. Fleming rather overrated, her intonation was poor as Rodelinda and she seemed distant as Tatiana. Also, I thought it a bit ambitious for someone to take on such a vast array of roles, it seems unlikely for anyone to be able to sing both Baroque and Romantic music really well, at least, in the same part of her career. In Act I of La Traviata, Fleming had a few wobbles, but sang "Ah, fors' è lui" beautifully until she inverted herself on the couch. I did not like her rendition of "Sempre libera," her arrpegios were unclear.

The second half, however, was nearly perfect. Matthew Polenzani (Alfredo) sang "De' miei bollenti spiriti" with great tenderness. There were a few times the orchestra overwhelmed him, but on the whole he gave a good performance. Thomas Hampson acted and sang the role of Giorgio Germont quite convincingly, the body-language in his refusal to embrace Violetta was particularly good. His aria "Di Provenza il mar" was one of the best of the performance.

Back to Ms. Fleming, she seemed much more engaged in this role than the others I had heard her in, her voice was laden with emotion, but still was perfectly in tune. Her acting was also fine, going from flirty minx to dying martyr in three acts without missing a beat.

The chorus was good save for a few seconds when the men were just slightly off from the orchestra in Act II Scene 2. The tambourine playing by some female choral members, in the same scene, was not confident. I am not sure why singers are made to do percussion, one would never make percussionists sing.

Desmond Heeley's set and costumes were traditional through and through. Fleming looked prettier in the light green dress of Act II Scene 2 than in the red velvet in Act I. The scene change in Act II took people by surprise, and an usher had to yell into the crowd that it was not an intermission. Also, I believe something went awry in the lighting of Act II Scene 1, when Germont is singing about how Violetta is still young and beautiful. A light in the garden background turned off and on a few times.

* Tattling *
The first balcony is preferable to the ground floor, the sound is better and the way the seats are arranged is such that one's view remains unobstructed by others. I noticed the dress of the audience was as relaxed as in San Francisco, I saw evening gowns and heels, but jeans and sneakers too. A woman in front of me clipped and filed one of her nails before the performance, which I have never seen before.

Audience members were noiser toward the beginning, a woman behind me pointed out the dancers to someone else rather loudly. For the most part, people only whispered, though some female adolescents did make a good deal of noise getting out their gum during the music. Apparently one of these girls knew the couple of older Russian ladies next to her, and was offered some chocolates during the second intermission. In order to eat the chocolates, she took out her gum, placed it on her finger to save it, ate the chocolate, and then put the gum back into her mouth. It was strangely endearing and horrifying at the same time.

Doctor Atomic at Lyric Opera

* Notes *
Doctor Atomic had its last performance this season at Lyric Opera of Chicago yesterday. The first half of the opera seemed much like what audiences saw in San Francisco two years ago, besides a few minor changes in the libretto and a soprano as Kitty Oppenheimer, instead of a mezzo. I had been warned that Act II was rather different, but looking at the synopsis, it certainly did not look like it would be a change in plot. Indeed, it was not, though the roles of Kitty and Pasqualita were expanded, there was more furniture, the crib was not under the bomb, and some of the choreography was changed. Even with the revisions, Act I was stronger than Act II, especially since the aria at the end of the first act, "Batter my heart, three person'd God," is particularly good. In Act II, the chorus singing "At the sight of this, your Shape stupendous" made an impression, though I find the use of the text from the Bhagavad Gita a bit boggling.

For the first half, the singing was somewhat hard for me to hear unless the singers were downstage, but I believe this was mostly due to my location in the house, off to the right and on the ground floor. When I moved toward the center after intermission, the sound improved. Richard Paul Fink was recovering from a cold, but sang Teller quite audibly and acted well. I especially love his line "The only saviors are the ham sandwiches and hot coffee," which Fink delivered with a certain archness. Jessica Rivera was convincing as Kitty Oppenheimer, though I found her voice more pleasant in her lower range. Meredith Arwady sang Pasqualita beautifully, the contralto sounded perfectly in control. Gerald Finley remained very much in the character of Oppenheimer.

The choreography annoyed me much more this time around. It was often too literal and inelegant. Oppenheimer practically mimed John Donne's words in "Batter my heart, three person'd God."

The sound coming out of the speakers at the back of the ground level was deafening, I wish I had known it would be so loud, for I would have chosen different seats or brought ear plugs. When I left the opera house I felt that strange sensation of not being able to hear exactly normally, feeling like a membrane has grown over one's ear canal.

* Tattling *
The Civic Opera House is the coldest one I have been to, at least as far as the ground floor lobby is concerned. However, the colorful style is quite charming.

The pre-opera lecture was by the librettist himself, the flamboyant Peter Sellars. He discussed the Greek origins of opera, the texts used in Doctor Atomic, the history of the characters, and a rundown of what would happen during the performance. He warned the audience that "Act II is something you will really hate. It is incomprehensible and too long. Opera is the last thing in America that is too long and you can't do anything about it."

The person sitting next to me arrived only a little before the curtain rose. Somehow he placed his coat on half of my backrest, and seemed utterly bewildered that a person was sitting in his coat's seat when he saw me on it at the end of Act I. The person in front of me had his elbow almost on my knee, and when he finally moved it, it was to draw his companion to him so that their heads completely blocked my view of the stage. Said companion had bathed in perfume, and I was apparently allergic to it, as I had to suppress sniffles and coughs until I could get fresh air during intermission. Thankfully the people on my other side left after intermission, so I was able to escape both coat and perfume.

The couple behind me had never been to the opera before and had been expecting something "more like Les Mis." The young man expressed disappointment in opera as a form, he thought there would be "songs" instead of "sing-talking." I was overcome with glee at this, and wanted to tell him that Doctor Atomic is not a paragon exemplar of opera, but was able to control myself. Perhaps they thought since the opera was in English that somehow it would be "opera-lite."