Even with Appreciative Admiration Rather than Emotional Embrace, Lyric's New Engagement of 'The Marriage of Figaro' is Rather Blissful -- Chicago Opera Review

Opera / Theater Review

The Marriage of Figaro

by Mozart 

directed by Barbara Gaines 

Lyric Opera of Chicago 

Thru October 24 

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Every time I write an opera review it includes many of the same explanations. 

I enjoy, appreciate and admire opera but never "feel it" the way I do rock, Broadway and jazz. 

Even after seeing more than 50 operas, I consider myself an opera dilettante rather than an aficionado. 

I used to subscribe to the Lyric Opera of Chicago, but never became truly enraptured, and found 8 operas per season burdensome. 

I don't listen to opera regularly, or even in preparation for seeing particular titles. 

I seemingly suffer from Opera Amnesia, as neither storylines nor scores--save for particularly iconic overtures--stay with me long. (Tuesday marked my third time seeing The Marriage of Figaro in the part 12 years yet it predominantly seemed new.) 

I find most operas to have rather inane narratives, though even serious devotees seem to agree with this. 

I often have trouble keeping my eyelids from drooping at the opera, especially through loooooonnnnng works. 

Even when awake, my mind tends to wander and I miss some of the supertitles and story. 

And yet, I keep opting to go, which must mean something. 

In recent years I've typically chosen 1-2 operas to go to ad hoc each season, plus the Lyric's spring Rodgers & Hammerstein production. But when an offer came to choose three 2015-16 operas for $33 each in the first balcony--usually that price or more puts one at the back of the second (top) balcony--I was intrigued enough to choose four: The Marriage of Figaro, Wozzeck, The Merry Widow and Nabucco. 

The other current production, Cinderella, also sounds terrific, other titles hold some appeal and I fully intend to see The King & I, having greatly enjoyed the Lyric's lavish, resplendent takes on Oklahoma, The Sound of Music and Carousel. 

This new production of The Marriage of Figaro is directed by Barbara Gaines, founder and Artistic Director of the Chicago Shakespeare Theater. 

While my recollect of past productions, most recently in 2010, is rather scant, I believe Gaines brought whimsical vibrancy and newfound buoyancy to Mozart's great opera, complemented by great costuming by Susan Mickey and an innovative set design by James Noone. 

The fantastic overture sounded phenomenal, and while I lack the wherewithal to name specific songs or cite which aria was sung by who, I appreciated how The Marriage of Figaro features solo turns by several characters, duets--including by Adam Plachetka as Figaro and Christiane Krug as his soon-to-be wife, Susanna--larger small group numbers and some nice choral pieces. 

Luca Pisaroni made for a rather suave Count Almaviva--Figaro's employer, who though married, is a constant womanizer, including of Susanna--and though a pre-show announcement asked the audience's understanding as Amanda Majeski fought through a cold as Countess Almaviva, I certainly couldn't hear anything deficient in her performance. 

Especially in this ravishing rendition, Figaro is a truly sumptuous opera, and even if my enjoyment and memory are again fleeting, I nonetheless feel enriched for having taken it in. 

While I entered truly looking forward to the experience and never rued it, I was somewhat tired throughout the 3-1/2 performance, and though highly appreciative--and perhaps a bit more embracing--I still can't say I was truly smitten as by a great musical or rock concert. 

The music and singing were sublime, and I reminded myself throughout not to worry much about not fully understanding all the plot twists--one of which involves a male servant named Cherubino, who is played by a woman (Rachel Frenkel) and within the play is asked to disguise himself as a female. 

Still, with binoculars, bouncing between the action onstage and the English supertitles above, never allowed for a perfect balance between just "going with it" and trying to grasp what was happening in the farcical soap opera with a libretto by Lorenzo da Pointe. Being a bit sleepy at times also didn't abet this. 

But I think I'm safe to say that if you're an opera lover, Ms. Gaines' production of The Marriage of Figaro is a delicious feast for the eyes and ears, and if you're an interested neophyte--as I still consider myself--there is, even if one ingests it more admiringly than emotionally, undoubtedly a whole lot to savor. 

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I should also note the Opera Talk, held an hour before each performance, was quite valuable, as much for learning why The Marriage of Figaro is so esteemed as for abetting my enjoyment of the present production. 

With Bright Stars and Dark Themes, Lyric's 'Carousel' is a Largely Delightful Ride -- Chicago Theater Review

Theater / Opera Review

Carousel
by Rodgers & Hammerstein
Lyric Opera of Chicago
Thru May 3
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Although the tradition dates back only two years, the Lyric Opera's annual staging of a classic Rodgers & Hammerstein musical has become one of my favorite staples of Spring in Chicago.

Presented outside the auspices of the Lyric's subscription series, Oklahoma (in 2013), The Sound of Music and now Carousel have been newly produced by the prestigious opera company, but done--predominantly meaning sung--as musical theater works, not operas.

While there's probably some overlap in the definition and delineation of "opera" and "musical," given that examples of the latter are more typically sung in English--at least in America and Britain--without the overtly sonorous intonations that characterize the "operatic form" (as best I can describe), I have far more voluminously, emphatically and emotionally embraced musicals than operas.

But I have eminent respect for the operatic form and the greatness of the Lyric--and try to get to at least one traditional opera each year. (I loved The Passenger there just last month.)

And I heartily applaud--conceptually and meritoriously--whenever the Lyric Opera has seen fit to bring Broadway to the glorious Civic Opera House. (Before the Rogers & Hammerstein series, with The King and I coming in 2016, I loved Sweeney Todd and Show Boat at the Lyric.)

Oklahoma and The Sound of Music have been absolutely phenomenal, and similarly supported by the wondrous Lyric orchestra, Carousel boasts a top tier Broadway director in Rob Ashford and a cast full of musical theater luminaries, including Steven Pasquale, Laura Osnes, Jenn Gambatese, Matthew Hydzik, Jarrod Emick and Charlotte d'Amboise.

Denyce Graves, who I saw in the title role of Carmen at the Lyric, brings genuine opera chops to the proceedings, and it was fun to see Tony Roberts--who I know from the movie Annie Hall, but also with numerous Broadway credits--in a non-singing role.

Photo credit on all: Phil Velasquez / Chicago Tribune

According to this article by Chicago Tribune Theater critic Chris Jones--who subsequently awarded Carousel 4 stars (out of 4)--it is certainly within the realm of possibility that this production will eventually transfer to Broadway.

So to score a good balcony seat discounted to just $22 through Goldstar was an absolute steal, and there continue to be great bargains through HotTix and the Lyric box office as well.

At such agreeable prices, this is a Carousel for which any serious musical theater fan, widely-receptive opera aficionado and/or devoted Rodgers & Hammerstein admirer should get themselves a ticket.

There are a number of great R&H classics--the luscious overture, "If I Loved You," "June is Bustin' Out All Over," "A Real Nice Clambake," "You'll Never Walk Alone"--and the singing is routinely superb. (Although in the role of Aunt Nettie, Graves' great mezzo-soprano suits the last song cited far more than her part on "June is Bustin' Out...")

Beautiful vocally and otherwise, Osnes is perfectly cast as Julie Jordan, a tender-hearted small town New Englander who falls for the roguish carousel barker, played by Pasquale.

The actor has been a regular on CBS' The Good Wife this season, and as a fan of the show, it was fun to see him on a Chicago stage, especially just two weeks after seeing his Good Wife colleague Alan Cumming starring in Cabaret on Broadway. (On my recent visit to NYC, I also happened to see The Good Wife's Mary Beth Peil in The Visit musical.)

Pasquale has a particularly strong, resonant voice--it reached the opera house balcony quite richly--and handled the largely-unlikable role of Billy Bigelow very well. His rendition of the "Soliloquy" (a.k.a. "My Boy Bill") is certainly a highlight among many.

After her starring role as Maria in The Sound of Music on the same stage last year, Broadway vet Jenn Gambatese was again a delight as Carrie, Julie's best friend, while Hydzik (as Enoch Snow), Emick (a Tony-winner playing the rather small role of Jigger Cragin) and D'Amboise (a fine singer who I've seen in Chicago, but who doesn't get any lead vocals as Mrs. Mullin here) are all excellent.

Albeit with rather limited stage time, Roberts was a pleasure as the Starkeeper--a small part of Carousel takes place in heaven--and Abigail Simon danced beautifully in Louise's ballet.

Yet while there is far more good than not about Carousel at the Lyric, and I heartily recommend it, my @@@@1/2 rating represents a bit of a disappointment after giving both Oklahoma and The Sound of Music perfect scores.

Primarily because those shows--as well as Rodgers & Hammerstein's The King and I and South Pacific--have more songs that I instantly recognize and forthrightly enjoy than does Carousel, I didn't sit through nearly 3 hours on Sunday with the same sense of ebullience.

Or tapping feet.

Certainly, Carousel is a darker show, and I respect that it was thematically pretty groundbreaking when it first appeared on Broadway in 1945. When I first saw it onstage in 2010 at Light Opera Works, even before I had watched the 1956 movie, I gave @@@@@ to a sensational production. (I honestly can't remember enough specifics to directly compare that rendition to this one.)

So I have no qualms with Carousel being considered a first-rate musical, even if I don't agree with TIME magazine's, "The best musical of the 20th century" plaudit.

But there aren't that many songs in it I truly love, I'm troubled by how it grapples with the issue of domestic violence but never really condemns it, the Billy Bigelow character is largely just a turd and the whole looking/coming down from heaven part seems rather obtuse.

Also, while it isn't a significant cause for detraction, I wasn't as dazzled by the set design--by Paolo Ventura, a first-time scenic designer hand-picked by director Ashford based on the quality of his artwork in a New York gallery--as I have been by other Lyric productions, both operas and musicals.

So while I got far more than my fair share of quality entertainment for $22--and respect that Chris Jones found this production of Carousel "by far the best" of the Lyric's Rodgers & Hammerstein's forays, and even that it may well be their most operatic work--I simply prefer Oklahoma and The Sound of Music.

I also found Carousel a notch less blissful than the astonishing, now-ended Broadway re-revival of Cabaret mentioned above, as well as a glorious local production of Les Misérables, now playing at the Paramount Theatre in Aurora.

So while Carousel may well deserve a full @@@@@ for how well it is performed at the Civic Opera House, it seems a bit askew to bestow Seth Saith's high-water mark while naming several shows I simply enjoyed more.

But even without quite being my favorite ride at the fair, Carousel has plenty of horsepower and I would be delighted to see this production make it to Broadway.

Thus, if you can catch it for under $25 (+ fees) and a fairly short commute, you'd be amiss not to get aboard this rather starry--and extremely good--merry-go-round.