A Real Cut-Up: Lyric's 'The Barber of Seville' Delights on Opening Night, but... -- Chicago Opera Review

Opera Review

The Barber of Seville
by Gioachino Rossini
directed by by Tara Faircloth
based on original direction by Rob Ashford
Lyric Opera of Chicago
Thru October 27
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Despite being one of the most frequent readers of this blog, my friend Ken was rather surprised when I recently mentioned that I have seen about 60 operas in my life, all within the past 20 years. 

Granted, the majority of the performances came before 2010, when I both met Ken and began maintaining SethSaith.com with regularity.

Hoping to acclimate myself to the operatic art form, I had subscribed to the venerated Lyric Opera of Chicago for five full seasons between 2003-2008.

Still, even since 2010, I’ve seen and reviewed about 15 operas, including classics of the canon like The Merry Widow, Tosca, The Marriage of Figaro and Nabucco, as well as new or less-traditional titles such as Wozzeck, The Passenger, The Invention of Morel and Charlie Parker’s Yardbird.

Most of these have been by the Lyric at the Civic Opera House, where in recent years I’ve also seen all of their productions of Broadway musicals: Show Boat, Oklahoma, The Sound of Music, Carousel, The King and I, My Fair Lady, Jesus Christ Superstar and, this year, West Side Story.

But while I used to try to attend at least one or two genuine operas each year, until Saturday, I had not
seen any classics at Lyric since 2016.

So I was especially delighted to be invited to Opening Night of The Barber of Seville, a famed early 19th century work by Gioachino Rossini.

Although the storylines of many classic operas of rather light, even silly and slight, The Barber of Seville is actually classified as an “opera buffa,” meaning a comic opera.

The current production at Lyric is a revival of a 2013-14 staging that had been directed by Rob Ashford, a noted director and choreographer of Broadway musicals.

Beginning with Rossini’s sumptuous overture featuring a refrain that is familiar to me, played by the terrific Lyric Opera orchestra conducted by Sir Andrew Davis, almost everything about The Barber of Seville was a delight.

Though I had seen the opera in 2008, I didn’t much recall the story or most music, and truly relished hearing anew many individual arias or songs among various couplings of characters.

As Lindoro, a disguised count smitten by the beauteous Rosina, Lawrence Brownlee shines early on “"Ecco, ridente in cielo," while his comedic advisor in matters of courtship, Figaro—the namesake barber of Seville—is wonderfully embodied by Adam Plachetka.

His entrance song, “"Ecco, ridente in cielo,” is a particular delight, as is Rosina’s aria— "Una voce poco fa"—sung by the striking Marianne Crebassa.

Also much meriting mention are Alessandro Corbelli as Rosina’s guardian Dr. Bartolo, Krzysztof Bączyk as his pal and her music teacher Don Basilio and—for the impressive “Il vecchiotto cerca moglie” in Act 2—Mathilda Edge, a first-year Ryan Opera Center member making her Lyric debut as Berta, Rosina’s governess.

Particularly given the light tone, fine costuming (by Catherine Zuber) and swell set design by Scott

Pask, everything I witnessed and heard was enjoyable.

Whether you love opera or are wanting to explore it, I feel confident in advising that this particular production of The Barber of Seville should be a ravishing, satisfying choice. If nothing else, at most operas you won’t laugh nearly this much.

But…

I still can’t say it changed my mind about opera.

As I was telling Ken, my previous forays into attending opera had helped me admire and appreciate the craft, the artistry, the musical form and more. Going to the Lyric always made for a special evening, and still does.

But as opposed to rock ‘n roll, Broadway musicals and some jazz, I watch opera, I don’t feel opera. 

Or as Ken put it, it just doesn’t quite stir my soul.

I was thrilled to be invited and I hope to be again, and I genuinely relished The Barber of Seville.

But not nearly as much as Paul McCartney or the Rolling Stones or Hamilton or West Side Story or other performers or works of art that intrinsically move me.

Which isn’t at all an indictment of this particular opera, nor even—in terms of appreciation—opera in general.

But in addition to reviewing The Barber of Seville, I feel compelled to reflect my experience in seeing it.

And though all aspects of this rendition were—as best I can judge—a cut above, in terms of providing holistic, intrinsic joy, I can’t quite say The Barber of Seville was indelibly styled.

Bird Lives, but Without All That Jazz, 'Charlie Parker's Yardbird' Opera Only Somewhat Soars -- Chicago Opera / Jazz Review

Opera / Jazz Review

Charlie Parker's Yardbird
an opera by Lyric Unlimited
followed by a performance by
The Chicago Jazz Philharmonic
Harris Theater, Chicago
Friday, March 24, 2017
(Also, Sunday, March 26)
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Even as an only mildly-cultivated jazz lover, the name Charlie Parker is eminently hallowed.

Although in terms of legendary saxophone players, I'm more inclined to listen to John Coltrane, Sonny Rollins or Dexter Gordon--and recently learned of Hank Mobley and bought his excellent Soul Station album--I have nothing but the utmost appreciation for "Bird" (a nickname shortened from another, "Yardbird") and how he revolutionized jazz and helped create bebop.

So when I heard about a show called Charlie Parker's Yardbird some time ago, I instantly took note.

Though it was only a few days before attending that I actually read much about it, realized that although presented by Lyric Opera of Chicago--under their Lyric Unlimited banner--it was taking place at the Harris Theater, and bought myself a ticket.

With music by Daniel Schnyder and libretto by Bridgette A. Wimberly, Charlie Parker's Yardbird was first produced at Opera Philadelphia and subsequently in New York City and Madison, WI, before a 2-performance run in Chicago.

And rather than loosely interpreting "opera" with a score heavily reflecting the type of jazz made by Parker--who died in 1955 at just age 34--the 90-minute work is sung in traditional opera style.

Certainly, the vocal caliber of Lawrence Brownlee as Parker--and those of Angela Brown (as his mom, Addie), Rachel Sterrenberg (as one of his wives, Chan), Will Liverman (as Bird's famed collaborator, Dizzy Gillespie, Julie Miller (as his patron & friend Baroness Nica, in whose residence he died) and others--sounded impressive to me.

With an attractive backdrop (by set designer Riccardo Hernandez) spelling out BIRDLAND, its letters filled with images of other jazz icons, I had no reason to discern that the opera as written--and as directed by Ron Daniels--was not performed exceptionally well.

I enjoyed it at face value, and especially as it was followed by a terrific performance by the Chicago Jazz Philharmonic of works recorded and popularized by Charlie Parker, I was glad to have snagged a relatively inexpensive ticket.

But while I liked Charlie Parker's Yardbird, I didn't love it. And though this would keep with my usual stipulation about opera--that I don't feel it like I do rock 'n roll, Broadway or even great jazz--here I felt the biographical narrative about Parker was just far too sketchy.

Scenes segued in a way that those coming to this show without prior familiarity could really be confused about just who Chan, Nica and others were--and what they meant to Bird.

And while we saw Charlie together with Dizzy, and struggling with mental illness and substance abuse, no real insights were provided about Bird's jazz innovations, or the underpinings of the heroin addiction that would lead to his premature passing.

But most, or simplest, of all, there just wasn't enough jazz in this show for my tastes.

Yes, the score by the Swiss-American Schnyder wove in traces of bebop, but they were never front and center (or ever performed by anyone onstage).

I don't know if rights clearance issues dictated some of the musical decisions, but rather than being the jazz opera I had hoped, this was a straightforward--if short and English-sung--classical music opera that happens to be about a jazz legend.

I have absolutely no issue with modern yet stylistically traditional operas about unique subjects. Just last month, I loved Chicago Opera Theater's The Invention of Morel, composed by Stewart Copeland of The Police, and Lyric's 2015 The Passenger, regarding the Holocaust, was one of the best things I've ever seen there.

Other reviews I've seen of Charlie Parker's Yardbird--of this production and past ones--seem qualitatively aligned with mine, which is more positive than not, even if not a rave.

So it isn't that I'm downgrading this opera simply for not hewing closer to my desires. But yes, I would have enjoyed far more (pronounced) jazz and some deeper insights into what made Bird chirp.

As it stands--and this review is moot for most reading it as the Chicago run is done, though future stagings are likely around the country and world--the subject was sufficient to pull me in and generally keep me interested.

And the performers were excellent.

...including, quite notably, in the brief post-opera concert, Chicago Jazz Philharmonic saxophonist Rajim Halim Orozco, trumpeter Chris Davis, pianist Darwin Noguera, drummer Clif Wallace and bassist Junius Paul.

But with much due respect to those in and involved with Charlie Parker's Yardbird, I think I honestly would have better enjoyed 90 more minutes of live Bird-bred jazz from the CJP.

And simply watching/hearing this Charlie Parker & Dizzy Gillespie clip on YouTube (and others like it), while reading the Wikipedia entry on Parker, probably provides a clearer understanding as to why--62 years after the legend's death--jazz aficionados still like to enthuse:

"Bird Lives!"

"Just a Cast Away, an Island Lost at Sea...": Even with Police References Merely in My Head, Stewart Copeland's 'Invention of Morel' Opera Proves Quite Arresting -- Chicago Opera Review

Theater / Opera Review

The Invention of Morel
a world premiere opera
Music by Stewart Copeland
Libretto by Stewart Copeland & Jonathan Moore
Directed by Jonathan Moore
Chicago Opera Theater
at the Studebaker Theater, Chicago
February 18, 24, 26 (run ended)
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A few years ago, I wrote a thesis-like (though not nearly that long) blog post about what I dubbed "Associative Learning," and its seeming erosion.

In it, I theorized about how, when I had to do school reports back in the early 1980s, the acts of riding my bike through town to the public library, stopping for lunch and at the local record store, meandering through two floors of the library to the encyclopedia shelves and perusing World Book and Encyclopedia Britannica well beyond the subject at hand, undoubtedly introduced me to things in ways that much more targeted & precise internet-based research may not as readily prompt kids today to broaden their horizons.

Though I don't have kids of my own and haven't been able to regularly monitor the accuracy of my hypothesis, I still believe it to have validity.

Yet, rather than thinking myself an internet or technology Luddite, I realize the infinite possibilities the web has to empower flights of curiosity.

The trick is finding the impetus for inspiration.

Which brings me to a review of a world premiere opera called The Invention of Morel, whose brief Chicago run ended with the performance I saw. As a work co-commissioned by Chicago Opera Theater and Long Beach Opera, it will supposedly be staged in Long Beach, California next March.

So although I thought the opera in was largely terrific, this review won't provide much acute benefit to anyone. I don't even see specific dates announced for the Long Beach Opera, so it's not like you can even plan a Spring 2018 California trek just yet.

Hence, while I will give a rundown of the opera as best I can, and why I enjoyed it, I think the associative learning backstory is also worth sharing.

For decades, but again somewhat acutely over the past few weeks, I have been fascinated by old movie theaters, with the extant ones around Chicagoland largely now serving as performing arts venues.

Some internet exploring, on the excellent Cinema Treasures website and elsewhere--including the hypnotic Historic Aerials site--brought me to this article about grand renovations to the Studebaker Theater in the Fine Arts Building.

I was familiar with the Fine Arts Building, at 410 S. Michigan in Chicago, having had cinemas showing art-house movies during my lifetime, but not for years.

So it was fascinating to learn of resurrection of the Studebaker Theater--the building itself was built to sell & service Studebaker carriages in the late 19th century--and it was only through the theater's website that I came across The Invention of Morel.

My initial interest was in finding anything on the Studebaker's event calendar that might give me
reason to visit the theater, but learning about the opera itself was intriguing.

As I've written too many times to reiterate in depth here, I appreciate opera to the point of having formerly been a Lyric Opera of Chicago subscriber, and still try to get to 1-3 operas per year, but don't emotionally ingest the art form enough to call myself an opera buff.

Thus, a brand new, 90-minute opera, sung in English and written by Stewart Copeland of The Police--a defunct rock band I really like--seemed especially appealing.

I almost bought a ticket right then and there, about 3 weeks ago, but thought that I should see if A) ticket discounts would be offered on HotTix, Goldstar or TodayTix; B) the first performance got a good review; and C) the winter weather in Chicago wouldn't be too challenging.

There were no discounts offered for the first performance on February 18, but through Goldstar the Feb. 24 & 26 shows were nicely priced. And even after the Chicago Tribune's esteemed classical music critic John von Rhein gave The Invention of Morel 4 stars (out of 4), I was able to snag a nice balcony seat for just $29 + fees.

Though not quite the 65 degree weather last week saw in Chicago--followed three days later by 20 degree weather--Sunday was fairly mild.

I got downtown in time to enjoy a nice waffle at BeeZzee Fresh Food on Wabash and make my way to the Fine Arts Building, still plenty early.

With permission, I took an elevator to the top floor and walked down the entire beautiful building; so lovely--and unseen by me previously--that I'll dedicate an upcoming blog post simply to photos of it. True to the name, tenants include violin makers, various studios, a sheet music seller and bookstore, etc. This in itself would have made for a worthy excursion. 

Then at 2pm, I attended a pre-opera talk by Chicago Opera Theater artistic director--and the opera's conductor--Andreas Mitisek, along with the co-librettist and director Jonathan Moore, who has an impressive list of credits, mostly in his native England. (If Stewart Copeland was on hand, I was never aware.)

This was quite insightful and--along with von Rhein's review and other background info--really helped prepare me for what I was about to see.

Previously unbeknownst to me, The Invention of Morel, written by Argentinean Adolfo Bioy Casares in 1940, remains one of the most famed and beloved novels in Latin America.

It, and therefore the opera, concerns itself with a fugitive arriving on a seemingly deserted island, only to discover a number of well-heeled tourists already there and acting rather mysteriously.

One of these is a beautiful woman named Faustine--yes, like Faust, though not overtly devilish--with whom the fugitive becomes smitten, even more so as she resists his advances. (Author Bioy Casares based Faustine on American silent film star Louise Brooks, with whom he was smitten from afar.)

You should read the book if you wish to know all of what unfolds, but per the title, an inventor named Morel is central, with a rather beguiling device that the fugitive ultimately discovers.

As Moore helpfully explained beforehand, he and Copeland decided to deviate from the book slightly by adding a Narrator (Lee Gregory), who largely sings the narrative as a recollection of events, while the Fugitive (Andrew Wilkowske) observes what happens as he encounters it. Both characters represent the same person and shadow each other throughout.

The singing is in operatic voices, which while artistically remarkable--and top tier here as far as I could tell--still didn't allow the whole thing to connect with me like great musical theater does.

And despite the rather brief running time, I can deny there were some points where my attention--and eyelids--began to flutter.

But the propulsive, rhythm heavy score by Copeland--long one of my favorite drummers--became truly exciting and scintillating, especially toward the end.

I had learned that this was the fifth opera Copeland has written, and following his success with the Police--who initially broke up in 1986 before a 2007-08 reunion tour--he has written numerous film scores.

So I certainly wasn't expecting to hear Police songs or familiar refrains, nor was this--unlike Sting's recent The Last Ship musical--meant to be an autobiographical affair. (Moore explained that Copeland's daughter had recommended The Invention of Morel adaptation.)

But due to associative strains merely within my own brain, given the fugitive's arrival on a supposedly deserted island--which one can see enacted in an Invention of Morel virtual reality app created in conjunction with the opera--I couldn't help but conjure up Police gems like "Message in a Bottle" and "So Lonely."

And as the fugitive watches and pursues the beautiful Faustine (Valerie Vinzant, clearly lovely even from the Studebaker balcony sans forgotten binoculars), my mind went to "Every Breath You Take" and "De Do Do Do, De Da Da Da."

Perhaps I haven't done the best job of detailing why, but I really enjoyed The Invention of Morel at face value.

And with Mitisek and Moore holding a post-show Q&A--that still let me get home in plenty of time for the Oscars--I liked the entire experience, and everything associated with it, even more.

Babylon Revisited: With Rousing Choruses and a Sensational Soprano, 'Nabucco' Pleases at the Lyric -- Chicago Opera Review

Opera / Theater Review

Nabucco
by Giuseppe Verdi
directed by Matthew Ozawa
Lyric Opera of Chicago
Thru February 12
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Nabucco, written in 1841 as just the third opera by the legendary Giuseppe Verdi, is supposedly (per Wikipedia) the work that really launched the Italian's reputation and renown--at just 27 years old--but isn't as famed or commonly staged as La Traviata, Aida, Macbeth, Rigoletto, Otello and other operas Verdi would create over a subsequent half-century.

I hadn't heard of Nabucco until noting its inclusion in the Lyric's 2015-16 season, which intrigued me enough to not only take advantage of a 3-operas-for-$99 subscription offer, but to add a fourth opera to my package. (Some years back I subscribed to full seasons for awhile, but it became a bit too much for my level of enjoyment.)

Between a regard for Verdi's iconic stature--I've seen the first four titles mentioned two paragraphs up, though can't claim great recall--and a compelling description of Nabucco on the Lyric's website, I included it in my subscription and attended on Wednesday night.

As I learned by doing a bit more reading about Nabucco just this week, the title character is an Assyrian king--in English known as Nebuchadnezzar--who, circa 586 B.C., leads the army of Babylon into Jerusalem to do battle with the Jews.

Supposedly not much concerned with strict adherence to historical accuracy, Verdi's opera with a libretto by Temistocle Solera--based on both a play and ballet covering similar ground--deals not only with war, persecution and tyranny, but love, family and betrayal.

One of Nabucco's daughters, Fenena (Elizabeth DeShong), is captured by the Jews and entrusted to Ismaele (Sergei Skorokhodov), a former and rekindled lover, while his other daughter, Abigaille (Tatiana Serjan), turns against both her father (Zeljko Lucic as Nabucco) and her sister, in part because Ismaele has spurned Abigaille's advances in favor of Fenana.

So although Nabucco is something of a war story focusing on Jewish history I likely learned about in Hebrew school eons ago, its plot involves enough soap opera-y melodrama--akin to many "great" operas--that it held my interest but didn't fully captivate me through dramatic heft.

What I liked best about Nabucco is its preponderance of great choral numbers, including one of Verdi's most famed compositions, "Va, Pensiero" (literally "Fly, thought, on golden wings" but often referred to as "Chorus of the Hebrew Slaves"), for which the stage was completely filled with singers.

The choruses were accompanied--directly but also separately--by several loud, bombastic flourishes in Verdi's score.

As admittedly still a neophyte when it comes to classical music and opera, I find the music most exciting when it swells thunderously--and in Nabucco it repeatedly does.

And while I never pretend to have the expertise to intelligently judge or critique opera singers--they all sound good to me--as Abigaille, Russian soprano Tatiana Serjan was demonstrably terrific, especially during a prolonged second act aria. (Nabucco has four acts, but is done with just one intermission.)

The other primary cast members, including Lucic, DeShong, Skorokhodov and Dmitry Belosselskiy as Zaccharia, a Jewish prophet, are also entirely estimable.

Michael Yeargan's set designs aren't quite as stupendous as others I've seen at the Lyric, but certainly impressive enough, especially in accommodating the vast choruses. Jane Greenwood's costumes are terrific, chorus master Michael Black clearly deserves mention and in reviving the Lyric's last production of Nabucco from 1997-98--per John von Rhein's much more astute review in the Chicago Tribune--director Matthew Ozawa and conductor Carlo Rizzi impressively make it all work, musically and visually.

So with rousing choruses, orchestral flourishes, sublime singers including a sensational soprano, a somewhat sobering plot and engaging visuals, it would seem Nabucco was an opera I truly loved.

I certainly did enjoy it, and relished "Va, Pensiero" and other ravishing parts, but I can't say Nabucco changed my overall regard for opera--more appreciation and admiration than emotional embrace--nor delighted me quite on par with The Marriage of Figaro and The Merry Widow earlier this season.

Still I imagine that not only affirmed opera lovers will find great pleasure in Nabucco, it would seem a pretty good choice for those looking to "check out an opera" or go on a relatively rare excursion. 

Along with the powerful music, great choruses and excellent arias--essentially low-hanging fruit in terms of operatic enjoyment--Nabucco clocks in under 3 hours and moves along fairly swiftly.

I was hoping to end this by conveying that tickets are fairly available and reasonably priced, but though--based on a quick check of upcoming performances--the former indeed seems true, the furthest seats in the house (in the upper balcony) now seem to start at $149 (presumably based on a dynamic--i.e. fluctuating based on demand--pricing model).

For that much cash, I don't know if I can heartily recommend Nabucco on an ad hoc basis, though those interested may want to call the Lyric box office and/or check for any potential discounts on HotTix or Goldstar.

My $33 per show subscription rate actually has me down in the first balcony, rather than the upper. And though I haven't yet seen renewal offers, the Lyric recently announced its 2016-17 season.

Hence, while it is quite conceivable that you would enjoy Nabucco, you may do just as well--or even better--by planning ahead and catching other great productions a bit more economically.

I've seen four operas this season for less than the lowest prices I now note just for Nabucco. And while it is quite good, I can't say it is singularly so.

A Nice If Imperfect Complement: Renée Fleming and Patricia Barber in Concert at the Harris Theater -- Chicago Jazz Review

Jazz / Opera Review

Higher: Renée Fleming and Patricia Barber
Perform the Music of Patricia Barber
Harris Theater for Music and Dance, Chicago
December 14, 2015
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It is due to the great regard I have for Renée Fleming--one of the world's most renowned opera singers, who I recently loved in The Merry Widow--and Patricia Barber--a jazz pianist/singer/composer who I've enjoyed at her Green Mill residency--that I thought it would be cool to see them together in a rather unique concert.

And that regard remains undiminished after witnessing a performance I found enjoyable though largely less than spectacular.

Titled Higher, this was supposedly the first in a concert series called To the Edge, which will see Fleming venturing beyond the opera world through various pairings. The program will soon be repeated in Washington, DC and New York City, and was recorded for broadcast on Chicago's WFMT Radio (98.7 FM) on December 21 at 8:00pm.

In addition to being a highly sought opera performer, the soprano Fleming serves as Creative Consultant to the Lyric Opera of Chicago, and while in town over the past few years she witnessed Barber at one of her regular Monday night gigs at the Green Mill.

From this, mutual admiration, collaboration and the Higher concert pairing seemingly developed.

It sounded like an intriguing proposition, but not one I jumped at until a rather inexpensive offer on Goldstar made it seem silly not to explore; I wound up sitting in the last row at the Harris, but the acoustics were good and my vision abetted by binoculars.

As delineated in the program, Fleming took the stage first, singing five songs written by Barber. During these, the opera star was accompanied on piano primarily by Craig Terry, although Barber did come onstage to play a second piano on a couple tunes.

Photo credit: Nuccio DiNuzzo / Chicago Tribune

Fleming's voice is, of course, a brilliant instrument, and she conveyed that she would be singing Barber's songs an octave higher than Patricia herself does.

Yet while there was nothing unpleasant about her renditions or Terry's playing, Fleming's operatic leanings made Barber's lyrics indecipherable--they were printed in the program, but couldn't be read in the dark during the performance--and it seemed a shame that Renee and Patricia largely weren't performing together.

Eventually they did, but really only inspiringly so for the last 20 minutes of a 2-hour concert.

Before this, they did collaborate on some Christmas carols with Terry and/or the three male members of Barber's quartet, with whom Patricia played and sang for about a half-hour, sans Renee.

It was only when Fleming and Barber were left alone onstage together, chatted amiably (including about Patricia's penchant for playing piano with her shoes and socks off) and performed a Barber composition called "Surrender"--with Renee on vocals--that the concert became what I felt it should have been all along.

This was nicely followed by Barber singing "Opera Song," a piece inspired by Fleming, who provided a wonderful operatic flourish. And a encore reprise of "Scream"--a Barber song sung earlier by Fleming--became a rather high-energy romp thanks to some rock guitar flashes by Neal Alger of Barber's quartet (which also includes Patrick Mulcahy on bass and Jon Deitemyer on drums).

Not only was it nice to see Renee and Patricia musically interacting with some obvious dynamism--the holiday fare was lovely, yet a bit languid--but only near the end of the night did Fleming seem to truly go beyond her comfort zone.

I would love to hear her sing songs that aren't opera arias, but while clearly reflecting her regard for Barber's songwriting, the five opening songs had found her hewing too closely to her operatic stylings.

Perhaps this is what she thinks the audience wants and/or expects from her, but it came off too stiff, and while Barber's songs with her Quartet were enjoyable, they essentially replicated what one can better hear in the closer quarters of the Green Mill.

It was only when the two wonderfully-talented women cut loose and had some fun that they really seemed to be going to the edge…and then higher.

Next time, if there is to be one--perhaps the Green Mill would be a great setting--I suggest the face-to-face interaction should start a good bit sooner.

Hail Renée: Fleming Makes for a Mirthful 'Merry Widow' at the Lyric -- Chicago Opera Review

Chicago Opera / Theater Review

The Merry Widow
an operetta by Franz Lehár
Lyric Opera of Chicago
Thru December 13
(Nicole Cabell replaces Renée Fleming
in title role after December 3rd performance)
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The last time I saw Renée Fleming, I wasn't even on the outside looking in.

But rather at a video screen on the side of a building.

It was June 2013 and I happened to be in Vienna, Austria, while Fleming was starring in Richard Strauss' Capriccio at the grand Vienna State Opera.

Although the theater was just a few feet from my hotel and I took a tour of it, Capriccio was sold-out, with even face value seats predominantly pricier than I could justify, let alone scalper's tickets had I known where to find them.

It would have been cool to see Fleming--by then serving as a Creative Consultant to the Lyric Opera of Chicago--on stage in Vienna, but as a tourism experience, sitting alongside the opera house with a large crowd of tourists and locals as the opera was broadcast from within may well have been even cooler.

I've seen Fleming at the Lyric a couple times before, and seeing her in Franz Lehár's The Merry Widow once again gave me no reason to doubt that she is--as often acclaimed--one of the best opera singers in the world.

Yet quite honestly, everyone I hear at the Civic Opera House sounds outstanding to me, and I really doubt if I could distinguish much vocal difference between Fleming and any other prima donna, even those relatively new to prestigious opera roles and houses.

But still a striking presence in her mid-50s, the soprano is also an engaging actress, and while I am ill-qualified to pen any sort of comparative critique, I found Fleming and The Merry Widow rather delightful.

It is deemed an operetta, lighter in tone and musicality than most classic operas, and while I could perceive some differences--including considerable spoken dialogue--here too I lack the wherewithal to provide much contrast, particularly as most "operas" seem to have slight, silly, melodramatic librettos (i.e. plot lines).

Still, as anyone who has read any of my previous opera reviews could likely recite at this point, though I admire, appreciate and enjoy most operas I see, I still fail to emotionally embrace the art form--or any particular opera--the way I do Broadway musicals and great rock concerts.

And I will say that this essentially remained true at The Merry Widow, which I had also seen at Lyric in 2010.

But given the presence and quality of Fleming, her terrific co-star Thomas Hampson--this is the third time I've seen them paired--the other singers in principal roles (Heidi Stober, Michael Spyres) and many oft-enjoyed Chicago theater performers largely in speaking and/or dancing roles (Jeff Dumas, Michael Weber, Fred Zimmerman, Jennie Sophia, Ariane Dolan and more), The Merry Widow was about as acutely enjoyable as a night at the opera gets for me.

It also helped that this lavish production is directed by Susan Stroman, who helmed my all-time favorite Broadway musical, The Producers.

Although originally written by Lehár in German, the operetta has been performed in numerous languages, and here it is delivered in English (though supertitles still helped).

While there is sublime operatic singing by Fleming, Hampson and others, there are also some lively choral numbers that veer a bit closer to Broadway musical stylings.

The story isn't deep, as it involves a hugely wealthy widow (Hanna, played by Fleming) from the fictional country of Pontevedrian attending an Embassy ball in Paris, where in order to keep her wealth within his country's coffers the ambassador tries to set her up with a Pontevedrian playboy of sorts, who happens to be her former lover (Danilo, enacted by Hampson with a rogue charm).

The melodrama is relatively easy to follow, and pretty fun, especially in looping in some adultery and
deception among secondary characters, plus a visit to the sexy Parisian dance hall, Maxim's, where a cadre of fetching grisettes dance the Can-Can.

So while I can't speak to The Merry Widow's relative merits within the operatic canon or how this production compares to other versions--even the one I saw in 2010--nor can I truthfully say that I found it preferable to a first-rate musical or concert, simply in terms of abundantly entertaining and pleasing me, the current rendition rates rather high.

And any chance to see Renée Fleming perform on an opera stage is a welcome one.

Especially from inside the theater.

---
As of this writing, Fleming performs as Hanna once more, on Thursday afternoon. The also rather esteemed Nicole Cabell assumes the role for the Lyric's final 3 performances, and with the rest of the cast remaining intact, I have to imagine The Merry Widow will remain rather enchanting.

Gritty 'Wozzeck' a Fine Opera for Those Who Don't Go For Baroque -- Chicago Opera Review

Opera / Theater Review

Wozzeck

by Alban Berg

Lyric Opera of Chicago

Thru November 21

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When the Lyric Opera offered the compelling opportunity to see 3 operas for $99, several titles on its 2015-16 slate held appeal.

The Marriage of Figaro and The Merry Widow were automatic picks for me, but Cinderella, Bel Canto, Der Rosencavalier and Romeo & Juliet all intrigued before I opted for a Verdi opera I haven't seen called Nabucco.

But when perusing LyricOpera.org while on the call about purchasing this trio--although subscribing for the full-season subscription might sound logical, I had done that for several years and found it too burdensome in ratio to my enjoyment of opera--a German opera called Wozzeck also piqued my interest.

The Lyric's marketing text describing it as "Raw, powerful, and transformational in its emotional punch and musical form," and a "20th-century masterpiece," while noting the title character as a poverty-stricken soldier made me perceive Wozzeck--which I added as a 4th opera for another $33--as possibly analogous to The Passenger, which I highly enjoyed early this year.

The Passenger is a grim but riveting opera revolving around the Holocaust, written by Mieczyslaw Weinberg but not staged anywhere until 2010.

The Lyric's terrific production abetted my sense of affinity for atypcial operas, perhaps more dramatic and realistic than the more common Baroque offerings with grand costumes and farcical plots.

As I've written ad nauseum--see my recent review of The Marriage of Figaro--despite great appreciation for the art form and the Lyric's exquisite productions, I admire opera more than I feel it, like it more than I love it.

Despite a glowing 4-star (out of 4) review by the Chicago Tribune's esteemed classical music critic John von Rhein--which you should put far more stock in than my gut reaction--and despite noting much obvious quality and no discernible deficiencies, Wozzeck was not an opera that altered or enhanced my abiding view of opera.

It was excellent but not life-changing, and though some vague similarities to The Passenger seem apt, I didn't find Wozzeck nearly as riveting, daring and enriching.

And while The Passenger wasn't exactly a new opera when I saw Lyric's first production of it in March, Wozzeck was actually written by Alban Berg between 1914-22 and originally done at the Lyric seemingly in 1965.

This production is directed by the rightfully acclaimed Sir David McVicar, and even without a point of reference, it's clear he's done a wonderful job with it.

There was nothing I found "wrong" and much I admired, even if I wasn't as mesmerized as I had hoped. And while I lack the ability to astutely judge, all the performers sounded great vocally, as did the orchestra (under the direction of Andrew Davis) in playing Berg's atonal score.

Although time and place are never specified in the opera, the Austrian composer Alban Berg--who also wrote the libretto based on a 1825 play by dafd Buchner--fought in World War I.

The title character, Wozzeck (Tomasz Konieczny) is a dim and/or otherwise addled soldier who has a bastard child with a woman named Marie (Angela Denoke), who if not actually a prostitute is what was once known as a "loose woman." 

<SPOILER ALERT>
After Marie has a dalliance with a drum major (Stefan Vinke), Wozzeck gets angry, even more so after the other soldier beats the crap out of him. He subsequently stabs Marie to death, and in trying to retrieve the knife he used, drowns himself.

If you're familiar with some operas and are thinking that this basic plot summary sounds somewhat akin to the often ludicrous, melodramatic narratives that make up most Baroque operas, well, that's kind of what I was thinking.

Yes, the costumes and setting of Wozzeck are far grittier than is the operatic norm, and themes of war's inhumanity are amplified by Wozzeck's belittling Captain (Gerhard Siegel) and a doctor (Brindley Sherratt) who conducts experiments on the soldier.

But whereas promotional materials suggested I would be riveted from beginning to end--of a quite short 98-minute opera divided into 3 acts with 5 scenes each--I can't really say that I was.

To be clear, again, I am not critiquing the technical merits of this production, any of the performances or even the opera itself. All appeared to be first-rate and anyone inclined to attend--perhaps motivated by John von Rhein's more stellar and expert assessment--shouldn't be dissuaded by me.

But as best I've been able to delineate, a @@@@ rating on SethSaith's @@@@@ scale connotes a performance I enjoyed and was glad to have seen.

And that's how I feel about Wozzeck.

Yet I can't say--as a higher rating would convey--that it was something I'm especially glad not to have missed, that I expect to really stick with me or that I would effusively suggest others see.

This doesn't mean I've soured on opera; The Merry Widow is on tap for me in a few weeks and I'm still merrily looking forward to it. But I guess the 3-for-$99 deal would have been sufficient.

Though Bel Canto also intriques.

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. 

From Darkest Depths of Inhumanity, Lyric's 'The Passenger' Reaches a Place of Beauty and Light -- Chicago Opera Review

Opera Review

The Passenger
by Mieczyslaw Weinberg
Libretto by Alexander Medvedev
Based on the book by Zofia Posmysz
Lyric Opera of Chicago
Civic Opera House
Thru March 15 (Perfs 3/9, 12, 15)
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In the summer of 2013, I went to Auschwitz.

This was part of a European vacation that saw me spend a wonderful few days in nearby Krakow--as well as London, Vienna, Budapest and Paris--but touring the worst place on Earth was far from a tertiary objective.

I am Jewish, although I am not observant, nor do I have any known relatives who died in the Holocaust--or directly survived it.

And while I grew up in and live in Skokie, which has been home to many Holocaust survivors--a group of whom created the Illinois Holocaust Museum in the village--I have never personally known any.

Yet for whatever confluence of stimuli provided the impetus, I acutely wanted to visit Auschwitz, perhaps to somehow pay respects to those who had perished there, but also to possibly further my sense of understanding--impossible though it may be--and perspective, given how the German concentration camp represents the deepest depravity mankind has ever known.

While, as I wrote here, I actually found the tour of Auschwitz and Birkenau to be less troubling than I imagined--due in part to the rigor marole of being rushed through buildings between other tour groups--seeing collections of victims' shoes, eyeglasses, hair and ashes was certainly devastating, especially as the personal belongings looked essentially familiar to those seen more nowadays.

It reminded me that what happened was--all things considered--rather recent, and many of the victims
similar in age to my own relatives.

Yet despite how harrowing it was to visit such a horrible place, I'm glad I did. 

And I'm also glad I attended--especially with a Lyric Opera discount offer that put me in a seat on the main floor for just $32--a performance of The Passenger, an opera about the Holocaust.

It might sound semantically incredulous to describe such an opera--which features singing in multiple languages--as enjoyable, but along with being challenged, saddened, angered and enlightened, I was genuinely entertained.

I have now seen nearly 50 operas, including many of the most famed and acclaimed--La Bohème, La Traviata, The Magic Flute, Carmen, Aida, The Merry Widow, Madama Butterfly, Tosca, Don Giovanni and more--and my de facto comment is usually this:

I appreciate opera as an art form, immensely admire its practitioners and acknowledge its beauty. I have liked most of the operas I've seen, but have rarely loved them or--perhaps more tellingly--have never really "felt" opera as I do a great rock concert or Broadway musical.

Truth be told, I likely struggle with the language barrier posed by most operas--despite English translations being provided on supertitles and my having no problems with foreign films--but despite the musical splendors invariably offered by the likes of Puccini, Mozart, Verdi, et. al., the librettos of "great operas" often tend to be slight, silly, farcical and/or not all that compelling as narrative.

Photo credit: E. Jason Wambsgans, Chicago Tribune

Thus, despite the unavoidable darkness of The Passenger--albeit intermingled with light and hope--I actually appreciated an opera with rather substantive characters and storytelling.

Based on a novella of the same name by Zofia Posmysz, a still-living non-Jewish Pole who spent 3 years at Auschwitz, the opera composed by Mieczyslaw Weinberg with a libretto by Alexander Medvedev echoes Posmysz' remembrances, albeit with a dramatic twist she had incorporated into her storytelling. (See this Chicago Tribune article by Howard Reich for an excellent account of Posmysz' experiences and the development of The Passenger as an opera.) 

Reversing a real-life episode in which Posmysz feared a casual encounter with an Auschwitz overseer named Annaliese Franz years after the war--it turned out the eerily recognizable voice she heard belonged to someone else--the opera opens its story with a similar scenario, but from the overseer's perspective.

The overseer's real name is kept in the opera, but primarily shortened to Liese (performed by Daveda Karanas). In the early 1960s, Liese is sailing to Brazil with her husband Walter (Brandon Jovanovich), a German diplomat who has been newly stationed there.

On the ship's deck, she sees a veiled woman she believes to be Marta (wonderfully played by Amanda
Majeski), a Polish prisoner who had not only be under her watch at Auschwitz, but whom she thought to have been killed at her command. (Marta is essentially the characterization of Zofia Posmysz, albeit with some fictionalization.)

Utilizing a brilliant design by Johan Engels--created for the opera's 2010 premiere in Austria--which represents the cruise ship on top and Auschwitz underneath, The Passenger proceeds to portray Marta's grim experience in the camp, including unpleasant interactions with Liese, and even graver destinies of many of the women she befriends there, Jewish and otherwise.

While far from upbeat, the death camp scenes aren't as macabre or maudlin as one might presume, as the prisoners' courage, camaraderie, solidarity, support and aplomb is front and center, with arias of conviction and dignity featuring prominently in Weinberg's fine score.

Though lost on my "anything other than English is equally non-understood" ears, a nice touch is how the opera has the inmates sing in their native tongues, including Russian, German, Polish, Yiddish, French and Czech. (I presume Liese & Walter sing in German.)

This was my first encounter with the music of Mieczyslaw Weinberg, a Soviet composer of Polish-Jewish origin, who lost most of his family in the Holocaust. In the 1960s, Weinberg was encouraged to write The Passenger after his friend, famed Russian composer Dmitri Shostakovich, had read Pozmysz' novella.

The opera was set to debut in Russia in 1968, but for political reasons, this didn't happen.

As you're hopefully gleaning, the backstory of The Passenger opera is nearly as intriguing as the piece itself, and along with Reich's terrific Tribune story on Posmysz, I'm glad I attended the pre-performance talk conducted by Jesse Gram, the Audience Education Manager for Lyric Unlimited, an entity that aims to widen opera's cultural reach through various initiatives.

It seems quite likely that without the pre-show briefer, the press I read and the synopsis printed in the Lyric program, I may have been rather confused about some of the details transpiring onstage.

For example--while opting to remain somewhat vague--late in Act II, Tadeuz (Joshua Hopkins), an Auschwitz inmate who is Marta's fiance, is ordered by the Commandant to play a piece on violin. Though it should be obvious to classical aficionados of any rank, I well may have missed that Tadeuz played a composition other than requested--and the significance of it.

Photo of author Zofia Posmysz at the Civic Opera House,
by Zbigniew Bzdak / Chicago Tribune)

Also, while Weinberg's score seemed excellent to me, with some nice variances in sonic styles--including a Greek chorus of sorts singing in English, for which director David Pountney likely deserves considerable credit--even to my untrained ear, this isn't an opera with musical delights on par with Mozart, Puccini, Verdi, Bizet, Richard Strauss or likely others.

In other words, with relative modernity in terms of style and story, and probably music as well, The Passenger isn't the grandest of operas in the traditional sense.

But I think that's why I liked it so much.

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As of this writing, three performances remain, this Monday, Thursday and next Sunday, March 15. Discount tickets have been popping up on HotTix, but you should probably also check the Lyric Opera box office.

Superb Singing Makes for a Grand(age) 'Madama Butterfly' -- Chicago Opera Review

Opera Review

Madama Butterfly

by Giocomo Puccini
Original production direction by Michael Grandage
Revival direction by Louisa Muller

Lyric Opera of Chicago

Thru January 26

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I think I like opera more the less I go.

About a decade ago, already an aficionado of musical theater, I decided to explore opera and eventually became a full season subscriber to the Lyric Opera of Chicago for 5 seasons.

While I saw, and enjoyed, many magnificent works and productions, I never came to “feel” opera on an emotional level like I do with the best of Broadway, rock 'n roll and jazz. But getting to 8 operas a season was also a bit much, both in terms of effort and experience, and I think it may have been somewhat counterproductive in acclimating to the operatic art form.

In more recent years, I've gone to an opera or two each season, typically picking more dilettante-friendly operas by the likes of Puccini, Mozart, Verdi and Richard Strauss, plus the Lyric's lavish stagings of musicals like Show Boat and Oklahoma.

On Tuesday night, for the first time in the Lyric's 2013-14 season, I went to such an opera: Puccini's Madama Butterfly. Although this was somewhat chosen for me—my friend Paolo bought tickets for us to go as a birthday present—and I had seen it twice before at the Lyric, my memory is such that it felt new and exciting.

And entirely lovely, if not exactly uplifting. But then, most operas—which often tend to be melodramatic—do not end on a happy note.

I am not enough of an opera buff to provide much of a critical assessment, and this one still didn't quite get me in the gut, but I enjoyed everything I saw and heard.

While even from the upper balcony, it was hard to perceive Patricia Racette as a teenage Japanese girl—i.e. the titular Butterfly—her singing was exquisite (flawless as far as I could tell, and per Paolo, better than the star who sang the role during the production's October run at Lyric), as was Stefano Secco as Pinkerton, the U.S. Navy officer who marries and then desserts her as she yearns for him with an unwavering yen.

Although the story is rather simple—and the basis for Broadway's Miss Saigon—I appreciate Madama Butterfly as being an ideal opera for novices, not just due to Giocomo Puccini's lush score, but because unlike other operas I've seen, the libretto by Giuseppe Giacosa and Luigi Illica isn't cluttered or complicated by too many characters.

The current Lyric production is based on one originally staged by noted British theatrical director MichaelGrandage for the Houston Grand Opera, and employs rather minimalistic scenery. Though devoid of the splendiferous spectacle of more lavish productions—even of Madama Butterfly, which I can't specifically recall but which Paolo scenically prefers—I liked how this staging echoed the sense of simplicity and serenity found in Japanese art.

At a couple of junctures, the pacing got a bit too slow for my tastes, and given the relatively small cast of characters, Madama Butterfly doesn't have many of the vibrant choral pieces that I particularly enjoy. Still a handful of collective songs were powerfully rousing and Racette's take on Butterfly's aria near the beginning of Act II—"Un Bel Di" = one beautiful day—was wondrous, along with much else.

As I intimated above, this shouldn't be mistaken for a scholarly or expert review, but it is a recommendation.

Whether you're an avowed opera lover, a complete beginner or, like me, a dabbler, this rendition of Madama Butterfly should delight your senses and further your appreciation of the art form.

And especially as there were more empty balcony seats than I ever recall at the Civic Opera House, especially for a Puccini opera, the Lyric needs to expand—and lower the average age—of its audience base.

So if you have ever thought it might be nice to take in an opera, there's no need to—à la Butterfly—continue to wait for your ship to come in. The 4 remaining performances of Madama Butterfly should provide the perfect opportunity.