Afterwork Masterworks: Beethoven 7

Shostakovich, Vaughan Williams, Beethoven

Program

• Shostakovich  Chamber Symphony
• Vaughan Williams  Concerto in F minor for Tuba and Orchestra
• Beethoven  Symphony No. 7

What one has to admire most about Jaap van Zweden, the young guest conductor for this weeks CSO offering, is his great seriousness of musical purpose, expressed keenly from the podium, and largely executed by an ensemble that is, perhaps unfortunately, not his own. In fact, the Dutch van Zweden has been music director of the Dallas Symphony since 2008 and is due to take up a position in Hong Kong later this year.

Nowhere is this better displayed than in the evenings’ first offering, Shostakovich’s Chamber Symphony for Strings in C minor Op.110a, actually an arrangement by Rudolf Barshai, of the composer’s String Quartet no.8. It is a kind of surrealist fantasy, ascending from the very much grounded though eerily poignant statement of the principle theme, heard first in only the basses and celli, and then, little by little, introduced in the higher strings, with sections being added in ascending order. The harmonies are very warm and clear. The theme itself, really a mere 4 note motive, is Shostakovich’s musical monogram: The letters D S C H is represented by their tonal equivalents in the German system of musical notation: Since S is our Eb and H, our B natural, the monograph comes to D Eb C B. In the opening Largo, this is nearly all we hear. The motive is developed very tenderly—especially by 1960s standards—and in multiple keys, even, for a short time, in a serene, heart warming major key. Before long, we are thrust into a torrid, racing sort of Bridge section, much more of what we think of as typical Shostakovich. It is almost a re-start of the melodic development of the Largo, but in an entirely different idiom. But, “ ah, that is hardly suitable for so a warm-hearted piece”, the composer seems to be saying, “let us be merry!”

Gene Pokorny

Thus, we move into the allegretto which, for all its mirth, cannot quite conceal a tincture of the sinister. Indeed, the penultimate Largo is bookended by an often repeated, haunting passage in which the first three notes of the monograph are sounded, but instead of settling comfortably on a B natural, we are thrust a perfect 5th upwards, before descending a half step for 3 riveting repeated notes, with many of the strings playing in unison, and probably marked double-forte. The final Largo is melancholic: It is as if we have no more energy left to fight the great battles of life, and so we settle down into a final, grateful rest, though perhaps not as serene a rest we might have hoped. This piece alone is worth the entire evening.

With Vaughn Williams’ symphonic music one is almost tempted to say, dismissingly, if you’ve heard one, you’ve heard them all. That is not to say they are not often very pleasant to listen to, and this rarely heard Tuba Concerto, with the CSO’s own Gene Pokorny as soloist, is no exception. One has to stop oneself from laughing at the sound of the solo Tuba, particularly in the low register. But comedy is certainly not antithetical to nice music. The fact that the strings are hardly ever playing without some sort of wind or horn accompaniment lends a distinct suavity to the sound—apparent in much of Vaughn Williams.

From the jolly march that is the opening prelude, and allegro moderato, we feel convinced that Vaughn Williams is determined to write everything in good cheer. In the Romanza, however, we revert back to Vaughn Williams’ usual realm of the unflinchingly nostalgic. Even without conjuring any particular memory, Vaughn Williams’ idiom seems to carry with it a sort of quintessential nostalgia. It is the feeling that in a turbulent, unreliable, and sometimes ugly world, there is always a warm fire to come home to, and memories of childhood—perhaps of old England—to keep in our hearts. It is certainly not one of more profound sentiments ever evoked in music, but can hardly be called un-pleasant.

In some ways the marquee presentation of the evening, Beethoven’s Symphony no.7 in A major, opus 92, was the least impressive. Perhaps it is because we all have heard it countless times before, particularly the second movement Allegretto, most recently a prominent backdrop to the climactic scene of the Academy-Award winning film The King’s Speech (2011). I have never heard anyone take nearly so fast and sustained a tempo as Van Zweden does here, and that includes Toscanini’s 1939 recording with the NBC Orchestra. It all seems to work rather well in the opening introduction, marked Allegro Sostenuto: This beautifully simplistic introduction so often feels lifeless and dull, sacrilege to what are some of the most brilliantly serene passages in the entire work. Yet Van Zweden, by virtue of his fast tempo, and grand impetuosity of musical drive, manages quite well. I was particularly impressed by the sense of forward motion lent to the first movement vivace theme, which out of context could easily be mistaken for a 4th movement Rondo. In van Zweden’s version, one gets the sense there is more to come; and of course there is.

However, the incredibly famous allegretto is much less successful. Here the fast tempo feels inappropriate, even destructive at times. Although van Zweden appears very intent on getting good articulation out of the strings, it comes, at least on this occasion, at the expense of a rich and satisfying tone. Unlike the 5th Symphony, the main interest of Beethoven’s 7th is not rhythmic or motive-based, but harmonic, and melodic. It is not the clever ways in which Beethoven treats the second-movements ostinato theme that excites us, but how this is melodically built upon and developed, and how accompaniment lines of very different timbres and textures are added to it. In this sense the 7th is one of Beethoven’s more accessible symphonies.

The third movement scherzo-trio, marked Presto, was still less successful . The orchestra, even more so than in previous movements, sound as if there are about to trip over themselves. All sections, but particularly the strings, seem uncertain of being able meet Van Zweden’s unorthodox tempo demands, and either attempt to anticipate their entrances, or come in slightly behind, as if to avoid the greater pitfall of being early. Above all, the music does not sing, and at such a tempo, it hardly breaths either.

Whatever anyone wishes to say to praise CSO strings’ virtuosity, and particularly the depth of their brass, they certainly do not have a warm sound. And the strings don’t always have an extraordinarily full one either. Particularly in the high register the strings can sound rather stark. For Vaughn Williams, this is not largely un-problematic. For Shostakovich, it is quite possibly the ideal. Yet in Beethoven, it can be rather grating. All things considered, however, the program is extremely rich, and very much recommended.

Recommended

Gabriel Lord Kalcheim

Date Reviewed: May 16, 2012

At the CSO.org

Based on the works of T.S. Eliot

Music by Andrew Lloyd Weber

Direction and choreography for tour by Richard Stafford (based on original direction by Trevor Nunn and original choreography by Gillian Lynne)

At Cadillac Palace Theatre, Chicago

These cats have plenty of lives—and life.

Those oh-so-idiosyncratic kitties make a splendid return to the Chicago stage in what is being billed as a faithful recreation of the original West End production. A panoply of song, dance and sheer spectacle, CATS is family-friendly fun overflowing with so much variety it has to burst off the stage and into the audience. Based on T.S. Eliot’s 1939 children’s book of light verse, Old Possum’s Book of Practical Cats, it tells a simple tale of the Jellicle cat tribe uniting on a single night to see which of them will be permitted the honor of being born again.

CATS pulls back the veil on that most aloof of animals to reveal a rich inner life we all suspected was there; one of complex naming, strange abilities and tribal loyalty. Presided over by Old Deuteronomy (Nathan Morgan) under a full moon in an unknown junkyard, each cat gets to make their case for the Heaviside Layer where cats receive a second chance by singing the song of their life and personality (purr-sonality?). Each one is a self-contained song and dance number that samples a vast range of styles from pop rock to opera, music hall to jazz—even a little cabaret. Of course, it’s that haunting and enigmatic composition “Memory” that steals the show. As sung by Melissa Grohowski, the desolate former glamour cat Grizabella brings chills and a tear with her song of lost glory and a wish for a new life. Chaz Wolcott as the magical Mr. Mistoffelees earns equal praise for his balletic movements that spin him about the stage like a child’s toy as he enchants with his tricks and turns.

The plot is secondary to the sheer sensory delight of a massive ensemble introducing this tribe, embodying the grace and sensual movements of felines resplendent in the fantastical glam-rock costumes based on the original 1981 production. This production attempts to be as true to that original production as possible, with director and choreographer Richard Stafford reviving the work of director Trevor Nunn and the movements of Gillian Lynne. Having not been there, I can’t say if this is or isn’t a true replica of that debut, but when you’re having this much fun it’s hard to care either way. T.S. Eliot’s poetry is wonderfully imaginative, homely in structure and a perfect counterpoint to Weber’s deliriously inventive compositions. It’s complex in its simplicity, and I couldn’t help but think of that portmanteau “simplexity” currently infusing such creative powerhouses as Pixar.

Thirty-one years after its debut, the award-winning CATS is one of the longest running musical of all time (eclipsed by Andrew Lloyd Weber’s other work, Phantom of the Opera). Still fresh and frisky, it’s an indispensable stop on the world-tour of theatre. Visiting Chicago for a short five day run, don’t dawdle if you want a chance to see a true piece of panache and pageantry. You may never look at a cat the same way again.

Highly Recommended.

Review by Clint May

Date Reviewed: May 1, 2012

For more info checkout the CATS page on www.BroadwayInChicago.com

At Cadillac Palace Theatre, 151 W. Randolph, Chicago, IL; call 800.775.2000 or visit www.BroadwayInChicago.com; tickets $25-75 with discounted student and group rates available; performances Wednesday through Friday 7:30pm, Saturday at 2pm & 8pm, and Sunday 2pm and 7:30pm; running time 2 hours 30 minutes 1 intermission; through May 6.

Composed by George Frideric Handel

Conductor: Michael Beattie

Director: James Darrah

At the Harris Theater at Millenium Park, Chicago

Medea’s madness must end in this finale to the three-part opera series.

When last we saw Medea (Renée Tatum)—the infamously mercurial mythological sorceress—she had burned Corinth to the ground in revenge for scorned love and murdered her two children born of Jason, her unfaithful lover. Handel’s Teseo opens with the city of Athens under siege by a civil war and its King Egeo (Gerald Thompson) giving asylum and his hand in marriage to Medea in exchange for her dark arts aiding him against his enemies. There’s a rival for the king’s affection in the form of the pure-hearted Agilea (Manuela Bisceglie), whom we see in the opening scene taking refuge in a palace safe room while battle roars outside. When the king unwisely turns on Medea after victory, her legendary temper is unleashed upon all in her path.

Date Reviewed: April 21, 2012

For more info checkout the Teseo page on www.harristheaterchicago.org

At Harris Theatre,  205 E. Randolph, Chicago, IL; call  312.334.7777 or visit www.harristheaterchicago.org; tickets $25-125 (discounted student and group rates available); performances April 27, 29 and May 2, at 7:30pm; running time 2 hours 45 minutes with one 15 minute intermission.

Book by Mark O’Donnell & March Shaiman

Music by Marc Shaiman

Lyrics by Scott Wittman

Directed and choreographed by Tammy Mader

At Drury Lane Theatre, Oakbrook Terrace

A Doo-Whopper of a Good Time!

It’s rare that I feel like putting an exclamation point anywhere, but Tony-award winning Hairspray actually is such a loveable exclamation that I was quite simply compelled. It’s a wonder of the modern musical world—something that so easily could have been just another product like so many other musicals based on movies. The duo of Shaiman and Wittman distilled John Waters’ original subversive (but most popularly accessible) movie of the same name into a piece of self-aware pop culture that’s so much frothy fun it bursts at its seams just like its main characters. How does it do this without being saccharine? By maintaining just the right amount of Waters’ skewed and skewering (but also affectionate) view of Americana. The result is a side-splitting, candy-colored universe of stylized personas and Sixties sounds with a gleaming grin and a tongue planted firmly in cheek.

Tracy Turnblad (the positively effervescent Lillian Castillo) is a naively spunky teenager at the outset of the Sixties in her beloved hometown of Baltimore. Both her and her best friend Penny (Rebecca Pink), have mothers that have resisted the new decade’s progress, leaving them to bond over their only access to the hip new sounds of the era: The Corny Collin’s Show (the local predecessor to American Bandstand). When Corny (Rod Thomas) announces an opening, Tracy sees a chance to get the world’s attention and throw off her mother’s agoraphobic shackles—and get closer to her pin-up dream boy Link (Erik Altemus).

Standing in the way is the snide bigot Velma (Keely Vasquez), the producer of the show who only reluctantly allows a monthly “Negro Day.” She’s got an agenda beyond keeping the tide of integration from infesting her show: mainly, getting her equally villainous daughter Amber (Holly Laurent) national recognition as Ms. Teen Hairspray. When Tracy makes a splash with some hot new Detroit moves courtesy of her comrade-in-detention Seaweed (Jon-Michael Reese), she gets her shot at the big time. This despite being branded a “chubby communist” for her desire to end the show’s history of segregation and “make every day ‘Negro Day!’” It won’t be an easy ride, but Tracy can’t be deterred, even if it threatens her burgeoning relationship with Link or her very freedom. She’s a surprising  force of nature who breaks down barriers with an indomitable spirit and a lot of help from her friends and family who find inspiration in her outsized willpower.

Camp rides as high as the hairdos and the energy never stalls in this affectionate ode to an outsider who won’t go inside unless it’s on her own terms. Gleefully sampling nearly every style from the decade of big hair and big sound, Hairspray is an uplifting piece of fantasy fluff. The show is replete with award-worthy choreography courtesy of Tammy Mader (also the director), bringing the numbers and the stage to life with one of the biggest casts around. A classic Waters touch stipulates that Tracy’s mother Edna is always played by a man in drag.  Michael Aaron Lindner fills the role out with gusto and a little help from a fat suit. Her journey from a frightened hausfrau trembling from fear to following Tracy’s example to embrace her size is a delightful subplot. Special attention must be given to Felicia Fields as Motormouth Mabelle, both host of Negro Day and Seaweed’s mother. She embraces the roll with a lot of soul (her character rhymes in couplets too) and suffuses this into her blues gospel-esque number “I Know Where I’ve Been,” the 11th hour spiritual core of the production.

I had never seen the show live but really enjoyed the 2007 star-studded movie (the original Broadway show debuted in 2002) and had heard that seeing it live was much better. Turns out, everyone was right. Despite the movie’s accomplishments, it doesn’t compare to seeing it spring to vivacious life in front of you—no quick cuts or rest for these 33 performers. Not to mention it keeps more of the satirical subversiveness and a touch of raunch from  the original source. From the intricately nested staging to the impossible wigs and colorful costumes, Hairspray is the kind of uptempo fun that leaves you tapping your toes and grinning like a goofball. It practically leaps off the stage to pull you into its bigger-than-life world with a heartfelt message of letting go of preconceptions and embracing the outsider within.

Highly Recommended.

Review by Clint May

Date Reviewed: April 20, 2012

For more info checkout the Hairspray page on www.drurylaneoakbrook.com

At Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, IL; call 630.530.0111 or visit www.drurylaneoakbrook.com; tickets $35-45 (group and student rates available); performances Wednesdays, Thursdays, Fridays 8:30pm, Saturdays 5pm and 8:30pm, Sundays 2pm and 6pm; running time 2 hours 30 minutes with one intermission; through June 17.

Devised by Elizabeth Margolius & Terry McCabe

Directed by Elizabeth Margolius

Music arranged & directed by Gary Powell

At City Lit Theatre, Chicago

Heartfelt harmonies and emotionally wrenching letters home from soldiers fuels terrific Civil War musical

Opus 1861: The Civil War In Symphony celebrate the 150th year anniversary  of the American Civil War through the songs of the Union Army.  This well-sung world premiere folk musical features 4 men and 2 women who blend their voices into beautiful harmonies to a collection of Civil War Era folk tunes, anthems, marches, religious and traditional songs rich in emotions and sentimentality.

Stephen Barker, Erin Renee Baumrucker, Ryan Gaffney, Varris Holmes, Elizabeth Morgan and Tyler Thompson make up the troop of Soldiers dressed in modern Army fatigue uniforms worn by contemporary soldiers in Afghanistan.  The show consists of 20 songs from the Civil War intermixed with the presentation of letters from 21st  Century soldiers serving in Afghanistan.

What makes this musical work so well are the talents of the six singer/musicians who play a guitar, banjo, clarinet, trumpet, ukeleles, pump organ, penny whistle and percussion in addition of the piano accompaniment by Gary Powell (who also did them musical arrangements).  We hear well know tunes like “Home Sweet Home.” ” Michael, Row the Boat Ashore,” “John Brown’s Body” and “Battle Hymn of the Republic.” The six singers look and move like soldiers as we hear each render emotionally wrought solos that morph into stirring harmonies. The tone of the peace depicts the loneliness, sadness, grief, and sense of honor that each contemporary soldier communicates through their letter home from the Middle East war zone.

The piece laments the sacrifice and honor of defending one’s country and its lets the emotionally wrenching Civil War speak to the personal commitment of individuals to defend their country. This is a non-political war musical. We hear the soldiers finding strength, solace, and sense of purpose in the songs of soldiers equally honor-bound to serve their country in war.

Songs like “When This Cruel War is Over (Weeping Sad and Lonely),” “Shule Agrah (Johnny’s Gone for a Soldier)” and “Follow the Drinking Gourd” were particularly emotionally moving.  The Civil War songbook’s rich personal sensitivity toward the angst of war is deeply presented by this group of talented singers. The superb vocals and the honest presentation of the letters home added  power to the sacrifice of theses honorable patriots. Get to City Lit Theatre to experience the richness of  traditional American folk tunes sung marvelously by a troupe of new talents. This show will lift your spirits and give you new respect to the honorable soldiers who defend us when our nation calls.

Complete song list:

Taps

Johnny Fill up the Bowl

Johnny We Hardly Knew Ye

Michael, Row the Boat Ashore

When This Cruel War Is Over (Weeping Sad and Lonely)

Was My Brother in the Battle?

Lorena

Many Thousand Gone (No More Auction Block)

John Brown’s Body

Didn’t My Lord Deliver Daniel?

Shule Agrah (Johnny’s Gone for a Soldier)

Just Before the Battle, Mother

Hard Times Come Again No More

Follow the Drinking Gourd

Give Us a Flag

The Battle Cry of Freedom

Battle Hymn of the Republic

The Vacant Chair

Home! Sweet Home!

When Johnny Comes Marching Home

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: April 20, 2012

Jeff Recommended

For more info checkout the Opus 1861 page at theatreinchicago.com

At City Lit Theatre, 1020 W. Bryn Mawr, Chicago, IL, call 773-293-3682, www.citylit.org, tickets $25, Fridays at 8 pm, Saturdays at 5 & 8 pm, Sundays at 3 pm, plus Thursday, May 10 at 8 pm, running time is 70 minutes without intermission, through May 13, 2012

MOSCOW, CHERYOMUSHKI

Music by Demitri Shostakovich

Libretto – Meg Miroshnik

Arrangement – Gerard McBurney

Conductor – Alexander Platt

Choreographer – Eric Sean Foget

Set & Costume – Anya Klepikov

LIghting – Julian Pike

In English with English Super Titles

A FUN-FILLED ROMP WITH HISTORICAL RELEVANCE

Chicago Opera Theater (COT) offers a very unique evening of music, opera and some dance overlaid with an historical political setting…including corruption for flavor.  It is obviously relevant for today’s world.  Moscow, Cheryomushki begins with Lusya, Foreman of the building site of the 1950′s, high on a crane intruducing the concept of the “collective will,” which she intersperses throughout the show.  Humor, satire, disappointment, joy and just good fun come from hard reality meeting dreams.  The major conflict of the opera arises from the shortage of housing in Moscow, and its attendant problems for romance, but a lot of kissing plays its role, too.

Book and lyrics by Howard Ashman

Music by Alan Menken

Co-Directed by Brian Posen and Kory Danielson

Musical Direction by Kory Danielson

At Stage 773, Chicago

A Little Shop with a Big Heart.

New-to-the-scene Street Tempo follows up its first production of Let My People Come with another revival with the rock musical Little Shop of Horrors. Long a favorite of intimate settings and smaller ensembles, Horrors is perfectly suited to this upstart young troupe, and while two points is a line and not a pattern, it could be fair to say they have an inclination towards the saucier side of things. With gusto and flair, Tempo tells the darkly humorous tale of the little plant shop on Skid Row and the macabre implications of a rise to fame fueled by a blood-hungry alien life form.

Like Hairspray after it, Horrors was a 1960 spoof of B-movies that became a 1982 musical that morphed into a 1986 feature film. It follows the story of young Seymour (John Sessler), an orphan working under the cruel dominion of flower-shop owner Mushnik (Scott Olson). He pines for his Kewpie coworker Audrey (Erin Creighton), but her low self-esteem keeps her in the sway of an abusive boyfriend (Patrick Cannon). Everything begins to change when a mysterious eclipse deposits a strange plant into his life. Naming it Audrey II, he inadvertently learns it feeds on human blood. As it grows, so too does its hunger for flesh. Soon, it’s promising Seymour all his little dreams can come true if only it will help it feed. Seymour must decide if ghoulish acts of sacrifice are justified to get what he wants and earn his gal’s affections. Horrors is equal parts rock opera, farce and horror/comedy with a simple moral of not only being careful what you wish for, but being wary of who’s granting the wishes. Not all genies will go back into their lamps, or pots in this case.

Tempo’s revival brings a little Rocky Horror to this shop along with a few more contemporary references, changing the street urchins to street walkers. With more successes than disappointments, Tempo runs Horrors charmingly diverse gamut of song stylings. Ranging from Motown to do-wop, ballads to tangos, the numbers are still just as catchy as when they first debuted. From the wistfully powerful “Suddenly Seymour” and “Somewhere That’s Green,” to the funky fun “Skid Row (Downtown)” and “Ya Never Know” and of course, the titular toe-tapping number. Augmented by some delightfully nostalgic—if not terribly original—choreography, Tempo has sparkle to spare. At the preview performance, it seemed like there were still some issues with some voices falling off in the wall of sound some of the bigger numbers required, but I’m hopeful a little volume pruning will help bring the complex layering into cohesion.

Creighton plays her Audrey with the exact right bigger-than-life vulnerability and sweetness for a woman despondently mired in low self-esteem and trapped in a gray, unforgiving world. She has the hardest job to pull off and she does it well, maintaining her Brooklyn-bimbo lisp and trilling voice while still managing to navigate the most challenging numbers. Sessler imbues Seymour with a pitch-perfect comic timing and appropriately unsophisticated vocals. The trio of street walkers that provide some of the best numbers and back-up (Krystal Metcalfe, Sharriese Hamilton, Will Hoyer) steal every scene with their sultriness.

The whole is a little rough around the edges yet, but Horrors is a forgivingly tongue-in-cheek musical that absorbs them comfortably into its infectiously fun atmosphere, making it a safe and crowd-pleasing choice for a young troupe (which I think shows some wisdom on their part). With an eclectic blend of sounds and an over-the-top tall tale, this little shop is an amusing stop in Skid Row with enough bubbling energy to leave you humming for days. Just don’t feed the plants.

Recommended.

Review by Clint May

Date Reviewed: April 11, 2012

For more info checkout the Little Shop of Horrors page on www.stage773.com

At Stage 773, 1225 W. Belmont, Chicago, IL; call 773.327.5252 or visit www.stage773.com tickets $38; performances Thursdays-Saturday 8pm, Sunday 3pm; running time 2 hours with 1 intermission; through May 13.

Rinaldo at the Lyric Opera of Chicago

Libretto by Giacomo Rossi from

an outline by Aaron Hill

Conductor: Harry Bicket

Director: Francisco Negrin

Choreographer: Ana Yepes

In a new production

At the Lyric Opera of Chicago

Melodious Baroque  opera filled with glorious bel canto

George Frederic Handel’s (1685-1759) first Italian opera composed for the London stage, Rinaldo, in 1711, was a spectacle that introduced Londoners to the joy of Italian baroque opera with its wonderful melodies and rich bel canto singing. The longer I’m exposed to the joys of opera, the more I admire the Baroque  style opera with their exquisite singing that allows the performers to demonstrate their craft upon the melodious scores. After seeing Rinaldo, I’d add it to my list of “must see” operas. The audience at the performance I attended, either left at the first intermission or loudly cheered throughout – most stayed.  Baroque opera is an acquired taste it seems.

Rinaldo, ironically,  is about the First Crusade pitting the Christian against the  Muslims, yet director Francisco Negrin and set designer Louis Desire chose a vividly colorful post-Modern design in the new production debuting at the Lyric Opera of Chicago. This stunning set, complete with a large harpsichord dangling from above, gives  the fantasy element of Handel’s tuneful work an eerie feel. The battle for Jerusalem becomes a journey of quest as the warrior Rinaldo (the marvelous countertenor  David Daniels) seeks to find and free his lover, Almirena (Jukia Kleiter) from the grips of the evil queen from hell, Armida (marvelously sung and comically performed by soprano Elza Van Den Heever). This good verses evil fantasy features vocal dexterity and skill as the countertenors prevail in one of the most melodious opera’s ever.

Handel’s score contains the memorable arias such as the haunting “Lascia ch’io pianga” (sung with deep emotions by Julia Kleiter’s Almirena;  Rinadlo’s triumphant four trumpet and timpani “Or la tromba” (my favorite piece from the opera); and, “Vinti Turbini’ from Rinaldo.  The colorfulness and glorious toe-tapping melodies that sing so smoothly give Rinaldo a richness seldom found in later operas. The harpsichord infused score features a comic scene that has Armida battling on the over-sized harpsichord (originally played in the pit by Handel himself now played by Jory Vinikour also in the pit) in “Vo’ far Guerra. ” Elza Van Den Heever show her comic chops in that scene.

The glory of the da capo arias upon the outstanding vocals by this stellar cast make Handel’s seldom performed Baroque opera a special treat. I can’t remember enjoying a finer night at the opera than I experienced with Rinaldo! You’ll not find a finer sung opera than Rinaldo, don’t miss it.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

For more info checkout the Rinaldo page at theatreinchicago.com

Music by Giuseppe Verdi

Libretto by Antonio Ghidlanzoni

Conductor Renato Palumbo

Director Matthew Lata

Choreographer Kenneth Von Heidecke

At the Lyric Opera Chicago

Dazzling spectacle with exotic dance inhabits Verdi’s  masterpiece

I have only seen Aida once many years ago and I must say that the production now playing at the Lyric Opera of Chicago not only sings great and sounds terrific but it contains fabulous dancing (choreographed by Kenneth Von Heidecke).  Verdi was commissioned by the Egyptian King to write an opera that premiered at the Cairo opera house in 1871.  Contrary to popular belief, the opera was not written to celebrate the opening of the Suez Canal in 1869.

Aida is an amazing spectacle containing a long victorious scene complete with lavish colorful costumes, exotic dances and a haunting march. But as much as Aida is spectacle it also is an intimate four characters  opera focusing on Aida (Sondra Radvanovsky) – an Ethiopian slave and her father Amonasro (Gordon Hawkins) – the King of Ethopia and a prisoner of war; Amneris (Jill Grove) – the daughter of the Egyptian King and Radames (Marcello Giordan) – an Egyptian warrior.  Verdi uses melodious duets to tell the story of forbidden love, heartache and betrayal. The result is a evening of grandeur, eye-popping visuals and grand performances.

Besides Verdi brilliant score,  the voices sing with passionate emotions. Tenor Marcello Giordani commands the stage and soars to the heavens while Sondra Radvanovsky – a Chicago native- raises to the demanding role of Aida. She triumphs in her first time as Aida at the Lyric Opera of Chicago. The audience cheered her performance!  Jill Grove’s mezzo effectively demonstrated Amneris’ heartache and Gordon Hwkins strong baritone rules his scenes.

Add the sensually vivid  dance and the splendid chorus work and the Lyric Opera’s Aida becomes an overwhelming thrilling evening of opera. I’ll have to move up Aida on to my list of all-time favorites. See this stunning production and you’ll agree.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 25, 2012

For more info checkout the Aida page on theatreinchicago.com

The Magic Flute by Mozart at the Lyric Opera of Chicago

Composed by Wolfgang Amadeus Mozart

Libretto by Emanuel Schikaneder

and Carl Ludwig Giesecke

Conducted by Sir Andrew Davis

Directed by Matthew Lata

“Without music, life would be a mistake.”

Die Zauberflöte is easily one of the most-performed and most-beloved of all operas.  It is instantly recognizable and often serves as a “gateway opera”: the first opera one sees before getting into the more “hardcore” operas, the white ponies and nose-candy operas like Carmen and Tristan; The Magic Flute leaves you with that euphoric, mellow high that leaves you wanting more, wondering what else is out there and why you haven’t tried it yet.

And for such a purpose the Lyric has served up a choice bag.  Charles Castronovo is fantastic as the lead, Tamino, the lovesick, noble Prince who seeks wisdom and his beloved Pamina (Nicole Cabell, also wonderful).  Papageno, played excellently by Stéphane Degout, stands in as Mozart’s playful clown, the commoner who is unable to obtain wisdom and wants only food and drink, but whose charisma is unparalleled.  Rodell Rosel, whom we recently saw playing the three butlers in Tales of Hoffman, here is Monostatos, the slavish overseer of the monolithically just Sarastro (Günther Groissböck), head of the order who worship Isis and Osiris.

Both put in admirable performances.  The three ladies under the Queen’s command, Elisabeth Meister, Cecelia Hall and Katherine Lerner were all spot-on comediennes with impeccable voices, and the three boys, Anna Stephan, Benjamin Hoppe and Nicole Horio were both impressive and adorable.  The Queen of the Night, Audrey Luna, put in a solid performance as well, hitting all the notes of one of opera’s most notoriously difficult arias – though she was not perfect and occasionally felt a bit shrill.

And the production is very impressive.  The sets are gorgeous, the costumes beautiful (although the animal costumes were apparently reused from the Lyric’s ’86-’87 season – which means they’re about as old as I am and show considerably less wear).  That said, this is at times a very difficult opera, musically, and there were moments when the chorus and the orchestra were not in sync.  I hope, though, that things like this will be corrected in future performances.  I imagine words are had when something like that occurs.

For those of us either unfamiliar or who hold only cursory knowledge of the opera, it’s sort of Mozart’s musical comedy.  Overall it’s quite light and the morality of it is somewhat ham-handed, if classic: typical Sun vs. Moon, Light vs. Dark, Wisdom vs. Ignorance sort of stuff.  Maybe (though not necessarily) some references to Free Masonry in there.

This is Mozart’s opera for das Volk.  It’s meant to have something in it for everybody: spectacle and humor for the commoners, elegance and a strong moral compass for the elite; as such, it truly is a wonderful opera for neophytes.  It has both relatively simple music (much of Papageno’s fare) as well as some truly breathtaking virtuosic moments (the aforementioned aria of the Queen, “Der Hölle Rache kocht in meinem Herzen”).  And as Mozart is truly the master of melody and countermelody, everything is a joy to listen to.  So, if you’re a grizzled opera veteran, it will be fun to go back to the tried-and-true basics; and if you’re trying to get someone hooked on one of the most enjoyable and most expensive drugs du jour, this would be an excellent place to start.

Highly Recommended

Will Fink

Date Reviewed: December 8, 2011

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