Evan Kuchar “Winterreise” poses more of a challenge as the white box theater is much smaller, but the result is a heightened sense of intimacy more so than constriction. With nowhere to run, nowhere to hide, the 20-some-odd people in the near-sell-out audience and the 5 performers fall into a tangled symbiotic web,…
Berlioz based his libretto on Goethe’s classic Faust legend, in which the eponymous scientist pursues love at the expense of his soul. Berlioz unfolds the drama at the onset of Spring, resonating with what Chicagoans must be feeling in coming weeks
Writing in 1921, Janáček benefits from early explorations of human psychology and creates a moving drama devoid of excess. Katya may be of the same lineage as Madama Butterfly, but Janáček trims the fat to make his opera just over 2 hours with intermission. Lyric’s production mirrors the sparseness, affording the drama more psychological space in which to explore.
Aside from the people on stage, Gossamer required the input and collaboration of a whole team of designers. Most strikingly, the puppets, designed by Cynthia Von Orthal, not only managed to turn a human actor into a very believable dog but also somehow gave the terrible mystery of the Sinisteeds a more concrete, yet no less terrifying, presence.
The music was ostensibly difficult but seemed mostly natural in the voices of the singers. The minion of hell seemed sardonically off-key, but it seemed to suit his character. The majority of the music was a thinly layered texture of subtly dissonant melodic fragments.
The hands-down star of this production is in the title role: Polish tenor Piotr Beczala radiates with his character’s ill-begotten youthful vigor but tempers it with moments of vile selfishness reminiscent of his previous life as a suicidal curmudgeon.
I recommend this opera for anyone who has been flirting with opera but has not yet fallen head-over-heels. Like all opera, you have to suspend a certain amount of disbelief, but Tosca is certainly more realistic, more believable, than most. It requires a certain amount of imagination in order to be able to empathize with the characters and to be able to fuse together the music with the action on stage.
While the plot seems relatively uninspired, the music keeps your attention with a diversity of styles and textures. Britten’s interest in atonality comes through during more conversational moments when the vocal lines can seem almost awkward and unmusical, but these passages are balanced by a couple beautiful more diatonic arias.