Puccini is in fine form here, with gorgeous melodies (including one Andrew Lloyd Weber quoted in his Phantom of the Opera) and luscious orchestration, which are most deftly executed by their performers, both in the pit and on stage. There never was, and probably never will be, a sour note in this production.
Sullivan’s wonderful melodic score is rich in motifs and references to European opera, British lullabies, contemporary music hall songs with hints of Oriental sounds suggesting Japan. The genius of Gilbert and Sullivan is demonstrated on who well the music and libretto work together to produce the desired effects in a given aria whether that aria be whimsical or serious.
Among the terrifically strong voices in this opera, diminutive Katleen Kim sings her tricky lyrics with gusto. Stephanie Blythe’s contralto haunts while Sondra Radvanovsky’s rich soprano soars. Mark Delavan’s rich bass baritone resonates well but Frank Lopardo’s nicely textured and emotionally deep tenor deftly depicts the Gustavus character. Verdi’s powerful score swept across the stage challenging the singers to reach down to convey their meanings. I particularly enjoyed the duets, the trios and the four-part harmonies that lifted into the heavens.
Originally produced as a chamber opera at Jubilee Hall at Aldeburgh Festival in Britian in 1960, Benjamin Britten’s unique modern opera, A Midsummer Night’s Dream (AMND), comes to life on the large stage at the Lyric Opera of Chicago in a new production directed by Neil Armfield with Dale Ferguson’s set and costumes
The thick and authentic British accents made the lyrics hard to understand at times. The predictable boasts quickly became cliched and tedious. But the singing style and the weak to adequate voices together with the bland music made for a long 90 minutes for me. I must state that I’ve never been a fan of pop/rock singing so my sensitivities should be ignored if you like the current pop songs.
A few seconds into the Carmen overture, Bizet’s haunting melodies and stirring rhythms remind us of his brilliance. We’ve heard Bizet’s music as underscoring for films as much as we’ve heard them in an opera house. Now add a large cast including the Chicago Children’s Choir and you have a most memorable evening of grand opera!
Be it understood that Verdi’s opera in NOT Shakespeare’s Macbeth set to music! Rather it is Verdi’s interruption of Macbeth utilizing the music to add depth to all the emotions of the main characters. Emphasizing feminine influence of Lady Macbeth to get her husband to murder his way to power, Verdi’s opera is filled with psychological torment expressed in the wonderful, melodic score that moves from rage to the joyous rebirth of a nation.
Review by Peter Oyloe Late Summer evenings are some of those most special of things, the air giving up the humidity of the season and in return floating your memories of the last few months across your minds eye in a cooling breeze that comes with the lengthening of the evening. It is a time … Read more
Featuring the fully lush sound of the full Chicago Symphony Orchestra, the Women’s Board 2010 Gala sponsored another birthday celebration (his 80th) for Stephen Sondheim in a concert that featured a rich assortment of Sondheim’s songbook with emphasis on his terrific wordplay lyrics.
Peter Yarrow and Noel Paul Stooky returned to Ravinia to pay tribute to Mary Travers who passed on September 16, 2010 at age 72.