I relished the chance to hear Zukerman at Ravinia, joined by colleagues previously unknown to me but clearly trained in a similar tradition (cellist Amanda Forsythe and pianist Angela Cheng), especially given the program’s pleasing repertoire and the interpretative impact to which the virtuosity and musical warmth on display was joined.
The songs range from folk, electronic jazz and piano ballad to gospel and musical theater styles with lyrics quite complicated to sing requiring a blend of pop, classical and opera singing styles that was deftly rendered by this terrific cast. During the 65 minute one-act opera, each of the cast had their moments to exhibit their strong, accurate and compelling vocal dexterity.
While both pieces, in their own way, were interesting. well sung and staged, The Clever One was more ambitious yet The Emperor of Atlantis was darker and more powerful. These seldom performed works are worthy of an audience as they are both historical as well as creative modern fairy tales rich in satire.
Cube Ensemble’s first full music production is a bold 90 minute scaled down adaptation of Georges Bizet’s 1875 La Tragedie de Carmen is an efficient affair featuring music from a stand-up piano that produced a unique sound for an opera. This intimate opera is staged in a minute studio space at the Den in Bucktown. Sung in French without super titles, best to read the “director’s Notes’ in the program to get a feel for the story. I must say that the staging does allow for us to understand both the action and the motivation of the opera.
What makes this opera soar, besides the lush Mozart score, are the trouser roles , especially the amazingly powerful voice of mezzo-soprano Joyce DiDonato who sings and acts Sesto magnificently. The arias and the duets are beautiful, melodic and emotionally powerful. I think opera seria, now rarely performed, deserves its place in an repertory of produced operas
The folks at the Theatre at the Center have mounted a major country/folk revue of the iconic voice of Johnny Cash (1932 – 2003)- one of America’s greatest troubadours in Ring of Fire. Cash was considered one of the most influential musicians of the 20th century whose songs included cowboy, folk, gospel, country, rockability, rock n’ roll and pop music. From 1955 to his death at age 71 in 2003, Cash with his wife June Carter Cash, toured the country singing his heartfelt repertoire of pure Americana tunes. His distinct bass-baritone voice was his calling card.
…how Wagnerian this music is (for the late Dvořák of the “New World” Symphony and the “American” Quartet, at any rate). However, even if many passages and harmonic turns here could seemingly have come straight from Tristan und Isolde, this music is more sweet and less decadent than Wagner can often be, and there are frequent interludes of Czech folk dance and folk song.
Black Ensemble Theater, under the hyper leadership of Jackie Taylor have re-mounted their Chicago’s Golden Soul (A 60’s Revue) now playing in repertory with The Story of Curtis Mayfield. Golden Soul contains a rich assortment of Chicago style soul featureing the music of jerry Butler, Curtis Mayfield, Gene Chandler, Major Lance, The Impressions, Betty Everett, Barbara Aklin, Etta James and the Chi Lites.
As Barber’s preeminence among his output seems to have been established by a nearly unanimous consensus since its premier, more or less agreed to by Rossini himself, casual opera-goers who are given the chance to get regularly re-acquainted in the theater with this alone among the composer’s vast output may safely assume that it is that most worthy of such attention. And of course it is a delightfully sparkling, lyrical, and mischievous work, even if the music may not quite erase memories of Mozart, whom it often evokes and to which it ultimately yields the last degree of poignancy and memorability – it is hard not to enjoy this lovely opera.
The Lyric Opera of Chicago has mounted a most pleasing production of Puccini’s favorite opera—Madama Butterfly. Each time I see Butterfly live on stage. I am overwhelmed by the haunting and melodic score by Puccini. I can see why this is one of the most beloved operas of all-time. The sheer intensity and sweeping majesty of the Japanese set (design by Christopher Oram), in a new production, together with Puccini’s theatrical score made for a marvelous experience. Add the exquisite voice of Amanda Echalaz who deftly depicts Cio-Cio-San as the epitome of devotion,
hope and honor. Patricia Racette takes over the role of Cia-Cia-San for the January, 2014 dates and she received an enthusiastic standing ovation on January 11, 2014.