A stark stage filled with robust emotion
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Chicago Opera Theater presents |
HE/SHE |
Music by Robert Schuman and Leos Janáček at Harris Theater, Millennium Park (map) through May 8 | tickets: $25-$75 | more info |
Reviewed by Katy Walsh
Act One |
Act Two |
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Frauenliebe und Leben | The Diary of One Who Disappeared | |
by Robert Schuman | by Leos Janáček | |
Reviewed by Katy Walsh
She loves him. He loves her. A woman and man express the spectrum of emotions for loving the wrong person. Chicago Opera Theater concludes its 2011 Spring Season with HE/SHE, a operatic tribute to obsessive love. Deviating from a traditional show, Chicago Opera Theater presents a concert experience. In the first half, a mezzo-soprano sings in German Frauenliebe und Leben by Robert Schumann. Following the intermission, a tenor sings in Czech The Diary of One Who Disappeared by Leos Janáček. The combination proves an intriguing and entertaining gender sing-off. It’s not just another he-sang/she-sang side of the same story. The pieces are totally separate but connected through the misery of mutual unrequited love. HE/SHE passionately sings his/her heart out for the love of her/him.
After the stunning spectacles of Death and the Powers (our review ★★★) and Medea (review ★★★★); the simplicity of the HE/SHE set-up startles initially: a piano; he or she. There is no elaborate scenery, costumes or chorus. The orchestra pit is empty. It has a no-thrills send-off feel. When the music starts, the stark stage fills up with robust emotion. Jennifer Johnson Cano sings exquisitely the story of her man. Cano shares the relational joys and pain with a controlled ‘this must be a dream’ desperation. Cano poignantly sings about ‘staring into an empty world.‘ Her sadness permeates the audience with lingering despair. It’s a powerful contrast to Joseph Kaiser. Kaiser commandingly sings with a fury of intensity. An animated Kaiser thunders about the bewitching powers of a gypsy. His emotional rant engages through to a climatic finale. Brandy Lynn Hawkins (gypsy) and the off-stage voices of Lelia Bowie, Hannah Dixon and Megan Rose Williams aid the storytelling with sweet, haunting melodies.
For both segments, the back of the stage turns into a full-length movie screen. Traditionally, supertitles are projected in snippets above the stage. For HE/SHE, the supertitles become illustrations of the emotion. For Frauenliebe und Leben, the supertitles are romantic, handwritten script. They gradually appear and disappear in a montage of old fashion photographs. The black and white photos beautifully chronicle a woman’s life from childhood to marriage to death. The Diary of One Who Disappeared uses a chaotic, bold font. The words are spliced onto lush, vibrant images of nature. Within the abstract artistry, a ghostly woman sporadically appears. Projection designer Hillary Leben effectively gives the audience snapshots of what’s going on inside the heads of the tormented lovers.
The entire show is accompanied by a solo pianist Craig Terry. The uncomplicated choice continues to draw focus to the complex emotional singing. In theory, the decision is simple and strong. In reality, the Harris Theater’s concrete facade is an echo chamber. Without an orchestra to provide a sound buffer, every cough, whisper, dropped program is an audible distraction. Despite that unwanted soundtrack, HE/SHE boldly finishes off Chicago Opera Theater’s innovative season with a return to the basics: spectacular operatic singing!
Rating: ★★★ |
HE/SHE is sung in German with English supertitle and in Czech with English supertitles. Run Time: 90 minutes including one intermission
All photos by Liz Lauren
Filed under: 2011 Reviews, Chicago Opera Theater, Harris Theatre (at Millennium), Katy Walsh, Millennium Park, Opera | Tagged: Alison McBurney, Brandy Lynn Hawkins, Chicago Opera Theater, Chicago Opera Theater Young Artists Program, Craig Terry, Gerard McBurney, Hannah Dixon, Harris Theater, He-She, Hillary Leben, Jennifer Johnson Cano, Joseph Kaiser, Julian Pike, Katy Walsh, Leila Bowie, Leos Janacek, Megan Rose Williams, Millennium Park, Robert Schuman | Leave a comment »