REVIEW: A Midsummer Night’s Dream (Lyric Opera)

     
     

Britten adds tonal mysticism to terrestrial Shakespearean comedy

 

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The Lyric Opera of Chicago presents
   
A Midsummer Night’s Dream
     
Composed by Benjamin Britten
Libretto by
Benjamin Britten and Peter Pears
Ardis Krainik Theatre, 20 N. Wacker (map)
through Nov. 23  |  tickets: $43-$204  |  more info

Reviewed by Katy Walsh

Fairies clash, couples quarrel, actors fight, the forest is a hotbed for ‘tragical mirth.’ The fates of happy endings rest in the hands of one nymph and he better not puck it up!  Lyric Opera of Chicago presents A Midsummer Night’s Dream, an English opera composed by Benjamin Britten based on the Shakespearean comedy. A Midsummer Night’s Dream crashes three worlds together. In the shadow land, the king and queen of the fairies are fighting over a newly acquired child-servant. In the A Midsummer's Night Dream - Lyric Opera 10mortal realm, a runaway bride flees with her lover. She is chased by her lawfully-intended groom, who is being stalked by the bride’s best friend. On the theatrical stage, an acting troupe disputes over roles in rehearsals. It’s become one disenchanted forest. To cast a spell on the woods’ inhabitants, the king has an underling push a little herb. Puck gets all the parties stoned. It turns into a swingers’ love fest where one guy ends up quite the ass. Britten’s A Midsummer Night’s Dream is the Shakespearean mystical comedy played out with a hazy melody.

The show opens in an Avatar-type world designed by Dale Ferguson. The green fabric walls and ceiling are breathing organisms with rhythmic movement. The backdrop is a see-through tapestry showcasing silhouettes for the dreamy ambiance. A beautiful silky stage-size ribbon acts as a top cover to the action. It ripples and flows to frame the story. To add to the magical surroundings, the Anima – Young Singers of Chicago – are multiple white- ghosted cherubs. The young voices blend heavenly with their master and mistress. David Daniels (Oberon) sings the counter-tenor role with an otherworldly sound. As he floats above his dominion, Daniels’ eerie vocal range sets the whimsical tone for the elfin world. With an exquisite long- trained gown, Anna Christy (Tytania) is a regal presence even when making love to a donkey. A Midsummer Night’s Dream breaks operatic form for the role of Puck. Esteban Andres Cruz (Puck) is perfect as the impish sprite delivering his verses without singing.

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For some, the real show begins in the third act for the play within the play. The acting troupe performs a farce within a farce entitled “Pyramus and Thisbe”. An extended version has been staged much to the audience’s delight. As the divo, Peter Rose (Bottom) is hilarious in bellowing out his songs and his overacting. His fairy hook-up descends in a surreal swirling exit. The morning after, he awakes in oblivion to magnificently sing “when my cue comes, call me.”  Bottom’s stage love of his life is Keith Jameson’s Thisbe (in drag). Jameson emphasizes over-the-top dainty and is rewarded with mega-laughs. The wall, the moon, the lion, the dog – the entire cast delivers laugh-out-loud comedy on the stage within a stage.

Between being enchanted by fairies and amused by the actors, the mortals place third in the race for attention. In the non-opera version of A Midsummer Night’s Dream, the love-cluster of Lysander, Hermia, Demetrius and Helena is center stage. For Britten, it’s more of a side to the entrée. His main course is a hearty helping of elfin magic with save-room-the-actors-brought dessert. The real sustenance is the fantasy melodies sung memorably by Daniels and the youthful chorus. These ample portions overpower the familiar sides of girl-chases-boy-chasing- girl-with-other-boy harmonies. Then, it’s time to indulge in the absurd treat that is so enjoyable because it’s way overdone. Dessert: it’s all that with extra nuts. Britten’s A Midsummer Night’s Dream is a visual imagined magical kingdom frolicked with actors looking for work and mortals looking for love. Sweet dreams are made of these, who am I to disagree?

  
  
 Rating: ★★★½
  
  

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A Midsummer Night’s Dream runs November 8th, 10th, 20th, 23rd at 7:30pm, and November 13th, 17th at 2pm

Running Time: Three hours and twenty minutes includes a fifteen minute intermission.

         
        

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REVIEW: Marriage of Figaro (Lyric Opera)

This marriage is a flawless, fun farce

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Lyric Opera of Chicago presents:

Marriage of Figaro

Composed by Wolfgang Amadeus Mozart
Conducted by
Sir Andrew Davis
Stage directed by
Herbert Kellner
Projected English supertitles by Francis Rizzo
at
Civic Opera House through March 27th (more info)

By Katy Walsh

figaro01Figaro wants to marry Susanna. Marcellina wants to marry Figaro. Bartolo wants to marry the Countess. The Count wants Susanna. The Countess wants the Count. Cherubino wants everybody.  Arias of lust love are in the air!

Lyric Opera of Chicago presents Marriage of Figaro, composed by Wolfgang Amadeus Mozart. A four act opera buffa (comedy) performed in Italian with projected English translations. A sequel to The Barber of Seville, the opera is set in the late eighteenth century. Figaro and Susanna want to marry. As servants of the Count, the union must be authorized by him. In addition, the Count may choose to invoke the custom of ‘having the bride’ before giving her away. The Count is not the only one interfering with Figaro’s marriage. Debts and betrayals have followed him from his The Barber of Seville days. Through a comedic series of tricks and twists, love eventually conquers all.

Throughout all four acts, this cast sings and plays well together. It’s like watching a group of friends setting up good natured pranks to teach each other a lesson. Leading the playful spirit, Danielle De Niese (Susanna) is an adorable, lively sprite with pitch-perfect, comedic timing. Kyle Ketelsen (Figaro) delivers a solid bass-baritone performance as the ultimate cocky player. Anne Schwanewilms (Countess) laments the loss of her husband’s affections in a gorgeous rendition of “Porgi Amor”, and later vows to regain his love in “Dove Sono”. Within the frivolity of the frenzy of multiple charades, her arias are the quiet moments of true clarity and sadness of love lost. The Countess describes her husband as ‘modern: faithless, willful, not so much jealous, as vain.’ Mariusz Kwiecien (Count) embodies that description while – being the brunt of the shams – struggling at the same time. Kwiecien delivers his own spectacular aria “Vedro, mentr’io sospiro” with promises of vengeance to the pranksters. Joyce DiDonato (Cherubino) is a woman playing a boy sometimes playing a woman. She’s hilarious with her portrayal of a youth; a slave to his strong lustful infatuations. In a smaller role, Andrea Silvestrelli (Bartolo) makes his presence memorable with his booming bass singing. His aria “La vendetta” is magnificent. In particular, in one sequence, Silvestrelli squeezes his huge, rich voice through a series of rapid notes. Amazing.

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The Lyric Opera of Chicago has chosen to close its 2009-2010 season with a warhorse. Even to new opera goers, this Mozart’s masterpiece has familiar pieces. The overture and a few of the arias are used in movie scores to enhance themes of multiple plots colliding or love loss. The Lyric has cast it perfect and – under the guidance of Sir Andrew Davis at the baton – Marriage of Figaro hits all the right notes for high spirited high-jinx.  Highly recommended!

From the first note of the overture to the standing ovation, Marriage of Figaro is a flawless, fun farce!

Rating: ★★★★

 

Running Time: Three hours and forty-five minutes includes a thirty minute intermission

Note: Libretto by Lorenzo da Ponte, based on Pierre-Augustin Beaumarchais’ play La folle journee, ou Le marriage de Figaro (1784).

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Lyric Opera announces 2010-2011 season

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Lyric Opera of Chicago

 

2010/2011 Season

 

The Lyric Opera kicks off its 56th season on October 1st presenting 68 performances of 8 operas in a 24-week period. On January 26, 2010, the upcoming season schedule was announced by General Director William Mason. Joining Mr. Mason at the press conference to discuss next year’s performances were Sir Andrew Davis, Music Director and Barbara Gaines, Director for Macbeth and Artistic Director for Chicago Shakespeare Theatre.

by Katy Walsh 


Macbeth  October 1st through 30th 

By Giuseppe Verdi
Italian with projected English translation (libretto) 
Directed by Barbara Gaines*, Artistic Director of Chicago Shakespeare Theatre
Conducted by Renato Palumbo
Principals: Thomas Hampson, Nadja Michael*, Dimitri Pittas, Stefan Kocan*, and Carter Scott
Extra Special: New production by designers James Noone (sets), Virgil C. Johnson (costumes) and Robert Wierzel (lights).

 


Carmen October 13st through 29th and March 12th through March 27th

By Georges Bizet
French with projected English translation
Directed by John Copley
Conducted by Alain Altinoglu*
Principals:

  • October: Kate Aldrich*, Yonghoon Lee*, Elaine Alvarez, and Kyle Ketelsen
  • March: Nadia Krasteva*, Brandon Jovanovich, Nicole Cabell and Kyle Ketelsen

Extra Special: Fire burning Warhorse!


A Midsummer Night’s Dream November 5th through 23rd 

By Benjamin Britten
English with projected English translation
Directed by Neil Armfield
Conducted by Rory Macdonald*
Principals: David Daniels, Anna Christy, Peter Rose, Keith Jameson, Wilbur Pauley, Kelley O’Connor*, Shawn Mathey*, Elizabeth DeShong, Lucas Meachem, and Erin Wall

Extra Special: Lyric Opera premiere – new production designed by Dale Ferguson* (sets and costumes) and Damien Cooper* (lighting).

 


A Masked Ball  November 15th through December 10th 

By Giuseppe Verdi
Italian with projected English translation
Directed by Renata Scotto
Conducted by Asher Fisch
Principals: Frank Lopardo, Sondra Radvanovsky, Mark Delavan, Stephanie Blythe*, and Kathleen Kim

Extra Special: New San Francisco production by designers Zack Brown (sets) and Christine Binder (lights).


The Mikado  December 6th through January 21st 

By William S. Gilbert and Sir Arthur Sullivan
English with projected English translation
Directed by Gary Griffin
Conducted by Sir Andrew Davis, Lyric’s Music Director
Principals: James Morris, Neal Davies, Stephanie Blythe, Toby Spence*, Andriana Chuchman, Andrew Shore, Phillip Kraus, and Katharine Goeldner

Extra Special: New production by designers Mark Thompson* (sets and costumes) and Christine Binder (lights).


The Girl of the Golden West  January 22nd through February 21st 

By Giacomo Puccini
Italian with projected English translation
Directed by Vincent Liotta
Conducted by Sir Andrew Davis, Lyric’s Music Director
Principals: Deborah Voigt, Marcello Giordani, Marco Vratogna*, David Cangelosi, and Daniel Sutin

Extra Special: Premiering at the Metropolitan Opera in 1910, this Puccini classic is celebrating a centennial anniversary.


Lohengrin February 11th through March 8th 

By Richard Wagner
German with projected English translation
Directed by Elijah Moshinsky
Conducted by Sir Andrew Davis, Lyric’s Music Director
Principals: Johan Botha, Emily Magee, Michaela Schuster*, Greer Grimsley, Georg Zeppenfeld*, and Lester Lynch

Extra Special: New production designed by John Napier* (sets and costumes) and Christine Binder (lights).

 


Hercules  March 4th through 21st 

By George Frederic Handel
English with projected English translation
Directed by Peter Sellars
Conducted by Henry Bickett
Principals: Eric Owens, Alice Coote, David Daniels, Lucy Crowe*, and Richard Croft

Extra Special: Lyric Opera premiere! New production designed by George Tsypin (sets), Dunya Ramicova (costumes) and James F. Ingalls (lighting).

 


fleur_de_lis * Lyric Opera Debut

Twenty-three subscription packages will be offered with a 25% down payment plan option. Individual tickets for the 2010/2011 will be made available closer to the beginning of the season. It’s never too early to make a plan to experience the majesty that is the Lyric Opera.