Review: Lohengrin (Lyric Opera Chicago)

     
     

Lyric champions Wagner’s epic love story

     
     

Entire ensemble from Richard Wagner's 'Lohengrin' at Lyric Opera Chicago. Photo by Dan Rest.

  
Lyric Opera of Chicago presents
  
Lohengrin
  
Composed and Libretto by Richard Wagner
Conducted by Sir Andrew Davis
Directed by Elijah Moshinsky
at Civic Opera House, 20 N. Wacker Drive (map)
through March 8  |  tickets: $33-$237  |  more info

Reviewed by Katy Walsh 

A man rescues a damsel from murder charges, promises to love her forever and wants to marry her. The only wrinkle? She must never ask his name, origin or lineage. Can she stay true to a nameless hero? Lyric Opera presents Richard Wagner’s Lohengrin, an opera in three acts. Friedrich accuses his ex-girlfriend Elsa of dumping him for a secret lover. He also charges her with murdering her brother. The double attack is prompted by Friedrich and his wife Ortrud’s desire for the crown. In her defense, Elsa summons her champion to appear. She insists God is sending her a knight. Her prayers are answered when the hero sails in on a swan. The rescuer duels Friedrich and wins. As Elsa and the hero head towards a happily ever-after, Ortrud and Friedrich plot their revenge. Using pagan and female persuasion, Ortrud pokes holes in Elsa’s bubble of bliss. Elsa struggles with her ability to love unconditionally this hero without a name or a past. Wagner’s Lohengrin is an epic love story complicated by the unknown.

Emily Magee and Johan Botha in Lyric Opera Lohengrin - photo Dan RestUnder the masterful baton of Sir Andrew Davis, Lohengrin captivates from the overture to finale. The dreamy melodies tangled with hope and sadness leap into commanding forceful musical passages. With the curtain still down, the introduction transitions the audience from the real world to Wagner’s fantasy where ‘there is no remorse in happiness.’ In this production of Lohengrin, the scenery and the action is minimal. Instead, the stage is filled to capacity with the chorus adding to the rich tone of the score. Trumpeters flank the stage in a majestic nod to the nobility clash. Johan Botha (hero aka Lohengrin) is the man of mystery. Botha’s entrance is less than dramatic but as soon as he begins singing he imposes an authority on the proceedings. Botha radiates his simplistic love ideology. Emily Magee (Elsa) struggles with the whole ‘If I love you, why do you need to know my name?’ Magee amazes as she emotionally sings through a spectrum of feelings; desperation, joy, doubt. Her aria “Euch Luften” is sung with an earnest sincerity to help her accusers. Elsa’s bad guys are wickedly wonderful. Michaela Schuster (Ortrud) conjures up a (black) magical performance. Schuster aggressively delivers her evil intent with strong vocal stylings and distorted facial expressions. Her duet with Greer Grimsley (Friedrich) spellbinds with a naughty sensuality. Grimsley holds his own in the marriage of ambition with solid conviction from his first appearance. Lohengrin is all about loving and the music! Under Davis’ musical direction, the ensemble makes love with the music for the pleasure of the audience.

Lohengrin is four hours and thirty-five minutes long. However, this should not be daunting. First, the music flows with an entrancing beauty. The allure engages with timeless essences. Next, the Lyric starts the show 90-minutes before its traditional curtain time. Somehow, the time change makes for pretend shortness. Spying 9pm on your watch at the last intermission break leads to a this-isn’t-that-long illusion. To help with the early start, the Lyric is also selling pre-ordered box suppers for $15. For me, I had a late lunch and a Clif bar in case of emergency. I was fine. No food stash required.

     
Michaela Schuster and Emily Magee in Lyric Opera Lohengrin - photo Dan Rest Johan Botha and Greer Grimsley in Lohengrin - Photo Dan Rest
Lohengrin by Richard Wagner - Lyric Opera Chicago 12 Lohengrin by Richard Wagner - Lyric Opera Chicago 14 Lohengrin by Richard Wagner - Lyric Opera Chicago 13

For opera newbies, there are two prominent familiar tunes in Lohengrin. The more obvious melody is the bridal march. Reading the German translated words, the song becomes much more romantic than the cheesy ‘here comes the bride’ mainstream version. Wagner’s original libretto is sweet thoughts of hope and wishes for a pleasurable union. The other recognizable moment will be around a few haunting bars of notes repeated throughout the show in relation to the swan hero. Here’s the symmetry moment, you’ll identify it from Swan Lake and its recent resurgence in popularity with the movie “Black Swan”. On a post-show read around, I discovered that Lohengrin was first performed in 1850. A Wagner admirer, Pyotr Ilyich Tchaikovsky premiered Swan Lake in 1877. I guess this swan song lives on in two masterpieces.

  
  
Rating: ★★★½
  
  

Georg Zeppenfeld, Johan Botha and Emily Magee Lyric Opera Lohengrin - Dan Rest

Lohengrin is an opera in three acts in German, with English titles by Francis Rizzo. Performances continue February 16th, 25th, March 1st, 5th, 8th at 6pm, February 20th at 1pm.  Running Time: Four hours and thirty-five minutes includes two intermissions.

All photos by Dan Rest

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REVIEW: The Girl of the Golden West (Lyric Opera)

  
  

Sheriffs! Bandits! Damsels! Passion! What’s not to love?

  
  

Act 3 of "Girl of the Golden West," playing at the Lyric Opera of Chicago. Photo by Dan Rest

  
Lyric Opera of Chicago presents
  
The Girl of the Golden West
   
Composed by Giacomo Puccini  
Libretto by
Carlo Zangarini and Guelfo Civini
Directed by
Vincent Liotta
at
Civic Opera House, 20 N. Wacker Drive (map)
through Feb 21  |  tickets: $56-$217  |  more info

Reviewed by K.D. Hopkins

I love a good Western. That may come as a surprise to some but maybe more of a surprise is the idea of a great Western opera – in Italian. Giacomo Puccini’s fascination with the American West is gloriously displayed in the Lyric Opera production of La Fanciulla Del West (or The Girl Of The Golden West). My dad used to call Westerns ‘horse operas’ because of all of the drama, brawling, greed, and damsels in distress. Luckily for us, Puccini’s Minnie is no mere damsel-in-distress when embodied by the fabulous soprano Deborah Voight.

Marcello Giordani and Deborah Voigt in the "Girl of Golden West", playing through February 21st at the Lyric Opera of Chicago. Photo by Dan RestMs. Voight emanates strength with a healthy dose of ‘don’t mess with me’, making one of the great entrances in an opera – shooting off two rounds from her pistol to break up a fracas at the Polka saloon. Puccini’s interest in the “Wild West” was piqued by the European tours of the Buffalo Bill Western shows that included sharpshooter Annie Oakley. The deal was sealed, then, when – on a visit to New York – Puccini attended the Broadway play Girl of the Golden West by David Belasco.

Ms. Voight’s Minnie has just enough brass and fire to play with the boys and fend off the lascivious charm of the sheriff Jack Rance, played by baritone Marco Vratogna. Mr. Vratogna’s baritone is sexy and sinister. Rance is a sheriff and a gambler who thinks he has a direct line on Minnie’s virtue. Vratogna channels the great Yul Brynner with a shaved head and piercing intense gaze. I wondered if Brynner had modeled his Gunslinger on Jack Rance in the 1973 science fiction Western “Westworld”.

In every Western there must be an outlaw, especially if the bad guy is a smoldering misunderstood one. Enter the great tenor Marcello Giordani as Ramerrez aka Dick Johnson the hunted leader of a murderous gang of thieves out to steal the gold from this mining backwater.

Mr. Giordani has a gorgeous voice with velvety tones that never border on the strident or maudlin. He is a wonderful counterpoint to Ms. Voight’s powerful and clear soprano. Their acting is top notch in portraying two thunderstruck lovers. Voight’s bedroom eyes and womanly countenance enhance her performance. Meanwhile Giordani is quite entrancing and smoldering as her true love enraptured at the thought of one kiss from Minnie.

     
Marcello Giordani and Deborah Voigt in the "Girl of Golden West", playing through February 21st at the Lyric Opera of Chicago. Photo by Dan Rest Act 1 of Girl of the Golden West playing at the Lyric Opera of Chicago. Photo by Dan Rest
Debra Voigt with the men of the camp in Act 3 of "Girl of the Golden West" at Lyric Opera. Photo by Dan Rest Marcello Giordani and Deborah Voigt in the "Girl of Golden West", playing through February 21st at the Lyric Opera of Chicago. Photo by Dan Rest

Mr. Vratogna (Sheriff Rance) and Ms. Voight have an excellent chemistry as well. Sheriff Rance’s intentions are less than honorable. He has a wife and Minnie is more of a trophy to be captured. There is a tense scene with Rance trying to force himself on Minnie and Ms. Voight’s portrayal is explosive in rebuffing him.

The supporting cast of “Fanciulla” is a combination of wonderful voices and fine acting. David Cangelosi is excellent as Nick the Polka bartender. He is a perfect comic relief as he pits the miners against one another in thinking they are at the top of the list for Minnie’s affections. Craig Irvin has a beautiful voice and excellent stage presence as Ashby the Wells Fargo man. I loved the portrayal of Sonora by the baritone Daniel Sutin. He has an exceptionally expressive visage to accompany the voice.

Puccini was my first exposure to opera with a Lyric production of La Boheme back in the 1970’s. His sense of theatre and drama are incomparable. He composed the lush and sweeping tragedies Tosca (recently produced at Lyric ★★★½) and Madama Butterfly. His works infuse humor, irony, and a wonderful sexiness to his characters for which I am grateful. He consistently wrote wonderful roles for women in particular. In “Fanciulla”, the role of Minnie is the only major female among at least forty men on the stage. It’s a powerhouse role to be undertaken by only the best and that is Deborah Voight.

Marco Vratogna, Marcello Giordani in "Girl of the Golden West" at Lyric Opera. Photo by Dan Rest.In my opinion, Puccini is the greatest theatrical composer history in history, and many have given homage or outright plagiarized his work. The Puccini estate sued Andrew Lloyd Webber over blatant lifts from “Fanciulla” in his version of The Phantom of The Opera – and the estate basically won, as Webber settled out of court. I also feel that Gene de Paul and Johnny Mercer owe a debt to Puccini for the Seven Brides for Seven Brothers score as well. Puccini’s rich and sweeping washes of sound are perfect for the Technicolor epics of John Ford and Stanley Donen, and – had Puccini he lived further into the 20th century – he  may have been witness to his influence on the American film soundtrack in Douglas Sirk melodramas and film noir classics.

The conductor for the evening was Sir Andrew Davis, who led the orchestra with command and joyful gusto. He has such joy for the music and that translates into an overall beautiful production. The Lyric is also gifted with the legendary Harold Prince as the original producer of “Fanciulla” in 1978 in Chicago. The director Vincent Liotta previously worked with Mr. Prince and has once again directed an excellent production.

Take the time to get acquainted with the treasure that is Chicago’s Lyric Opera. This is theatre and music that has persevered because of its beauty and soul-touching quality. It’s a chance to get dressed nice, put on your Sunday manners, and sit in one of the world’s great opera houses. Brava! Bravo! Te amo Maestro Puccini!

  
  
Rating: ★★★★
   
  

Act 1 of "Girl of the Golden West" at Lyric Opera. Photo by Dan Rest

     
     

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REVIEW: The Mikado (Lyric Opera of Chicago)

     
     

Lyric creates a perfect holiday gift

     
     

01 Neal Davies as Ko-Ko center with Lyric Opera Chorus THE MIKADO DAN_4344 c Dan Rest

   
Lyric Opera of Chicago presents
   
The Mikado
   
Written by W.S. Gilbert and Arthur Sullivan
Directed by Gary Griffin
Civic Opera House, 20 N. Wacker (map)
through Jan 21  |  tickets: $48-$217   |  more info 

Reviewed by Paige Listerud

I’ve found it, the perfect Christmas gift! It is Lyric Opera Chicago’s radiant, lush, sophisticated and gorgeous production of Gilbert and Sullivan’s The Mikado. One could even put a big red bow on it, the same color as the massive, velvety red flats that act as imperial Japanese doors to the proscenium of Lyric’s stage. They are perfect—as is the whole of Mark Thompson’s design for the production. How else to describe his set and costumes’ color palate but as a visual seduction that amplifies and fulfills Arthur Sullivan’s opulent score. Christine Binder’s lighting molds pure magic from Thompson’s rich golds, pinks, purples, reds, and sky blues, chartreuse 15 James Morris as THE MIKADO RST_9172 c Dan Restand wood tones. Updating the operetta to early 1920s Japan is also an inspired change that refreshes and illuminates good old G&S for today’s audience.

Conducted by Sir Andrew Davis and stage-directed by Gary Griffin, Lyric creates the kind of sumptuous dream that brings forth incredibly powerful musical moments, offset with sprightly comedy that makes the whole enterprise deceptively light and airy. That Davis and Chorus Master Donald Nally would draw gorgeous performances from their superlative cast may already seem a fete accompli to Lyric audiences; but that Griffin tops off the whole luxurious feast with the cherry and whipped cream perfection of precisely timed comedy is the real celebration of the evening. Clearly the cast is having too much fun and their enjoyment of W. S. Gilbert’s material is infectious.

Should this whole opera thing not work out, Neal Davies has a future in comedy. His Ko-Ko, a common tailor unexpectedly raised from near-execution (for the grave offense of flirting) to an appointment as Titipu’s Lord High Executioner, captures the wry mischievousness and cheerful nervousness of the arriviste who never expected to arrive. Of course, it helps to have one fabulously tacky hairpiece (wigs by Richard Jarvie) to clearly signal hopeful insecurity. Ko-Ko temporarily thwarts the romantic chance of the charmingly jejune Nanki-Poo (Toby Spence), who has journeyed to the village of Titipu to woo Yum-Yum (Andriana Chuchman), Ko-Ko’s ward and prospective bride-to-be.

      
07 Katharine Goeldner Andriana Chuchman Andrew Shore Emily Fons THE MIKADO RST_8395 c Dan Rest 10 Stephanie Blythe as Katisha THE MIKADO DBR_4064 c Dan Rest
06 Neal Davies as Ko-Ko THE MIKADO RST_8169 c Dan Rest 12 Toby Spence as Nanki-Poo Andriana Chuchman as Yum-Yum Neal Davies as Ko-Ko THE MIKADO RST_9010 c Dan Rest
   

In fact, in true G&S style, charmingly jejune is how one could describe the young leads of the show. It’s sounds cliché but, then, G&S revels in clichés–Spence and Chuchman make a darling, lyrical couple that clearly hasn’t got a gray cell to share between them. One relishes the heartfelt silliness of their romance, while becoming unfailingly reinvigorated at the prospect of romance succeeding—even though one can hardly say that it is ever really threatened. Meanwhile Ko-Ko, Pooh-Bah (Andrew Shore) and Pish-Tush (Philip Kraus) regale the audience with the absurdities of their respective posts as Titipu’s administration. Shore doesn’t miss a hilarious beat pointing up Pooh-Bah’s ridiculous attachment to his pedigree or his decidedly mercenary approach to civil service. Together they crisply whip off “I am so proud,” wherein Ko-Ko realizes that, under the orders of the Mikado (James Morris), he must find someone in Titipu to execute within a month or it could be his head, once again, on the “big black block.”

Happily, Nanki-Poo arrives to do himself in and Ko-Ko persuades him not to squander his death in wasteful suicide—rather, do your patriotic duty and let the state kill you instead. He promises a month of married happiness with Yum-Yum in return for Nanki-Poo’s timely and well-celebrated execution. Just when it seems as though our young lovers have a chance at some limited happiness, Katisha (Stephanie Blythe) arrives in full force, seeking Nanki-Poo, who is actually the son of the Mikado and her betrothed.

Let me say that Lyric brought the big guns when they picked Blythe for this role. Her mezzo-soprano dominates the stage and one couldn’t ask for a more humorous or more resplendently-voiced ruthless virago. Tell us, how does it feel to have all that power, Ms. Blythe? Because Griffin’s staging allows her glorious full play, whether she is reaching operatic heights with the chorus with “Oh fool that fleest my hallowed joys!” and “For he’s going to marry Yum-Yum” or outshining the arrival of the Mikado in “Miya Sama.”

All that can be said of James Morris’s turn as the Mikado is that it’s too bad he doesn’t have more numbers. “A More Humane Mikado” is always an anticipated delight and Morris acquits himself with privileged dignity, polish and grace, while amusingly forbearing Katisha’s constant upstaging. The Mikado’s arrival precipitates the need for an execution and Ko-Ko decides to let Yum-Yum and Nanki-Poo marry while faking Nanki-Poo’s execution on the death certificate. When Katisha discovers Nanki-Poo’s name on the certificate, his true identity as the Mikado’s son is revealed to all and Ko-Ko once again finds he is headed for the big, black block unless he can seduce Katisha into forgetting all about Nanki-Poo and marry him.

16 Neal Davies as Ko-Ko Stephanie Blythe as Katisha THE MIKADO RST_9339 c Dan RestThis is not to say that Davies’ excellent rendering of the classic “Tit-Willow” depends upon a tree, but Thompson’s set design brings home the song’s comic impact by balancing it against Yum-Yum’s enchanting declaration of self-love and Katisha’s misery at losing her chance at marital bliss. Under the radiant pinks of a tree festooned with cherry blossoms, Chuchman effortlessly delivers “The Sun Whose Rays;” the same tree is theatrically brought into the scene with twisted and barren branches against a backdrop of mournful indigos and purples when Katisha sings “Alone, and Yet Alive!” Then the same barren tree remains under which Ko-Ko stands to sing a made-up account, of a birdie committing suicide over blighted love, to seduce Katisha.

It’s a moment that simply and elegantly unites all three as it gently and reassuringly spoofs the heart in its outlandishly unreasonable passionate expectations.

It is a bit of silliness that is pure genius and that is what Lyric’s Mikado pulls off so well throughout the whole production. The show will send you into the cold winter night, your ear alight with its happy tunes and a joyful heart against the cares of this world. And what could be a better Christmas gift than that?

  
  
Rating: ★★★★
   
   

17 Andriana Chuchman Toby Spence Neal Davies, James Morris Stephanie Blythe THE MIKADO RST_9395 c Dan Rest

Running Time: 2 hours, 54 minutes. In English with projected English texts

 

 

     
     

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REVIEW: Marriage of Figaro (Lyric Opera)

This marriage is a flawless, fun farce

 figaro14

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).

View (2010-02) Marriage of Figaro - Lyric Opera

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REVIEW: The Damnation of Faust (Lyric Opera of Chicago)

This damnation is visually stunning

 25. Part Four, DAMNATION OF FAUST _CLK6664

Lyric Opera of Chicago presents

The Damnation of Faust

Composed by Hector Berlioz 
Libretto by Berlioz and
Almire Gandonniere
Adapted from
Gerard de Nerval’s translation of Goethe’s Faust
Stage directed by
Stephen Langridge
Conducted by
Sir Andrew Davis
through March 17th
(more info, tickets)

Reviewed by Katy Walsh

Multi-colored saber lights, pole dancing and life-size shadowboxes, Lyric Opera of Chicago puts a modern twist on a legendary tale in The Damnation of Faust. Composed by Hector Berlioz, The Damnation of Faust was first conceived as an “opera concert” but later termed a “legend dramatique.” Sung in French with projected English titles, the show is nineteen scenes presented in four parts with an epilogue.

21. Paul Groves, DAMNATION OF FAUST  _BLK4499 In Goethe’s epic, Faust is seduced by Mephistopheles and falls for the woman of his dreams, Marguerite. Mephistopheles plays matchmaker and arranges the meeting. Faust seduces Marguerite. After the loving, Faust leaves her. Obsessed with passionate memories, Marguerite goes crazy waiting for Faust to return. In her fervor, she accidentally kills her mother and is condemned to die. To save Marguerite, Faust signs over his soul to Mephistopheles. Lyric Opera of Chicago’s The Damnation of Faust is a familiar story dressed up with a dazzling light show.

Not quite operatic, this legend dramatique has several long musical melodies without any singing. Susan Graham (Marguerite) sings for the first time in part three, scene ten. Along with Paul Groves (Faust), Graham sings a passionate duet “Ange adore.” Clad in a purple shiny suit, (Mephistopheles) John Relyea’s booming voice commands the stage dominion. Christian Van Horn (Brander) also establishes a strong presence with his sporadic moments of song. Singing, however, takes a secondary role in this current production of The Damnation of Faust. Hell, it’s all about the visual!

The production set debuting in The Damnation of Faust is fantastic. George Souglides (set and costume designer), Wolfgang Gobbel (lighting designer) and John Boesche (projection designer) have teamed up to add contemporary layers to the traditional 1800’s backdrop for this story. The fresh approach is immediately apparent as the show opens. Surrounded in dramatic black, the set is a life-size shadowbox. Ten feet above stage level, it houses Faust in an office cubicle with projections of his computer typing. This amazing shadowbox technique is utilized in different scenes, decreasing and increasing depending on the action. Setting the tone with illumination are these magnificent overhead lights suspended on wires. Moving up and down and tilted sideways, these fun techno-color changing lights are surreal in an almost cartoonish way. The renovation of the classic continues with peasants being re-imagined as office drones. The orchestration of a dream sequence using duplicate characters and repetitive motion in a perfectly synchronized fashion is fascinating.

07. Part Two, DAMNATIONO OF FAUST _BLK4313 13. Susan Graham, John Relyea, DAMNATION OF FAUST _BLK4404
01. Paul Groves, DAMNATION OF FAUST  _LHK5284 20. Part Three, DAMNATION OF FAUST _CLK6536

Onstage, the pacing and choreography of The Damnation of Faust appears flawlessly in sync (choreography by Philippe Giraudeau). Offstage, they may have been dealing with some issues. For opening night, there were some distractive pauses between scenes… sometimes even when there wasn’t an apparent set change. The curtains closed, and the audience awkwardly waited in the dark. Most notably, the pause stretched five minutes before the final scene. When the curtain finally rose, a herd of children are shepherded on to the stage. Although the kids add a dimension to the celestial chorus, their presence may be causing a diversion from the movement. Or maybe the kids weren’t the issue. The clunkiness could be the bi-product of a nineteen scene show. Regardless, The Damnation of Faust is a hell-of-a stunning visual. To calm the devil inside, be patient with scene transitions and read the story synopsis in the program. 

Rating: ★★★½

Performed in French with English Titles

Running Time: Two hours and fifty minutes includes a fifteen minute intermission and several scene transition pauses

05. Part Two, DAMNATION OF FAUST _CLK6203

View (2010-02) The Damnation of Faust - Lyric Opera

 

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Lyric Opera announces 2010-2011 season

fleur_de_lis 

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.